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Page Artiste James Newton Howard

Détails sur le produit

  • CD (30 juillet 2002)
  • Nombre de disques: 1
  • Label: Mis
  • ASIN : B00006AWG7
  • Moyenne des commentaires client : Soyez la première personne à écrire un commentaire sur cet article
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Liste des titres

Disque : 1

  1. Main Titles
  2. First Crop Circles
  3. Roof Intruder
  4. Brazilian Video
  5. In The Cornfield
  6. Baby Monitor
  7. Recruiting Office
  8. Throwing A Stone
  9. Boarding Up The House
  10. Into The Basement
  11. Asthma Attack
  12. The Hand Of Fate - Part I
  13. The Hand Of Fate - Part II

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Commentaires client les plus utiles sur (beta) HASH(0x8c97132c) étoiles sur 5 61 commentaires
19 internautes sur 20 ont trouvé ce commentaire utile 
HASH(0x8d8d99f0) étoiles sur 5 All the Right "Signs" For Howard 7 août 2002
Par G M. Stathis - Publié sur
Format: CD
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.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x8d8d9a44) étoiles sur 5 Another masterpiece from JNH! Awesome score! Awesome film! 3 août 2002
Par ERW - Publié sur
Format: CD
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!
6 internautes sur 6 ont trouvé ce commentaire utile 
HASH(0x8d8d9e7c) étoiles sur 5 Sadistically simple and effective 26 août 2002
Par Blake the Movie Nerd - Publié sur
Format: 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.
5 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x8c6fd264) étoiles sur 5 WOW! 3 décembre 2003
L'évaluation d'un enfant - Publié sur
Format: CD
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.
4 internautes sur 4 ont trouvé ce commentaire utile 
HASH(0x8c6fd078) étoiles sur 5 Best Soundtrack of the Year 21 mars 2003
Par Jen - Publié sur
Format: CD
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.
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