Customer Reviews

Signs

5 star:		(38)
4 star:		(11)
3 star:		(2)
2 star:		(0)
1 star:		(1)

 

 

Upon first impression one may not be very impressed with James Newton Howard's score for M. Night Shymalan's "Signs," indeed one might suggest that we have heard much of this before in John Williams' "Close Encounters of the Third Kind," Jerry Goldsmith's "Twilight Zone" or a number of works by Bernard Herrmann ("The Day the Earth Stood Still, "Garden of Evil" and "North by Northwest" come to mind). In time, however, one recognizes that there similar motifs here, but that overall Howard has again created a memorable work that is clearly his own. Howard's score begins with and focuses upon a repeating, almost staccato motif which is quite sinister at times and yet becomes benign it not triumphant. In fact, the growth of this musical motif proves a bit more dramatic and satisfying than what is happening on the screen. This motif is heard variously on solo piano, wood winds and even the full ensemble, but usually remains with singular instruments along with changes in tone and intensity until at last it riases to a powerful crescendo. In his music for Shymalan's "Unbreakable" Howard played with a heroic main theme that takes time to be uncovered completely. Hints and pieces of the theme appeared early in the film but its full presence was not revealed until a critical scene in the film and was then repeated at other important moments. Howard has done this in other film scores where he holds back the full expression of a theme until he feels the time is right. In "Signs" Howard uses a similar device. His main motif moves through the majority of the score with only small hints that something else will come of it. This motif increases to a frantic crescendo in "The Hand of Fate Part I," and finally, in a powerful musical resolution, Howard bring his motif to its full power, and then allows it to quietly recede once again. The final two cuts of this recording will undoubtedly be listened to over and over again until one realizes how the earlier parts of the score are neatly tied into this quite marvelous musical ending. Howard's score proves to be an integral part of a film that is somewhat disappointing. The central motif seems always to be there to accectuate the assumed threat portrayed in the film. Even when the story gives way to humor, Howard's music reminds us of what's doing here and this brings to mind a certain similarity to Dimitri Tiomkin's score for Howard Hawk's "The Thing" ("Signs" bears a number of similarities to this great film). In both cases the music plays a central role in keeping the mood and in reminding us of what is on the other side of the door. The soundtrack recording is well produced and packaged. James Newton Howard's score for "Signs" is one of the best of a year that has already produced some very memorable pieces.

I don't know how James Newton Howard does it...but it's scary how he keeps getting better and better.
This special movie is easily the best of Summer 2002 and this score is as well. This may be a Score of the Year before all is said and done as well.
Lush, lyrical, atmospheric, brooding...a touch of Herrmann/Hitchcockian moments.
The highest compliment that can be paid to a score I give to this: It's a character in that film. I can't imagine seeing that movie without this perfect music.
I can't wait for JNH's next score!

Listen. Just a soft single note. Suddenly WHAM! A shrill three note motif. One that literally sends chills down your spine. Listen to this in broad daylight. Chills. Listen at night. What was that? a door creaking open? Or was it Howard's score?
This CD will give you a slight uneasyness, like Funeral March for a Marionette (Alfred Hitchcock Presents). Buy this CD. Buy this CD.

James Newton Howard has always been one of the unsung Hollywood heroes. A man whose work is done completely behind the scenes yet stands center stage during some of filmmaking's greatest moments. His chilling compositions accompanied Haley Joel Osment's infamous "I see dead people" quote in "The Sixth Sense." You can hear Howard's notes exploding off the screen with tremendous energy in "Major League." And he never fails to wring the smiles out of us during moments in films like "Dave", where his music makes the moment seem that much more satisfying. This is a man who has scored some of the best films of all-time (all of M. Night Shyamalan's films to date, many films for director Ivan Reitman, "The Fugitive," etc.) and yet hasn't gotten proper recognition. Meaning, an Oscar. Hopefully, with his spectacularly well-timed and affecting score for the newest sci-fi masterpiece "Signs", Howard will finally get his name on the ballot. It's long overdue.

