THE EYE.

marco-beltrami-the-eye-coverAs you have probably guessed with a movie such as THE EYE the musical score does contain a fair amount of atonal or crash bang and wallop as a friend of mine once described it. However Marco Beltrami’s soundtrack is not all low strings foreboding and sinister sounding crashes and bumps. The composer is in my opinion one of the most accomplished music smiths who is working in film today, not only does he has the capacity to create complex and interesting compositions but he also is highly gifted in creating the more melodic sounding piece. He has certainly pulled out all the stops with this powerhouse of a soundtrack. The score opens with a pleasant almost lilting sounding theme which is performed by guitar, strings and female voice, it is somewhat reminiscent of many of the themes that composer Ennio Morricone created during the late 1960,s and 1970,s for films such as BIRD WITH THE CRYSTAL PLUMAGE and to a degree LOVE CIRCLE, it has an eerie but pleasant sounding twist to it, as if it is inviting you into a nice warm environment, but at the same time one senses that all is not so nice and comfortable because of the undertones which sound ominous. Track 2, BRUYA is pure atonal, almost experimental sounding in places, but again the composer keeps the music interesting bringing in sounds musical and otherwise to heighten the tension which culminate in a crescendo of grating and spine chilling effects. Track 3 RAIN is for me one of the scores highlights, I say this because its opening is a beautiful piece for light and delicate piano that leads into a haunting violin passage and although brief certainly makes an impression upon the listener. The remainder of the cue is a tense and taught sounding composition, that growls and meanders its way to its conclusion. Track 4 NOT MY EYES includes elements of both the preceding tracks the composer slowing the tempo slightly and putting the emphasis more upon the string section. This is a foreboding almost virulent sounding cue, that has shades of some of Pino Donaggio’s work for Director Brian de Palma. In track number 5, TO SEE AGAIN Beltrami, takes the theme from the opening and gives it another brief outing, this time utilizing solo piano enhanced by strings. Track 6 is the type of cue that you should never listen to at night or own your own, it at times jumps out on you without warning, making you jump out of your skin. Skipping to track 8, THE ROAD TO MEXICO, this is a slightly more up beat track,

being performed by string section, piano and percussion, again reminiscent of early Morricone in places. The remainder of the score is a mixture of light and dark, but mostly the latter, a listen not for the faint hearted because the composer has a knack of just leaping out of the speakers at you when you are least expecting it, I recommend this score to any Beltrami fan, and also hopefully it will interest others that are still to sample his wares.

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