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| Newman |
Scent of a Woman: (Thomas Newman) A widely praised
film from 1992,
Scent of a Woman conveys a familiar storyline but
is floated by one singular acting performance. It once again puts a
young man into the position of learning from an older one, only for both
to have an equal impact upon each other. The older man in this case is a
blind military officer in contemporary times, played brilliantly and
with highly memorable charisma by Al Pacino in a career highlight
performance, and he has been assigned a reluctant assistant to accompany
him on a holiday to New York. The dangers, triumphs, and lessons of life
they experience in their small adventures are glazed over with perhaps
too much Hollywood sugar at the end, but the picture still works. Music
plays an important role in
Scent of a Woman, both in terms of
Thomas Newman's somewhat traditional, conservative score and the
employment of source material in a high profile and much beloved tango
scene involving Pacino. The primary reason this soundtrack receives so
much attention is indeed this tango piece, though that should not
diminish from the quality of Newman's contribution. The composer was in
the midst of a period in his career that was about to culminate in
substantial awards recognition for his large, orchestrally dynamic
scores. For listeners intrigued by Newman's excursions in more unique
instrumental and rhythmic territory but still preferring the heartfelt
symphonic melodies of his early years,
Scent of a Woman is a good
crossover score. It features material that is about as close to
mainstream orchestral romance as Newman has ever been, though it still
explores the more playful side of his sensibilities by incorporating the
spirit of some of his later works into upbeat scenes. It is therefore a
score that will appeal to every segment of Newman's collectors,
including those who appreciate the redemptive aspect of the composer's
music for animation in the 2000's. It's a well-rounded work that is a
pleasure to hear in its most extroverted sequences. Mainstream audiences
may get hung up on the tango piece, "Por Una Cabeza," but it is Newman's
score that deserves recognition for the emotional impact of the film,
even if the two are complicit in the unnecessary bloating of the film's
environment in the closing scenes. On the downside, Newman's score does
offer several very low key, minimally rendered meanderings for scenes of
quiet conversation or contemplation that do slow down the listening
experience on the journey to that end
Two primary themes define Newman's work for
Scent of
a Woman. The first is the orchestral representation of both
character and drama, heard on solo oboe immediately in "Main Title" and
extending on the instrument to "45 in 25" and others. This idea slowly
builds in symphonic force as the friendship between the film's two
primary characters is strengthened, eventually exploding with an
over-the-top performance at the outset of "Fleurs de Rocaille." The
progressions of this theme almost suggest Western visuals of open
expanses, merging the style of Basil Poledouris and Jerry Goldsmith and
only returning to Newman's own distinctive sound in its redemptive,
secondary phrase. For some, this theme will seem out of place in
Scent of a Woman, though when boiled down to the solo oboe, it's
easier to digest in context. A snare-led theme of individual construct
occupies "End Title," foreshadowing with clarity the direction that
Newman would take
The Horse Whisperer. Perhaps the English horn
and snare duet was meant to accentuate the military connections, but it
also stands outside the sound you would expect for this score. Tying all
of these elements together is Newman's usual tendency to insert plucked
sounds into his soundscapes, whether from the strings in the standard
orchestral passages or on more creative instruments in the playful half
of
Scent of a Woman. Indeed, it is the infectious spirit of the
theme for the young man and his school that connect this work to
Newman's later endeavors, and here the ensemble contains all of the
composer's comfortable plucked sounds familiar to that style. Starting
with marimbas and vibes, this secondary theme is, in much the same form
as
Fried Green Tomatoes, where the true personality of the score
exists. From the second half of "Main Title" to the wild fun of "Tract
House Ginch" and the toned-back "Balloons" and "Assembly," this half of
the score affords Newman the opportunity to flash some of his extremely
distinctive rhythmic flair. The incorporation of the full orchestral
ensemble into these portions will make them far more palatable for those
not impressed by scores like
American Beauty and
Erin
Brockovich. The 37-minute album could be whittled down to about
fifteen minutes of outstanding material representing some of the best
music of Newman's career. The product has always performed well because
of MCA's wise decision to include the pivotal tango piece (and a second
one for good measure) on the product. Don't hesitate to explore this
score if looking for a place to start a Tom Newman collection or expand
one in its infancy.
**** @Amazon.com: CD or
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| Bias Check: |
For Thomas Newman reviews at Filmtracks, the average editorial rating is 3.14
(in 37 reviews)
and the average viewer rating is 3.18
(in 60,837 votes). The maximum rating is 5 stars.
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The insert includes no extra information about the score or film.