Now, the first thing a lot of people will remember when they think about the film "Signs" is the amazing use of silence M. Night Shyamalan was so specific with. Because, after all, nothing is more scary than no noises whatsoever. The film wouldn't have been nearly as atmospheric if an eighties techno horror film score would've been pulsating at every moment. James Newton Howard must've known this when he began composing his score for "Signs," which doesn't run for very long (about a half hour of music total for the entire film). His music leaps when it has to, but mostly we get a three-note undertone that is so profoundly creepy that we don't even realize how much it has gotten under our skins until we leave the theater and we're walking in a dark parking structure with those notes repeating in our heads. Suddenly, the shadows have eyes. But Howard's score isn't just about the creepiness it instills; there are also tracks like "Asthma Attack" which are simply wonderful and communicate the sense of love that radiated through the screen during the film. True music has to be able to stand on its own, apart from the medium it accompanies. This score does.

James Newton Howard has outdone himself with this music. As with his scores to Shyamalan's first two films, "The Sixth Sense" and the underrated "Unbreakable", he creates an atmosphere of his own to accompany the emotions so well evoked by Shyamalan's visual style and writing. The score to "Signs" is equally touching and chilling. It's the stuff Oscars are made of.

James Newton Howard is one of Hollywood's most faceless composers. Not a fan of big, bold, and brassy like John Williams, or of lyrical beauty like James Horner he has done little to distinguish himself. Some of his previous scores to films such as Outbreak and The Fugitive did little to help the film. That all changed when Howard met up with genious new director M. Night Shyamalan. Howards spooky and sadly melodic score to The Sixth Sense was the first of his work I purchased. His work on Unbreakable was one of the films finest assets and now let us come to Signs. The Main Title ressurects the spirit of Bernard Herrman's work on films such as Psycho and North by Northwest. It is very efective in setting both the mood for the film and the album. Almost all tracks on the album demonstrate Howards ability to create mood. The entire CD is like being in the eye of a Hurricane. Most of the time it is quiet but there is always the posibility of a gale force wind. In tracks such as Brazilian Video, Into the Basement and Asthma Attack Howard creates an incredibly creepy atmosphere then makes the listener jump out of their chair with an impeccably timed percussion hit. It all comes to a head in Track 12 The Hand of Fate Part 1. Starting off with the signature percussion hit, then moving to a short sadly melodic piano section before it builds into almost an action score. Punctuated by low brass and small sections of the main title this track is the climax of the album that comes to a satisfying conclusion in the final track The Hand of Fate Part 2.The Verdict, Howards best score of all time, an incredible listening experience all the way through that not only perfectly compliments the film but holds up very well by itself on the album. The only negative complaint I have is against Hollywood Records. Distribution seems to be low since I had to go to three different stores to find the CD. Once you do find it, it will make a valuable addition to any film score collection.

In a world clouded by John Williams, it has been difficult for other film composers to get themselves "heard." Along with Hans Zimmer, James Horner, and Howard Shore, James Newton Howard has begun to edge his name into popular cinematic circles. His new release "Signs" is actually what drew me to the theater to see the film. The enticing three-note pattern which is the foundation for the entire score was enchanting and invoked enough curiosity in me that I saw the film on opening day (even though the plot seemed bizzare). While the overture is impressive, I was a bit underwhelmed by the interior tracks on the album. While the music is great for "background" effects the typical moving chordal structure is altogether boring in comparison with every other suspense movie score out there. The album elevated itself to "impressive" status with the final two tracks (The Hand of Fate parts 1 and 2). These two tracks are stand alone music. Opening with an "in your face" recapitulation of the motive in the overture, evolving into a sweet, reflective lyrical section, and beginning to build again with an interesting staccato violin duet the finale is quite unique. The Hand of Fate part One concludes with a soaring horn line above the main theme and evolves into a pensive pseudo-choral in the Hand of Fate part Two. The CD is worth it just for the overture and the Hand of Fate Duo!

Although James Newton Howard's early soundtracks have their charms, Howard really came into his own in his collaborations with M. Night Shyamalan -- the Sixth Sense, Unbreakable, and especially Signs. The Main Titles are an arm-rest grabbing thrill, and had me in the theatre closing my eyes so I could appreciate the music better. This piece announces the genre of the music, and the film, immediately. It is a throwback to the scores of Bernard Herrman for Hitchcock, especially the Vertigo soundtrack, and announces Shyamalan's challenge to the reigning master director. The film may not stand up to the Hitchcock standards, but the score certainly does.

