Category Archives: REVIEWS IN BRIEF.

Femmine Insaziabili (2 cd Quartet edition).

This is probably the fourth or fifth time I have reviewed or mentioned the score for Femmine Insaziabili by Bruno Nicolai, and recently also mentioned it in soundtrack supplement fifty-one just last week, this time however I am not examining the merits of the score itself because lets face we all know how good it is, this latest release is from the Spanish label Quartet who have been incredibly industrious over the last decade or so releasing a wide range of soundtracks from all over the globe. But after the rather disappointing sound on Roma Come Chicago, I wanted to take a close listen to this latest release from them.

I have to say the CD looks attractive enough, with colourful art-work and a picture of the original Ariete LP art work inside to use as alternative cover art for the CD. But I was just curious what extra music had been unearthed and more importantly how did it sound. The second disc which contains the film versions of the tracks I think is my favourite because there are a handful of cues included that are new to me and I thank Quartet for this, but overall I am a believer in the less is more saying when it comes to expanded soundtracks, and although its nice to have the new cues I think that I would have been able to live without this release.

Bruno Nicolai.

The sound is not bad at all for a 1969 soundtrack from Italy as we all know the sound on some of the releases during this period was questionable, there are a few little bits of distortion but nothing I think spoils the listening experience, but I am bias as this has always been a favourite of mine and one of the better scores from Nicolai, disc two does suffer from the distortion mostly, with some cues suffering from like a chatter when they reach a certain pitch or Edda hits the high notes, then there is a dullness attached to some of the cues, I know I am fussy but if its been remastered surely it should be almost like new? But I suppose it depends upon the condition of the masters themselves? Any way there is distortion, but it is still an iconic score by Nicolai and I hope that if you have not already got the soundtrack in your collection you will be investing in a copy of this.

 I personally have the original Ariete LP which I purchased from Michael Jones in 1970 at the arts theatre club aand the re-issue on easy tempo plus the easy tempo CD and now this latest edition,  which means I must be an Insatiable collector of Femmine Insaziabili. Nice presentation with lots of stills and informative notes that are easy to read by Gergely Hubai.  


I first remember discovering the music of composer Panu Aaltio when I stumbled across his score for The Home of Dark Butterflies which I think would have been around 2009. Since hearing his haunting Forgiveness composition, from that score I have been hooked and look out for anything that he does and also interviewed him for MMI. A score that is to be released by Movie Score Media is Finders of the Lost Yacht. In fact, I see that it is already available on digital platforms and is well worth checking out. The movie is an adventure film for all the family, but I think specifically aimed at kids. It involves two popular characters from Finland Pertsa and Kilu. The composer spoke to Movie Score Media about the movie.

Panu Aaltio

“It’s hard to explain just how big Pertsa and Kilu are in Finland and how much of a privilege it was to join this long tradition that has been going on since the 1950s. Since the story here is foremost about friendship, and that theme is central in the score as well. The main theme is very much about the adventure but borrows a little from rock ‘n roll and jazz to portray the inventive non-conformist attitude of the two friends, who among other things end building their own airplane and submarine out of scrap metal!” – Panu Aaltio (from the MSM web site).

The score is filled with adventurous and vigorous sounding  themes and is a driving and kind of swashbuckling affair, but it also has within it a softer more emotionally style which although does not manifest itself that often is always welcomed.

The composer treats us to a rip roaring and commanding set of themes that are filled with a vibrant and robust air. It is one of those soundtracks where the music seems to set the scene and the pace being grand and forthright with a gentle nod to maybe Korngold swashbucklers of old in places. I cant really say anything else apart from take the time to check this out  you will not be sorry.


At last the soundtrack for Gunpowder Milkshake is available on digital platforms from Milan records, composer Frank Ilfman has fashioned a highly atmospheric and driving score for this latest release from Netflix, the composer has created a soundtrack that is filled with gentle nods to the likes of Ennio Morricone and Bernard Herrmann, but he manages to put his own musical stamp upon it at the same time, producing a contemporary sound and style that is perfect for the movies storyline. The score also contains a sultry and somewhat steamy sound which one normally associates with European movies most commonly French films from the 1960’s.

This is an abundantly thematic work, the composer bringing to the fore a driving and apprehensive musical persona and lacing this with haunting nuances and romantically lush themes. He utilizes a harpsichord effect to the maximum, and incorporates Theremin into the fabric of the score which is genius. It was on hearing the guitar, whistling, choral support and harpsichord that I was reminded of the likes of the 1960’s compositions by Ennio Morricone and Bruno Nicolai. With the Theremin evoking those sci movies of the fifties, the music is dramatic, romantic and quirky, what more could you ask for.

