|1.||I Once Met This Beautiful Girl By A Lake/That Was The Last Time We Saw The Children Alive||5:24|
|2.||Children's Melody/Tunnel Crash/Christy's Death/The Journey Begins/I Still Exist/Annie Loses Faith||5:24|
|3.||Summerland - The Painted World/The Painted Bird Flies/Christy Flies||5:38|
|4.||Marie's World (Leona is Marie)||2:06|
|5.||Longing (Lost Children)||3:49|
|6.||Annie's Suicide/Soul Mates||4:35|
|7.||In Hell/Stormy Seas/Recognition (Albert is Ian)||5:48|
|8.||Sea of Faces/Falling Through Hell/Annie's Room||6:08|
|10.||Together in Hell/Death and Transfiguration/Together in Heaven||8:28|
|11.||Reunited/Reincarnation/When I Was Young||3:55|
|12.||Beside You||Mick Hucknell||4:42|
| ||59:45| Submit your review
Ennio Morricone has often had pretty poor luck with Hollywood projects, not least of all his lack of an Oscar, surely one of the most deserving composers in the history of cinema. Unfortunately, on What Dreams May Come, Morricone's beautiful, but somewhat liturgical score was rejected and Michael Kamen brought in as a replacement. Having heard extracts of Morricone's score, it is something of a loss, although fortunately, Kamen's music is extremely good, even if it never quite reaches the level of spine tingling drama that Morricone's did. For whatever reason, much of the score is based on a melody that Kamen and X-Files composer Mark Snow wrote together while studying composition at music college together. While an unlikely pairing of composers, the result is lovely tune that is used throughout the score and turned into sensitively orchestrated ballad, Beside You, performed at the close of the album by Simply Red's Mick Hucknell.
The film itself is more inspiring for its beautiful visual effects than any real feeling for the emotional weight of the characters, which remain surprisingly underdeveloped. Still, it's a visual delight and Kamen's music fits besides both the light and dark sides. The opening track is perhaps the epitome of the delicate side of the score, with hints of the Beside You melody and some fine solos, notably from Kamen himself on oboe. However, the dark edges to the score are often deeply disturbing. The brief, but searing strings of Tunnel and Christy's Death seem intense enough, but the later musical depictions of Hell that include crushing, martial rhythms and growling low brass. That vague description makes it sound a little cliché, but there are some tremendous outbursts and inspired touches, notably a mesmerising synth effect that opens Sea of Faces - such an effective deployment of a synthetic effect is rare, but the use here seems ideal.
Naturally, the film's leading couple are ultimately reunited and the luminous early material returns for the finale, leading into the song to close the score. The score is perhaps a little long in places and there aren't quite as many variations in the gentle material as would be ideal, but it has such a wonderful main theme, and enough good secondary ideas, that it's a pleasing enough listen even on the couple of occasions when it starts to drag. While Kamen should get full credit for those portions written solely by him, Mark Snow receives well deserved co-credits for the Beside You melody, without which, the score wouldn't be nearly so memorable. The tracks and timings are broken down by cue, which leads to extremely long descriptions and no indication of the total length of each CD track. Still, something of a minor complaint for a score of both engaging delicacy and turbulent darkness.
To be honest I didn't like, or appreciate, Michael Kamen's score for What Dreams May Come the first time I listened to it. I thought it lacked the romantic, sweeping sound I expected, and wanted it to have. But, on repeated listenings the music started to come to life. And there it was - one of the most beautiful and romantic scores I have heard in a long time. With a lot of guitar, piano, oboe and cello solos, together with the traditional orchestra, Kamen's score is a very beautiful, lovely, and perhaps a little sad and nostalgic listening experience.
Kamen uses the theme from the song "Beside You" (written by Mark Snow) as the scores' main theme. The theme, and the song, which is included on the album, by the way, is really great, and very beautiful, but I think it would have been more interesting with an original theme. But the theme works, and I suppose that is what is important. And there are other, also very good, themes, so I can live with that.
As I have already said the music is mostly romantic, and soft, but there are some more scarry and frightening cues, like for example in track 2 and track 7. I haven't seen the film but I suppose they work in the film. However, on CD they kind of interrupt the flow of the soaring and romantic music. But apart from those part the music builds, throughout the album, to a wonderfully romantic finale. And here the music finally gets that sweeping sound I was looking, and hoping for. It's just wonderful when the whole orchestra quotes the main theme.
Highlights are the first track, with it's lovely oboe solo (played by Kamen himself, by the way); the third cue, where the main theme gets a full orchestral treatment; the fourth and fifth tracks with the dreamy, and perhaps a little jazzy, piano solos; the sixth track, also piano, this time very sad; the ninth cue, which has a wonderful cello solo rendition of the main theme; and the two last orchestral cues, with the beautiful finale, which leads into the great song "Beside You". Performed by Mick Hucknell (aka Simply Red) this has to be one of my favourite love songs ever.
The reason I am not writing out the full track names is that they are long. Very long. Each track is divided into several sections and each part has a name. The first track, for instance, is called "I Once Met This Beautiful Girl By A Lake/That Was the Last Time We Saw the Children Alive"...
This soundtrack trailer contains music of:
Original Trailer Music, Pfeifer Broz. Music (Trailer)
Other releases of What Dreams May Come (1998):