For the rest of the album, Howard toys with and develops the fast three note ascending arpeggio that signifies the aliens. It is by turns harsh and terrifying, as in the Main Titles, questioning, awe-inspiring, triumphant, and in the end hopeful. The development of this theme is the true genius of the album. Rather than having the hero's theme ride roughshod over the villain's at the climax of the movie, as it does in so many, many soundtracks (just take a look at any of John Williams'), this movie ends with the incorporation of the villainous theme. In one form or another, this motive is almost always present, permeating the album.

This is not an album for soaring and uplifting themes; there are practically no melodies that will remain in your memory after you finish your first listen. Instead, the album gives off a mood and an emotion. One of my favorite moments is in the track The Hand of Fate - Part I when the alien's theme is at its most fully-formed since the opening credits, only to be transformed into struggle, then unmitigated triumph as our heros finally put together all the pieces of the puzzle. The last track, The Hand of Fate - Part II, hardly ever fails to bring tears to my eyes, as it radiates hope. And don't worry, this album has enough jolts and shocks to warrant being the score to a horror film. Over all, this was absolutely the best new soundtrack I came across all year. Don't listen to this soundtrack on your walkman, or in your car; you're going to want to hear every nuance.

One of the best suspense soundtracks ever made in my opinion. Howard is a very good composer and has gotten even better with Signs. The three note motif that is played thoughout the movie is so simple yet suspenseful. Signs is one of my favorite movie. One of the reasons is because of the music. The music shows us the situation that these people are living in a much scarier way.

James Newton Howard's score for Signs has topped my collection. The sounds are simple and classic, yet very stimulating and adrenaline-pumping--akin to the famous strings in Psycho. The depth of the music is in its layers of instruments. The music complements the movie (the DVD of which I own) so well, reviving that Hitchcockian-style thriller I enjoy so much. In addition, I think the music captures so well the emotional plot within the story. I typically listen to movie music while driving. On many occasions, I drive with my two young sons to and from school. I watched Signs with them (editing out certain parts). Afterwards, we listened to the music in the car. The three sudden, loud, and scary parts (end of Brazilian Footage [Track 4], beginning of Asthma attack [Track 11] and Hand of Fate [Track 12]) made us all jump. And at every listen, at the climactic part, my younger son says "Swing away Merrill. Merrill, swing away." and then yells "WATER!" (sorry if you haven't seen the movie yet). You can't get a better response from a 3-yr-old. The music tells the story.

I'll play the contrarian: I really enjoyed the film. The higher meanings and the semi-surprise ending worked for me. It's a spiritualized Twilght Zone episode.

James Newton Howard is so attentive to the plot and underlying emotions of each scene that the music becomes indispensable. Other reviews have rightly mentioned the Bernard Herrmann minimalism. The three-note motif is a similar tactic to the five-note signature of "Close Encounters." Howard's intent with the opening theme was to create what he called "[...]a context of expectations." The music telegraphs that at SOME point, something big is going to happen to go along with it.

Normally, the music will change to mark a shift in location (city, country, planet). Since nearly all of this movie occurs within 20 acres, the repetition and thematic simplicity reinforce the claustrophobic atmosphere of the film. Still, this presents exactly the same problem as with John Williams' score for "Minority Report." Parts of the score become TOO sedate when removed from the film.

The furthest Mel Gibson's character gets from the confines of the farm is in flashback dreams of his wife. In turn, that memory keeps him cooped up under his roof, trying to hide from God. Howard uses warm strings to signify the issue of faith gently working its way back into the Hess household. Changing which instrument does the three-note trickle greatly varies its mood and effect.

The subdued nature of the score also gives the crescendos more punch ("Into The Basement," "Asthma Attack," and "The Hand of Fate - Part I") There's a thread of heartland Americana in the gentler parts of the score, particularly in "The Hand of Fate - Part II."

The music and the film are a great partnership. On its own, the soundtrack is worth getting for the energy of the first track, and of the last three.