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Artwork copyright (c) 1992 Universal City
Studios, Inc.; review copyright (c)
2003 James Southall
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SNEAKERS Outstanding,
daringly original drama score A review by JAMES SOUTHALL James Horner is such a conundrum: on the one
hand, he is the major film composer most guilty of stealing music from others
and recycling his own; on the other, when he wants to be, his is as strong and
original voice as film music has known. Sneakers is one of his
all-time-best, a wonderful piece of music that contains one surprise after
another, wonderful invention, killer melody; what more could you want from a
film score album!? The film was excellent, a kind of heist movie
with an all-star cast (headlined by Robert Redford and Sidney Poitier), it's
very rare to hear a bad word said about it. The opening cue for the main
title is a masterpiece, sadly diluted by Horner having put similar things (well,
almost identical things) in subsequent movies, but if you take it for what it is
and remember it was the first of its type then it is impossible to fault.
Piano, female voices and saxophone combine to give a mesmerising, powerful
piece. "Too Many Secrets" contains another of Horner's wonderful
inventions, the crashing pianos that appeared in his action music throughout the
1990s (most notably in Apollo 13) - again, this is probably where they
were born, and again the effect is outstanding. "The Sneakers
Theme" is more wonderful stuff, a piece of light jazz but wonderfully
original. Indeed, so much of this music is so original and unlike anything
that had gone before that it is difficult to describe; the effect (though
certainly not the style) is similar to Thomas Newman's quirky scores. "Cosmo... Old Friend" is a subtle,
mysterious piece with a few chords that sound like they would be more at home in
a biblical epic; it just envelops the listener, creates as much tension as one
can handle. "The Hand-Off" is another action piece, with more of
those crashing pianos and some percussion which evokes the ticking of a
clock. "Planning the Sneak" is pretty much a reprise of
"The Sneakers Theme", the kind of cue that makes you tell instantly
that you're watching a heist movie. "Playtronics Break-In" is
sensational. Horner has always tried to write very long pieces of music
for his films which paint on a broad canvas, taking a step back from the action
rather than directly commentating on it, and this piece (which clocks in at
10:39) is no exception. Encompassing the pianos, the female vocals and
some really first-rate action and suspense music, it's certainly a highlight and
shows just how well Horner can structure a piece of music. "The
Escape / Whistler's Rescue" offers something different, with an uplifting
new theme for strings and tambourine opening the cue in an almost celebratory
fashion. "Goodbye" is a wistful piece full of longing, a
nostalgic and restrained and moving cue. Things end with "...and the
Blind Shall See", an outstanding finale piece, begins with another
presentation of the main theme before a reprise of the colourful music heard in
"The Escape". This is one of Horner's most outstanding
scores and he's arguably not written anything since to match it. Most
impressive is how well-structured all the pieces are; everything has movement
from one place to another, a proper beginning, middle and end that is rare in
film music. It also has some great themes (in fact, there are four or five
different scores' worth of themes in this one), truly original ideas and a whole
heap of personality. Not to be missed. Buy
this CD from amazon.com by clicking here! Tracks
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