Published on Sep 19, 2001
A soundtrack is supposed to do more than merely provide
entertainment to the listener; it is occasionally supposed to act
as a guidepost for the corresponding action on-screen. This is
especially true when a movie mostly features an original score
written especially for it. Certain composers are masters of this
art; John Williams, Ennio Morricone and Jerry Goldsmith are three
names which come to mind immediately.
Stephen Warbeck tries his best with the score to
Captain Corelli’s Mandolin, essentially attempting to
capture the cross between the Mediterranean culture which this film
is set in and the American interloper who becomes both the leading
man and the romantic interest. (If it seems like I’m waffling, you
can guess I haven’t seen the film. Actually, just the fact that
Penelope Cruz is in this picture is reason enough for me to go.)
But while the selections are somewhat pleasant, the score as a
whole doesn’t quite hit the target the way that Warbeck would have
liked it to.
It may say something for
Captain Corelli’s Mandolin that the most memorable portions
feature vocals, even those which Warbeck himself penned (though the
lyrics themselves come from different authors). Now, I absolutely
hate opera – and I mean, with a passion – but I have to admit there
is something especially chilling (meant in the best way possible)
hearing the late Enrico Caruso perform “Santa Lucia”. It feels like
you’re looking into a time machine and seeing the legend perform
before your very eyes – and if you need a further comparison, if
listening to Andrea Bocelli brings a tear to your eye, imagine the
power of Caruso.
A similar performance on “La Scala Songs,” taking two selections
we’ve all probably heard at some point in our lives and giving them
a new injection of life, helps to carry that power forward.
Similarly, the selections featuring Russell Watson, “Senza Di Te”
and “Ricordo Ancor (Pelagia’s Song),” keep that spark of excitement
burning bright.
Ah, if only the entire score for
Captain Corelli’s Mandolin were to shine as brightly.
Granted, I’d be lying if I said I didn’t enjoy such selections as
“Pelagia’s Song,” “The Tango,” “The Battle” and “The Aftermath,”
though sometimes it feels like these tracks segue too close to one
another, not allowing the listener the time to shift from one
musical focus to the next. In a similar vein, while Warbeck has
created an enjoyable enough bed of music that tries to move the
plot along, it’s often hard to become as emotionally involved with
the music as one might while watching the actual film. Outstanding
soundtracks can capture this emotion standing on their own;
enjoyable but lacking soundtracks need the film to keep the energy
alive. In this case, “lacking” isn’t a terrible thing, but
Captain Corelli’s Mandolin often feels like it’s leaving the
uninitiated listener on the side of the road.
Warbeck does do a good job capturing the regional flavor in his
score, though I did find myself wishing there had been a little
more emphasis on vocals with some of the selections. As it stands,
Captain Corelli’s Mandolin is a halfway decent effort, but
sometimes it seems like Warbeck could have tuned the instrument a
little better.