1 |
The
Black Dahlia - The Zoot Suit Riots (2:14) |
2 |
At
Norton and Coliseum (4:07) |
3 |
The
Dahlia (3:09) |
4 |
The
Two of Us (3:37) |
5 |
Mr
Fire versus Mr Ice (3:16) |
6 |
Madeline
(3:05) |
| 7 |
Dwight
and Kay (3:12) |
8 |
Hollywoodland
(2:53) |
9 |
Red
Arrow Inn (1:36) |
10 |
Man
Who Feed On Others (4:24) |
11 |
Super
Cops (2:01) |
12 |
Death
at the Olympics (3:32) |
13 |
No
Other Way (2:07) |
14 |
Betty
Short (2:17) |
15 |
Nothing
Stays Buried Forever (6:26) |
REVIEW
It continues to baffle this reviewer why the film version
of The Black Dahlia was a critical flop, especially after
reading the captivating original novel, and listening to this
well-produced soundtrack album.
The
soundtrack score is well composed by Mark Isham, and a very
sophisticated one it is. Besides that, Isham literally blows
his own trumpet in this 48-minute album.
The
trumpet solos performed by Isham himself effectively brings
listeners onto a journey of noir and suspense, a mood probably
required by the film. The unhurried slurring of the trumpet
in “The Two Of Us” is nicely contrasted with the
mysterious lush strings accompaniment in the background.
What’s a cop thriller without some action music? Here,
you can experience the composer’s flair for writing
heart-thumping material in tracks like “At Norton and
Coliseum” and “Mr. Fire versus Mr. Ice”.
Amidst the rushed tempo, Isham never forgets to infuse some
flowing moments of trumpets and strings into these cues.
We
especially love the tender moments created in tracks like
“The Dahlia” and “Madeline”. Pianos,
trumpets (again!), English horns and strings will have listeners
imagining themselves listening to a “live” performance
over a beer in a pub during that 1940s era. The music is almost
hypnotizing, creating a mood that is too difficult to resist
and surrender your senses to.
While
Isham’s works include smaller productions like Brad
Silberling’s Moonlight Mile (2002) and David Marnet’s
Spartan (2004), we were also impressed with his touching score
for 2004’s surprise runaway success Crash.
With
his latest work on Brian De Palma’s adaptation of James
Ellroy’s crime novel, we are hoping that the composer’s
name will get more recognition. After the film has been panned
by so many, it is only fair that such a fine score will not
suffer the same fate.
SOUNDTRACK
RATING:
Review
by John Li
|
