The Life Before Her Eyes (Original Motion Picture Soundtrack)
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||An Ordinary Day||James Horner||3:54||£0.79||View In iTunes|
||Diana - a Future to Be...||James Horner||4:55||£0.79||View In iTunes|
||Becoming Close Friends||James Horner||3:32||£0.79||View In iTunes|
||All the Memories from an Old Photo Album||James Horner||4:06||£0.79||View In iTunes|
||The Gift of a Necklace||James Horner||3:59||£0.79||View In iTunes|
||"Choose! Time to Decide"||James Horner||3:31||£0.79||View In iTunes|
||Diana Gets Hit By a Car||James Horner||3:45||£0.79||View In iTunes|
||Two Lives Slowly Converging||James Horner||4:35||£0.79||View In iTunes|
||Diana's Young Conscience Is Finally Formed||James Horner||3:44||£0.79||View In iTunes|
||The Memorial||James Horner||2:31||£0.79||View In iTunes|
||Two Worlds; the Past and the Future||James Horner||2:51||£0.79||View In iTunes|
||Young Diana's Future - a Future That Could Have Been…||James Horner||12:15||Album Only||View In iTunes|
|BookletDigital Booklet - The Life Before Her Eyes||James Horner||--||Album Only||View In iTunes|
James Horner's score for director Vadim Perelman's film adaptation of Laura Kasischke's novel The Life Before Her Eyes, starring Uma Thurman and Evan Rachel Wood, is low-key to the point of being minimalist much of the time. A keening voice, sustained strings, synthesizer washes, slow piano notes (played by the composer), and the occasional intrusion of a sort of musical buzz-saw sound (possibly the guitar of George Doering or created by synthesizer) characterize the long cues, which recall Brian Eno's ambient recordings and some especially quiet new age music. In addition to that buzz saw, the music gets loud momentarily during "Diana Gets Hit by a Car," presumably to accompany the moment of impact, and at the start of the final 12-minute track, "Young Diana's Future — A Future That Could Have Been...." Musically, that future doesn't sound much different from the present, except for being played at a bit higher volume. This is a calm but intense score for a film drama with similar qualities.
A minimalist ethereal masterpiece. Not for those with very small concentration spans!
A minimalist ethereal masterpiece. Not for those with very small concentration spans or who like their little melodies in little musical boxes!! I have been listening to James Horner for well over 28 years now and seen his style develop tremendously, along with the films that they accompany. This fits squarely into the minimalist and sometimes atonal work that he has composed for the exceptional "The New World" and "The House of Sand & Fog". It can be compared to the superb scores of Mark Snow (X-Files), Armand Amar (La Piste) & Asche & Spencer (Stay) in the way that choir, strings, synthesizer, piano & orchestra have been ethereally arranged. I certainly believe that if a score is to be judged it should be so on the way it stands alone rather than together with the film. This musical experience is at once transcendent, ambient, melancholy & needs no images except for the ones that you conjure up in your own imagination. "Life Before Her Eyes" creates serene "soundscapes" with interludes from piano and violins/violas; it's constructs seems more solid than previous work and are seamlessly blended with the synthesizer. Stand-outs are: "An Ordinary Day" which has a hauntingly ethereal choral beauty; "Becoming Close Friends" which is a soulful melancholy piano melody. All this culminating in the absolutely sensational 12 minute long "Young Diana's Future" which is both sometimes edgy and also gloriously transcendent. This score is completely head and shoulders above what most so-called contemporary "Zimmer-Cloned" Film Composers are churning out of late (in terms of composition and melody). It's proof positive that James Horner has evolved and even improved on his own impressive body of work.
If, like myself, you're a huge fan of movie music and this particular composer, you may want to overlook this one, as it does absolutely no justice to either. This is all we seem to be getting from Horner lately, dreary, depressing, completely uninspiring and totally forgettable. It may have worked well in the film, so really he dd the job he was hired for, but as an album of music, it fails to tick a whole number of boxes. Go back to some of the earlier classics to remind yourself just how good James Horner once was - he was right up there with the best of John Williams and Jerry Goldsmith. Today he's barely a blip on the film music radar. And I really, really wish he would return to form.
Born: 14 August 1953 in Los Angeles, CA
Years Active: '70s, '80s, '90s, '00s, '10s