The score is effective and affecting, and at times has to it a delicate and melancholy style which can be more powerful than the action pieces. This is a soundtrack that you will (1) love and (2) return to again and again, there is so much here to discover and re-discover when you do return to it. It’s a work that has so much within it one has to listen again and again to take in the sheer quality of the music. I am not going to analyze it or tell you that this track stands out, and one sounds better than the other, because I am just going to say go and listen to it and tell me I am wrong.  Recommended.


The music of British composer Rachel Portman has for many years now been a mainstay of cinema both British and American. Portman began her career as a composer by scoring mainly TV projects and soon progressed to writing music for the silver screen. Her style or sound is quite unique as it remains over ally and quintessentially English, but also has to it a underlying sound that can be likened to maybe the Hollywood style as in richly thematic and romantic. 

She has over the years produced so many gorgeously enriching and hauntingly beautiful works, as in The Cider House Rules, Chocolat, and more recently Godmothered for Disney. Portman was born in Haslemere in the county of Surrey, England. She was educated at Charterhouse and became interested in music from an early age, with her first attempts at composition being undertaken in her early teens. After she completed her days at school Portman went onto study music at Worcester College in Oxford. It was whilst studying here that she first became interested in writing music for films and started to experiment by scoring student movies and writing music for various theatre productions. Her career commenced with the writing of incidental music for mainly BBC drama productions, and she also scored a handful of films for Channel four in the UK, which included Jim Henson’s The Storyteller, as well as Mike Leighs Four Days in July and the acclaimed Oranges are not the only Fruit. She has also worked on an opera The Little Prince, which was later adapted and made into a musical. Her success as a composer is due to her obvious gift for melody and her ability to adapt to any genre of film and create thematic but supportive music for any scenario. It is difficult not to be enchanted and engulfed by the composers wonderfully lilting and affecting music, she adds tender musical undercurrents to any production and enhances and laces each project with a fragile and delicate musical air, that is not just film music but is music that is integral and important to any storyline.

One of her better-known scores is for The Cider House Rules (1999), which is beyond beguiling and above enchanting, the central melody straight away captures the audiences ear and also sets the scene beautifully for the movies storyline, becoming central and so supportive of the main characters, relaying a fragility, vulnerability, and also a romantic atmosphere, that once heard is never easily forgotten. The theme which is a simple one binds the score and the movies story together adding poignancy, emotion, and drama to the proceedings. The affecting central theme is stunningly expressive, and the composer utilizes it and variations of it throughout, to elevate, underline and totally support.

The movie was directed by Lasse Hamilton, and starred Michael Caine, Toby Maguire, Charlize Theron, Paul Rudd, and Kieran Culkin. The story was written by John Irvin and is a touching drama set in an orphanage in Maine, where a doctor (Caine) trains and mentors Homer Wells (Maguire) and follows him after he leaves the orphanage. Portman’s score graces and ingratiates the films storyline as it develops adding much to the proceedings.  


The same can be said for her emotive music for the movie Never Let Me Go (2010), which again is highly effective both within the movie and away from it when one listens to the score as just music. Portman conveys a mood of melancholy via solo cello performances, woodwind, and solo piano performances which are underlined and punctuated by the string section.  The film was directed by Mark Romanek from a screenplay by Alex Garland. Never Let Me Go is set in an alternative history and focuses upon three characters, Kathy, Ruth and Tommy portrayed by Carey Mulligan, Keira Knightley and Andrew Garfield, respectively, and how they become entangled in a love triangle.

Portman’s score is again essential to the film’s storyline, creating subtle and alluring moods and creating romantic, sad, and dramatically tense atmospheres. Godmothered is a more recent score from the composer.  The film, which is a Disney production, has had mixed reactions from critics but as far as I can see the cinema going public love it, and that is all that matters isn’t it? It’s a movie that has a feel good and warm persona, and don’t we need something these days that makes us smile?  Yes, we do. The score is filled with quirky and comedic passages that are all held together by oodles of sentimental melancholy.

A young and unskilled fairy godmother ventures out on her own to prove her worth by tracking down a young girl whose request for help was ignored. The score is a delight, and we hear Portman at her melodic best here. The work skips literally from one delicious piece to another, the composer creating a veritable landslide of joyous and affecting themes. It is also fully symphonic, which straight away grabs one’s attention, there is a fragility about Portman’s soundtrack that not only attracts and hypnotises but succeeds in enhancing the events on screen. Even with its reference to The Sound of Music within one of its tracks, both the film and its score complement each other as they are both enchanting and romantic, quirky, and entertaining. The story will transport us away from the here and now for nearly two hours, which again I am sure will be welcomed by many and the soundtrack is a sublime listening experience within the movie and away from it.

