The Man In The Iron Mask: Music From The United Artists Motion Picture [SOUNDTRACK]

Nick Glennie-Smith

Product Details

• Audio CD (March 10, 1998)
• Original Release Date: March 10, 1998
• Number of Discs: 1
• Format: Soundtrack
• Label: Milan Records
• ASIN: B0000060F6
• In-Print Editions: MP3 Download
• Average Customer Review: 4.9 out of 5 stars See all reviews (32 customer reviews)
• Amazon.com Sales Rank: #136,861 in Music (See Bestsellers in Music)

Editorial Reviews

Amazon.com
The directing debut of Braveheart scribe Randall Wallace adapts the Alexandre Dumas classic for Leonardo di Caprio and--well, at least it doesn't hit an iceberg. The first full score by sometime Hans Zimmer collaborator Glennie-Smith is one of those instances of a composer outwitting his film material. Utilizing the fusion of the electronic, symphonic and choral music familiar from Zimmer's best work, Glennie-Smith manages the impressive feat of sounding classical and contemporary in the same moment. --Jerry McCulley

Customer Reviews

Most Helpful Customer Reviews

4 of 4 people found the following review helpful:

4.0 out of 5 stars Camp without kitsch--Glennie -Smith truly scores, July 4, 2000

By	arucuan (east of the sun, west of the moon) - See all my reviews

Whatever the weaknesses of Randall Wallace's film adaptation of Alexandre Dumas' classic bit of romantic fantasy The Man in the Iron Mask (and there admittedly are some), Nick Glennie-Smith's score is not one of them. Emerging from the shadow of his sometime mentor Hans Zimmer, Glennie-Smith manages an appropriately baroque score for the court of the Sun King and the historical controversy that gave rise to Dumas' novel, as well as the heroic exploits of his beloved musketeers in restoring justice. While there are the expected blasts of electric guitar and synthesizer from time to time, they do not usually interfere with the predominantly period nature of the score (one exception being the opening of King for a King [Track 5], which does get a little carried away with its rock `n' roll introduction). Nick Glennie-Smith for the most part avoids the traps of the pop trend in film scoring, which equates action with an electronic bass line and requires a Top 40 ballad however obscurant of the film's intentions, and instead creates a score which is at once appropriate to the period of the film and unabashed in its willingness to admit to the slightly campy nature of the genre. Of particular note in the score are The Masked Ball [Track 7] which marvelously plays up the action onscreen as the dance turns macabre for the guilty King Louis and Training To Be King [Track 10] which cleverly follows the preparation of the musketeers' stand-in for his roles at court and on the battlefield with a musical tug-of-war between the minuet and the march. Part of what makes The Man in the Iron Mask work as a movie is the fact that those involved were clearly having a good time being a part of this star-studded romp. From Jeremy Irons and John Malkovich right down to Glennie-Smith, the sense of fun wins through while still managing to give the material the best they've got. Ultimately, what results is a score which has the audience crying, outraged, or cheering at all the right moments, even while its tongue may be planted in its cheek.

4 of 4 people found the following review helpful:

5.0 out of 5 stars This was the BEST!, December 20, 1999

By	Lysanna (][_oire, Winding Circle) - See all my reviews

This music was the best! Although the movie wasn't the greatest, the soundtrack was excellent. Heart of a King was awesome. The flute solo was great! Everyone should listen to this soundtrack.

2 of 2 people found the following review helpful:

5.0 out of 5 stars A score made of solid iron, February 26, 2003

By	Brandon Cutro (Tyler, Texas United States) - See all my reviews (REAL NAME)

It's nice to see Nick Glennie-Smith break from co-composing scores with Hans Zimmer and compose his own scores. I wish he would do it more often because this score really shines. The music consists of 2 parts: quick tempo, upbeat action cues and more laid back, slower and softer, romantic music. "Surrounded", "King for a King", and "All For One" are the best cues with the heroic main theme played in full force. The theme slightly resembles the theme from The Rock, which makes sense because Glennie-Smith co-composed that score with Hans Zimmer and Harry Gregson-Williams. These 3 cues feature strong brasses, powerful percussion, electric guitars, synths, and a deep male voice choir, which was used a lot in The Rock. A great rousing theme, which represents the second type of music I was talking about, is found in "Heart of a King", with a nice flute solo building into a full orchestral delight. "The Moon Beckons" also contains a nicely played flute solo, playing a slightly mournful tune. "A Taste of Something" contains a lovely string theme, while "The Pig Chase" (sounds like a Springer episode title) is a fun and enjoyable woodwind and percussion delight. "The Masked Ball" is a great period piece played in a Handel like fashion. However, I was disappointed about the end of this track, which ended abruptly as in the film. In the end, this score is well balanced and an enjoyable delight. High, high recommendations for this one.