I recently got a new computer, my first new one in 7 years, and now I too can enjoy newfangled things such as DVD drives and third-party DVD ripping applications. Having vowed to use these powers only for good and not for evil, one of the first things I did was pop in Donnie Brasco and make good use of its iso-score to grab a couple of short cues I'd always wanted to hear up closer. This is one of my favorite Patrick Doyle scores — in his top three, in my opinion — and it's so overlooked that I never shy away from promoting it in any way I can. It may not be as flashy as that "other" Pacino score of his, Carlito's Way, but it's a more effective score for a much better film.
In listening to the iso-score again I realized there is quite a lot of songtrack in this movie, but it's used so effectively and seamlessly with the underscore that it's not only not objectionable, but actually seems to help Doyle's score do its stuff (mainly by providing emotional contrast). There are stretches of the soundtrack where songs and score melt into each other several times without a break. The most interesting moment of this is in the very start of the film where Aretha Franklin's "Stranger on This Earth" dissolves into Doyle's main title, which I think is a nice opening statement of musical design - the songs and score are close bedfellows in this movie. (Then again, this movie has one of the most memorably abstract opening title designs I've seen in a long while, too.)
As for music not heard on the CD, there is only about 10 minutes or so, and generally of course you know why very short cues are often not used. However, there's a major cue in the film I recorded, which I can't understand why it was left out; it's near the end of the film when Lefty takes Donnie outside to tell him "We got the contract" (knocking off one of their enemies). It's about two minutes long and has variations on the main themes which are not really heard elsewhere in the score, and would have been good to include on the CD.
Well, in any case, it's all not coming to a soundtrack label near you. Just to my iPod.
2 responses so far ↓
Michael McLennan // May 4, 2006 at 4:58 am
I like Donnie Brascoe’s score a lot… more than Carlito’s Way, though I think the latter more expressive score has some really interesting score concepts and fits the tradition of upfront music for DePalma films. The main theme for Brascoe is a much subtler creature - and it helps me ‘buy into’ the tragedy of Newell’s film much more than DePalma’s Shakespearean aspirations. Much in the way Al Pacino’s performance feels less the ‘performance’ here.
There is of course that beautiful cue when Lefty Ruggiero gets his ‘last call’.
Out of curiosity, what are your favourite Doyle scores? HAMLET and EAST-WEST come to mind for me, though I’ve not heard enough of his work in French cinema - INDOCHINE, UNE FEMME FRANCAISE and NOUVELLE FRANCE.
Ellen // May 5, 2006 at 3:10 pm
I’d have to say my favorites are HENRY V, A LITTLE PRINCESS and DONNIE BRASCO. I’m really stumped as to why DONNIE BRASCO (film or score) is so unmentioned. I just don’t understand what possessed the studio to release the film in February 1997 (opposite the STAR WARS Special Edition, no less) instead of December 1996 (Oscar season) as originally scheduled. It’s a great movie. It should have been up for several Oscars in various categories. Considering Lefty’s character, though, it seems somehow meta-fitting that it’s been so ignored…
EAST-WEST is a very nice (and fun) score. Regis Wargnier’s films are always hit and miss, but I can understand why Doyle keeps working with him, because Wargnier always makes sure to include one or two set-pieces where the story is told only by the editing and the score. (Also, he and Wargnier are very good friends.) I hope Doyle does Wargnier’s next movie, which is a thriller about a modern-day plague in Paris (although God knows if we’ll ever get to hear the music released).
UNE FEMME FRANCAISE has what many people feel is Doyle’s most memorable theme. This is also a nice CD. I have to admit I’m not very crazy about NOUVELLE FRANCE, though. INDOCHINE is an early Doyle score that features a ginormous orchestra which is very nimbly conducted by Bill Kraft.
As for HAMLET, there is actually a Special Edition (er, only edition) DVD of it coming out very soon, which supposedly has a lot of extras on it. Perhaps an iso-score, I don’t know. I think HAMLET got something of a tepid reception (film and score), but there are some interesting musical ideas in it. Everyone expects music for HAMLET to be dark, but it was Branagh’s intention that it also be heroic and have moments of broadness and brightness, because you have to believe there’s a chance for a happy ending in order for tragedy to work. Also Branagh is probably the only filmmaker who takes the view that Hamlet’s tragedy is Denmark’s as well (which is what tragedy was about in the classic age of drama - the king’s downfall is the nation’s) and so I like the anthemlike qualities in Doyle’s score (the song “In Pace” and all that).
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