Customer Reviews

Open Range (Score)

5 star:		(10)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

This review is written in memory of Maestro Michael Kamen (1945-18 November 2003). Open Range was the last score that he completed before his sudden passing, and I am deeply grateful that he was able to give us this final work. Michael has never been the type to write very off-the-wall scores of the kind you might hear in a movie like The Matrix (that is, except for that unbelievably chilling noise he coaxed out of the string section in "Spooks on the Hill"; how I wish I knew how he did it!)...rather, his talent was in adding special, subtle touches to a more usual sort of orchestral music. In particular, he excelled in the blending of genres into a successful whole. What Hans Zimmer has done for classical and world music, Michael Kamen has done with classical and the more distinctly American-originated musical forms.

It is fitting that Michael seems to have been heavily inspired by Aaron Copland, who is perhaps my favorite classical composer ever. Copland excelled in the incorporation of Americana into his work, and seemed to revere the West. What Michael did that distinguished his work from Copland's, to my ear, was the wonderful incorporation of the acoustic guitar--it neither overwhelms the orchestra, nor is it drowned out by it. Nor is there ever the sense that it has merely been superimposed upon the orchestra--rather, it functions as a *part* of it. I should also give credit to whoever played the guitar; he creates a wonderful sound with it. I also hear, in "Wagon Wheel", a folkish tune that sounds almost Irish. We often forget, I think, the role immigrants played in the American West, so I find this inclusion quite appropriate.

Even in its dramatic sections, Michael's score never becomes overblown. Perhaps because other parts of his score are so understated (think of the haunting, minimalist piano meanderings at the beginning of "Card Game", or the ever so slight whispers of percussion from "Ride to Town"), it does not require some discordant, crashing thing to draw the ear's attention where "action music" is required. This is one of the subtleties at which Michael always accelled--the control of the orchestra's dynamics. This is what keeps the excellent "Gunfight" track from coming off schmaltzy, as it possibly could have in other hands.

Perhaps the one thing that I could have done without on this CD, despite what other reviewers have said, was "Holding All My Love For You". It's a nice song, don't get me wrong...but it kind of feels out of step with the rest of the score. I admit I may also be a tad biased against it because it brings back memories of some of the rather unconvincing acting in the movie (maybe the voice reminds me of that character Charley was in love with?). For me this song seems like the "obligatory single" that someone probably told Michael he had to do. He did it well enough, but the real masterwork is the rest of the score. What Michael did with every other track, in my opinion, evokes what was best about Open Range--and that was the cinematography, the gorgeous landscape, the burningly beautiful colors. What Open Range lacked in plot, it made up through a wonderful combination of music and image that still made the experience worthwhile. In a way, I actually credit Michael for being an instrumental part of overcoming the movie's deficiencies. It takes a very impressive score to do that.

And an impressive man to write that score.

It's a blessing indeed that Michael Kamen had his years with us, and was able to create this, and his many other works.

Another solid work from Michael Kamen. The ending credits track Holding All My Love for You is the lead track on the CD and features Julianna Raye on vocals. What an amazing song! I just went on Amazon and purchased her CD as well (you should too!) and it is great!

Turns out that she is Michael's cousin and co-wrote the song with him. Blows Nora Jones away if you ask me. I think people will be talking about Julianna for some time to come. I hope Michael uses her again.

It was JAMES Newton Howard who composed the score for The Postman. (which in my opinion is one of Howards Best scores ever). I think you got cnfused with Thomas Newman or something.

Open Range was indeed a slower paced score. But that doesnt mean its bad by any means. Its not an action movie so ergo its not a overused typical action score that crashes over you. And Bad movies do not eqyual bad scores. I think Kamens use of Americana themes in this score is great. Its a great score to relax to at points. And the vocals on the last track are beautiful.

The movie itself was a balance of extremes: strong but understated acting versus strong and overstated violence.
The soundtrack is entirely enjoyable as expected from one
of our finest composers. BUT, the reason you should own this
CD is Julianna Raye's performance. It's only one song, but is
absolutely worth the price of admission. I'm guessing that
hearing her voice will lead most people to search for her solo
CDs. I did and have become a big fan. Listen to her!

The man who revolutionized the action-film score has now re-written the book on how Westerns are done. Basil, move over - Kamen has shown all the little boys how the BIG BOYS PLAY BALL!

The themes in this score a exquisite, and the Czec Phil sounds warm, and rich! It's nice to see that such a mega-talent like Kamen is STILL making great music. If you like filmscores, or orchestral music - buy this record

The Open Range film and soundtrack are a masterpiece within the western film genre. The score preserves a legacy of high caliber westerns since before WWII (Randolph Scott, Joel McCrea, John Wayne, so on); it embraces the traditional western guitar siloloquy, the epic-soaring-powerful overtures, the stoic orchestration created (in the sound studio) to invest qualities of our cherished western culture (past and present) within the drama and its world apart from our own.

Westerns are (possibly) one of our most clearcut examples to the world at large of stark honesty, realism, unexpected romance, unblemished courage (put to the test), and rain-soaked humility. In this film, the woman's virtues are ever present (encased in beautiful, pastoral song and symphony); her qualities of loyalty and fearless resolve grace much of the film; her emotion and sincerity complements the true western code of honor (captured by poetic, resonant chords). We test our own resolve in the herioc characters right into Act III, Scene 3 (the deadly showdown); the musical score infusing this exceptionally-choreographed gunfight has provided endless repeat-viewing by captivated audiences. The crescendo is stunning, the decrescendo is sombre, attesting to the quality of the score.

Having herded cattle on horseback, the lesson remains the same; protect the men, women, children, horses, cattle, dogs under your wing; it is a sacred trust. The nuances within this high-end professional musical score encase the movement of character, action, plot, denouement (in stages) with emotion, empathy, catharsis, discovery (in truth, always remain noble in one's intent; even in the killing mode), and preserving what is right and just (even unto death). Heavy themes, a clear vision; a specific thank-you to Kevin Costner for completing his task-at-hand.

An epic movie score that takes you on a soulfull ride through the "Open Range." The score's tune tells the story and puts your mind through a melodic "Open Range" of the soul, in ways that others fail. Michael Kamen's score provides just the right touch capturing all the majesty of the movie, without being overbearing or intrusive. A must have for anyone's musical collection.

The music to Open Range is a haunting and touching piece of music and after seeing the movie several times it brings back the feeling of the movie in a good way.

I listen to this CD constantly the Prauge Symphony Orchrestra was stellar here.

The man who revolutionized the action-film score has now re-written the book on how Westerns are done. Basil, move over - Kamen has shown all the little boys how the BIG BOYS PLAY BALL!

The themes in this score a exquisite, and the Czec Phil sounds warm, and rich! It's nice to see that such a mega-talent like Kamen is STILL making great music. If you like filmscores, or orchestral music - buy this record