Private Peaceful, is a 2012 film that is said to be based partly on fact and taken from the story or novel by War Horse author Michael Morpurgo. The plot focuses upon two brothers that have both fallen in love with the same girl. But the story is far more involved than this. It explores the story and life of a young British man Thomas Peaceful, or “Tommo” as seen by him and as related by him in an account where he recalls his experiences and certain events in his life.

The early section of the story relates to his life as a boy and takes place before the outbreak of WW l, it tells the story of his obsessive love for Molly a beautiful young girl who he met on his first day at school. It also focuses upon his eldest sibling Big Joe who is brain damaged due to complications at birth and of his other Brother Charlie who is older than Thomas but younger than Joe. Thomas has for several years kept a dark and terrible secret, when he was younger, he went wood cutting with his Father, but a tree nearly falls on Thomas, his Father saves him, but his act of selflessness costs him his own life as he is crushed by the tree. Thomas has kept this too himself all these years, as he feels he is the reason that his Father died and is eaten up with grief and guilt. The three Brothers grow up together with the two younger members of the trio Charlie and Tommo protecting Big Joe at all costs. Their childhood is a happy one spent playing in the fields and having so many adventures together. One of their favourite pastimes being to annoy their Great Aunt who they nick name Grandma Wolf or The Wolfwoman.

They also cause the Colonel a lot of headaches and one day see an airplane fly over being the first in their village to do so. As they grow Charlie, Tommo and Molly all find employment either at the estate or in the village. As Charlie and Molly become closer, Tommo begins to feel increasingly left out, and soon discovers that Charlie and Molly have been seeing each other and Molly becomes pregnant. She then moves in with the Peaceful family after her own family refuse to have any more to do with her.  As the outbreak of the great war becomes more obvious Charlie and Molly are married and soon after both Charlie and Thomas are sent to the battlefields of Flanders, where although they have had their differences, Charlie is still highly protective of his younger Brother. During an assault on German lines Tommo is wounded and despite being told to leave him in no mans land Charlie stays with his sibling once again protecting him at all costs. After which Charlie is accused of being a coward by his sergeant, charges are brought, and he is court martialed and executed. The story ends with Tommo waiting to go into action at the battle of the Somme. Directed by Pat O Connor, the movie starred Jack O Connell as Charlie Peaceful and featured a strong cast of familiar British actors that included, George MacKay as Tommo, Alexandra Roach as Molly, Richard Griffiths as the Colonel, Frances de la Tour as Grandma Wolf and Maxine Peak as Hazel Peaceful. Rachel Portman provided the movie with a sensitive and pastoral sounding score which is also a lilting and subtle one.

The composer adding moving and soft nuances throughout to underline the ever developing and highly personal storyline. Portman also provides a darker more ominous style of music, for the more dramatically laced parts of the story with its subdued but at the same time effective presence. A symphonic work, the main parts of the score being performed by the string section, giving it a rustic but idyllic sound, which is enhanced further and sustained by a small brass ensemble with percussion and woods adding underlying support. Other movies that the composer has scored include Chocolat, The Duchess, Harts War, Emma, Despite the Falling Snow, Benny and Joon, Race and so many more.


Two more interesting and innovative scores from Movie Score Media, which is nothing new from this pioneering and ever industrious soundtrack specialist. The first is from the movie Honeydew which has a score by composer John Mehrmann. This is a score that is a fusion of music, musical sounds and voices that are all used in a highly original way. The composer serves up an inventive and thought-provoking work as in one finds yourself listening more intently to the cues, simply to decipher how he achieved the sound. This is a concoction of half heard vocal phrases, and short stabs of sounds, which combined with anything thematic conveys to its listener a mood that is unnerving, unsettling and at times down-right scary. It is a rather intense listening experience, a sinister and a surprising work, with the composer employing sounds rather than music to create moods and atmospheres, I won’t say it is an easy listen because it is not, modern, slightly unbalanced and maybe bordering on the Avant Garde, but easy no. Check it out, available soon on digital platform.

As will be the latest score from Andrew Lockington and Michael White, Trigger Point, which is also released by Movie Score Media is a score not filled with grand and rich themes but is one that has to it a brooding and drone like aura. Yes, there are fragments of thematic material within it, but these rarely develop, but this does not however mean that it is a score that I do not like, because the way in which it is constructed is like Honeydew interesting, it has to it a tense and alluring persona, and it is I think the fleeting hints of melody that make it so, because they are given no room to develop and are overwhelmed by the dark and ominous synthetics.  Not a symphonic work at all, but realized by electronic elements and soundscape as opposed to soundtrack, but still certainly worth a listen.