American Beauty: Original Motion Picture Score [SOUNDTRACK]

Thomas Newman

Product Details

• Audio CD (January 11, 2000)
• Original Release Date: January 11, 2000
• Number of Discs: 1
• Format: Soundtrack
• Label: Dreamworks
• ASIN: B00003XACV
• Average Customer Review: 4.7 out of 5 stars  See all reviews (131 customer reviews)
• Amazon.com Sales Rank: #7,350 in Music (See Bestsellers in Music)

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Track Listings

1. Dead Already

2. Arose

3. Power of Denial

4. Lunch w/ The King

5. Mental Boy

6. Mr. Smarty-Man

7. Root Beer

8. American Beauty

9. Bloodless Freak

10. Choking the Bishop

11. Weirdest Home Videos

12. Structure & Discipline

13. Spartanette

14. Angela Undress

15. Marine

16. Walk Home

17. Blood Red

18. Any Other Name

19. Still Dead

Editorial Reviews

Amazon.com

We knew Thomas Newman was versatile (he's created gripping soundtracks for everything from The Shawshank Redemption to Desperately Seeking Susan), but his score for American Beauty is simply gorgeous and one of his best. Filled with inventive instrumentation--tablas, bird calls, dulcimer, banjo, ukulele, detuned mandolin, and more--the score varies between highly rhythmic, world-music influenced passages ("Dead Already," "Lunch with the King") and the more subdued ("Mr. Smarty-Man," "American Beauty"). Throughout, Newman's score is inventive and a great complement to the dark comedy's numerous mood swings. The movie's other soundtrack--a collection of memorable alt-rock tracks--gave us just a sampling of this score. Here's the rest. It's short (37 minutes) but sweet. --Jason Verlinde

Customer Reviews

Most Helpful Customer Reviews

66 of 71 people found the following review helpful:

5.0 out of 5 stars Beautifully written and performed...but with a modifier., January 19, 2000

By	D. Mok (Los Angeles, CA) - See all my reviews (TOP 500 REVIEWER)

Thomas Newman's score for American Beauty is one of the few perfect movie scores I can think of. The music was part of a movie which constantly scaled the heights of greatness both on a technical level and on an emotional level. The score fit so intrinsically into the arc of the story that it seemed almost invisible.

On the other hand, by opting for this elegant approach (and I applaud Newman and director Sam Mendes for having the good taste to go for a restrained score), it means that as pure music the score has limitations. The score album has a diversity of instrumentation (tabla, piano, woodwinds, synths, guitars) and moods (from the cynical opening theme "Dead Already" to the achingly spare "American Beauty" and "Angela Undress"), but overall there is a slight lack of diversity.

I, however, find that to be a good thing in that this makes the music evocative and subtle. Instead of trying to match every musical movement to an emotional climax in the film, the American Beauty score achieved a rare harmony with the visuals that is delightful. And the score, despite its simplicity, is a beautiful piece of work. I bring up the lack of dynamics as a clarification, not as a criticism. I would wholeheartedly recommend this score for listening...though, again because of its nature, I would suggest it as a kind of ambient music -- to be floating around your ear, instead of painstakingly sought out and isolated. What this score lacks in punch and variety, it makes up with ethereal beauty and elegant suggestiveness.

31 of 33 people found the following review helpful:

5.0 out of 5 stars Music that explains the beauty of the world..., July 24, 2000

By	"radiobjork" (Nasonville, RI United States) - See all my reviews

"American Beauty" won 5 awards at the Oscars, including Best Picture, Director and Actor. A lot of people didn't agree. The subject matter was risky and for some, all too real. Even if it wasn't such a great movie (Which it was!), it still should've gotten the Oscars it did, only for the music! Thomas Newman has scored numerous memorable films including "Little Women", "The Shawshank Redemption" and "Scent of a Woman". He composed the music for AB and was nominated this year. He sadly lost to John Corigliano's music for "The Red Violin".

Here, I will give a brief summary for each track on this CD, that you should be ordering right now!

DEAD ALREADY: This is the cynical and playful opening theme where Lester (Kevin Spacey) introduces his family and his sedated lifestyle. It is very world music-influenced and has a beauty all its own.

AROSE: This track reminds one of sleeping peacefully and dreaming of roses and beauty. It uses cymbals and chimes and is one of the most stunning on the disc.

POWER OF DENIAL: This piece communicates to you and is in itslef deeply moving. It gives one a sense of hidden longing and restlessness, exactly what was provoked onscreen.

LUNCH W/ THE KING: This song refelects the more comedic side to the film, and is in the same style as the first track. It blends in piano quite successfully, also.

