Francis Lai: The Essential Film Music Collection Composed by Francis Lai
Silva Screen Records (2011)
Rating:
7/10
Soundclips below from AmazonMP3
“The tragedy heard
within the confines of a number of pieces cannot be underestimated,
but neither can the lack of variation when the score is considered
as a whole.
”
A Collection of Broken Hearts
Review by Richard Buxton
For a composer with over one hundred composing credits to his name it is
perhaps strange that FRANCIS LAI is not talked about more often in the
film industry course, this can partly be attributed to his relative
inactivity in recent years, and while the likes of Zimmer & co dominate
the scoring stage these days, the music of FRANCIS LAI will nevertheless
be something is forever be looked upon fondly in cinematic history
After winning the hearts of the Academy and the music-listening population
of the United States in 1970 with his score for LOVE STORY and its
theme-turned-song “Where Do I Begin”, FRANCIS LAI cemented his place as
one of the greats of film scoring So it is fitting after a career spanning
over 45 years that LAI and his fans are rewarded with such a collection as
this. However, despite all of the acclaim, THE ESSENTIAL MUSIC COLLECTION
is somewhat of a divisive listening experience. A single listen-through
makes it abundantly clear that a number of the tracks are the kind that
will either be loved or hated by the listener, such is their nature. This
becomes apparent in the very first track of the collection.
“13 Jours En France” is largely typical of the entire collection, not in
the theme it presents, but in the flowing, dreamlike fashion in which LAI
has composed. The most divisive factor here is the instrumentation. The
accordion, LAI’S primary instrument, is one that is not often heard in
film scores and this is perhaps for good reason. The accordion is not an
instrument that immediately comes to mind when one thinks of a cinematic
sound. Despite this, the accordion was clearly chosen for a reason and it
is justified in terms of the overall aesthetic of the piece.
What is surely a more universally accepted cinematic instrument is of
course, the piano, and LAI makes good use of this instrument throughout
the collection. The tracks “Concerto Pour La Fin D’un Amour” and
“Emmanuelle II” exemplify LAI’S ability to evoke the strongest of
atmospheres, as emotion pours out of the piano, strings and woodwinds. In
what is surely LAI’S most recognized work, “Love Story”, the rolls of the
piano paint a canvas of musical imagery as the strains of the string
section burst into full splendor towards the climax of the piece. The
“Love Story” is undoubtedly the highlight in this collection.
Emotions of a different kind are also prevalent in the collection, and the
likes of “Les Uns Let Les Autres – Ballet Apocalypse” and “Intineraire
D’Un Enfant Gate” have a decidedly more playful personality, the former
employing a vocalist while the latter opts for a consistent string
ostinato. However, the overall quality of “Enfant Gate” is unfortunately
largely let down by a lack of force and intent in the orchestration. Never
does it feel like the overall potential of the sound is reached.
In terms of the shifts of emotional content, the collection is clearly
diversified, yet it is in LAI’S ability to evoke pangs of sorrow that the
collection truly shines. The wistful harmonies of “La Genre Humain” are
juxtaposed with the themes heard in the likes of “La Passager De La Pluie”
and “La Lecon Peculiere”. Such a difference only serves as a reminder that
the tragic pieces are by far the strongest. The gloriously heartbreaking
strings of “Les Etoiles Du Cinema” once again reiterate this.
The closing moments of the score only serve to emphasize the notion that
the collection is somewhat two-dimensional to all but the most ardent of
FRANCIS LAI fans. The music in the collection attempts to evoke a minimal
range of emotions, but excels in doing so. The tragedy heard within the
confines of a number of pieces cannot be underestimated, but neither can
the lack of variation when the score is considered as a whole.