MENTAL BOY: ...opens with a few dissonant and ominous phrases from a processed bass flute (?). It moves on to the piano theme that symbolizes Ricky Fitts (Wes Bentley) and his mature, masculine beauty. It is later reflected in ANGELA UNDRESS.

MR. SMARTY-MAN: One of the more subdued of the previous tracks, along with MENTAL BOY. It is actually quite funny when played with the film, but is still a treat to those who remember it, or even haven't seen it.

ROOT BEER: ...is short (1:05) but painfully gorgeous. With a lot of metal percussion, it is sweet and tranquil, yet at the same time brash and erotic. This track is virtually the same as SPARTANETTE, but has a few differences in the dynamic categorey and basic structure.

AMERICAN BEAUTY: Ahhh... The sweetness. This track is the most lovely on the CD. With a gentle piano theme and slowly working strings, it has a melancholy sadness to it, yet still maintains an optimistic flow.

BLOODLESS FREAK: "I will sell this house today! I will sell this house today!" yes, Annette Bening in a slip with the vacuum cleaner. (Okay, really, what woman has never done that. See, I think it frightens people that the film was too real and true to life. Well, that's there problem.) In the category with LUNCH W/ THE KING and DEAD ALREADY, it uses comedic undertones and an over-all fun tone.

CHOKING THE BISHOP: Ah, Mena Suvari in the bath. Ok, many find this song intrusive, but I rather admire Thomas Newman for his ability to convey eroticism without the cheesy sax and candlelight melodies.

WEIRDEST HOME VIDEOS: This is probably my favorite track (along with WALK HOME). It is a very gentle song and takes its time in developing the images of the suburban norm. One of the greatest on the disc.

STRUCTURE AND DISCIPLINE: Probably the darkest of the tracks, also relies on piano and strings, but has a different tone than AMERICAN BEAUTY. It seems very gloomy and desperate, like someone crying out for help. It is the Colonel Fitts (CHRIS COOPER) theme, the darkest element of the film's plot.

SPARTANETTE: Again, pretty much the same as ROOT BEER. Leads right into...

ANGELA UNDRESS: Basicly a repeat of MENTAL BOY without the bass flute. Quite lovely, actually.

MARINE: This is basicly the same as POWER OF DENAIL but has less background activity. I prefer the previous one myself.

WALK HOME: Sheer brilliance. It begins with WEIRDEST HOME VIDEOS but then progresses into a beautiful chime part that brings a tear to your eye. A masterpiece even on its own.

BLOOD RED: A short intro to...

ANY OTHER NAME: This is actually AMERICAN BEAUTY but extended with added emotion. Quite breathtaking.

STILL DEAD: Mostly the same as DEAD ALREADY, but quicker, more cynical and frantic. At about 1:28, Michael Fisher enter on kim-kims with a memorable drum solo set to the back of the music, yet it is dominate and loud.

Words cannot describe it, a wonderful achievement. Much better than THE RED VIOLIN! Cheers to Tommy Newman!

14 of 14 people found the following review helpful:

5.0 out of 5 stars Dancing About Architecture, January 14, 2004

By	Richard Stoehr "Idle Rich" (Bremerton, WA USA) - See all my reviews (REAL NAME)

Musician Frank Zappa is credited with saying that "Writing about music is like dancing about architecture." In other words, trying to express the feelings music can convey in words is a pointless (perhaps ridiculous) exercise. While Zappa's words are not always true -- much modern music is simplistic and trite enough that writing about it is actually quite easy -- Thomas Newman's music for the score of "American Beauty" certainly proves Zappa's point.

Newman's score for "American Beauty," simply put, is indescribably beautiful, highly original and completely unexpected. It's difficult, to say the least, to put into words what makes it so.

In some ways, the music is characteristic of Newman's excellent body of work. Some of the pieces are carried by a simple, quiet piano theme, while others make complex use of modern, ambient sound. For many films, this mixture of styles would sound disjointed and confused, but Newman makes it all work brilliantly and elegantly. This combination makes the music stand out as Newman's most original and most skilled work.

The music is filled with subtle emotion that sneaks up on the listener. Just as the film does, it encourages the listener to "look closer," to go beyond the catchy upbeat tones of the early music and open oneself up to the deeper, more complex themes. And, just as in the film, taking a closer look is an eminently rewarding experience. The more one listens to this music, the better it gets.

Frank Zappa was right in this case: these words are definitely inadequate to get the feeling of the music across. I hope that they have at least convinced you to try it for yourself. It is music that is certainly worth that closer look, and as its name suggests, it represents beauty itself.