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“...the score for
(THE HAPPENING) has its moments, but other scores such as LADY IN
THE WATER or THE VILLAGE might more suitably scratch that Shyamalan/Howard
itch you might get from time to time. ”
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Shyamalan Happens
Review by Christopher Coleman
I've long been an M. Night Shyamalan supporter...even in the face of
pretty harsh criticism. Yes, indeed, I liked LADY IN THE WATER: the film,
the score, everything. I don't think there is a more maligned director in
Hollywood right now. I've lost count of the number of failings he is
accused of having, but perhaps the chief among them is "pretentiousness."
Well, one man's pretension is another man's...creativity. Oh yes. That
word was certainly dusted off and included in many reviews and messages
boards once again when it came to Shyamalan's latest project,THE
HAPPENING. In most cases, Shyamalan's stylistic storytelling and sometimes
cryptic moralizing wins me over - despite awkward dialogue and off-kilter
acting; however, this streak ends with THE HAPPENING for me. To his
detractors, all I have left to say is "Shyamalan happens." He does and
will continue to do things his way and enough people keep watching his
films to keep him gainfully employed. If nothing else, director M. Night
Shyamalan is consistent in a few areas. First, his films rarely adhere to
Hollywood-conventions. Second, he always seek to make some sort of moral
or existential point. Third, he always brings on composer James
Newton-Howard to provide the musical score.
M. Night Shyamalan has taken both "awkward dialogue" and "off-kilter
acting" to a new level in THE HAPPENING. Yes - the point of the film is
well-taken, despite being misunderstood, by some, as a film pushing the
"green-agenda." It's not really about that at all. Yes, we, the human
race, are screwing up the planet but we have also been screwing up each
other for quite some time, and the earth ain't none to happy 'bout it. The
film is not making a statement about treating the earth better as much as
it is about treating the human race better. I can only surmise that our
leafy cohabitants have figured out that if we treat our own species so
badly, we are going to continue to treat the earth even worse. Humans have
become a threat to everything. So, the earth does what most living things
do when threatened; avoid or eliminate threat. What more clever thing than
to cause the threat eliminate itself? Quite economical. Once again
Shyamalan has come up with an "idea" that is quite interesting. Plant life
adapting, evolving, communicating, and collaborating to rid themselves of
this fleshy threat? Who wouldn't love that? When it comes to the execution
of this story, though, that is another matter all together. To put it
flat, Shyamalan truly missed it this time and has left me little to argue
on his behalf with. Other than the creepy Betty Buckley (she'll always be
Mrs. Eight is Enough to me), the casting is downright awful and the script
given to them is even worse. Yes, M. Night manages get our pulses moving
with a few disturbing moments of self-execution and murder, but if it
takes that sort of thing to save a film, then that film has got big
troubles. Other than the premise, there isn't a lot to take away from THE
HAPPENING. Now, for some film score fans, the lone silver lining of
any M. Night movie comes with the knowledge that there will likely be
another magical, mystical, beautiful effort from composer JAMES NEWTON
HOWARD. So is THE HAPPENING saved by Newton-Howard's contribution
this time out?
Sadly, not. Now, relax you JNH-faithful. By no means
is THE HAPPENING a bad score, but it isn't a stand-out effort for the
composer nor a stand-out component of the film. I would go as far as to
say that the score is actually under-utilized in making THE HAPPENING a
more visceral experience. Between all of the on-screen and off-screen
suicides, the amount of emotion or tension the audience experiences is
minimal. In terms of style, JAMES NEWTON HOWARD's work for this film is
consistent with his more recent collaborations with Shyamalan. The most
identifiable element is the title theme. Beyond that, there a handful of
brief instances of noteworthy, thematic material and very
understated score functioning as the mortar in between.
The opening track, "Main Titles" immediately gives us the central theme of
the score. In it we hear all of the key elements of the score as a whole.
Dissonant strings, the piano hook, and lead cello begin things. The
combination of these three elements provides that other-worldly feel
common to Newton-Howard's previous efforts like SIGNS and THE VILLAGE. As
the theme progresses we get part-b of the theme, which reflects the
threatening aspect of film. A 3-note motif is repeated by low brass with
more pensive strings are layered over. The addition of congas bring a more
"organic," if not "primal," edge to the piece while a final orchestral
swell brings the piece to a dramatic conclusion. James Newton-Howard
expands on the two distinct characteristics of the title theme throughout
the score, but stays within the emotional limits he's established as well.
The key moments of the film (ie. the death scenes)
are all given a full performance of the main theme, usually emphasizing
the intensity of part-b, and even augmenting it with a stronger
militaristic feel via snare drum and increased volume of the brass section
see: "Central Park" (4), "Rittenhouse Square," and "Mrs. Jones" (15). On
the comparatively lighter, melodic side, we have a handful of decent
tracks. Track 2, "Evacuating Philadelphia," while containing a good deal
of suspense at the onset, contains a beautiful melody played sumptuously
on cello by Maya Beiser - the motif is short-lived but has a curious
far-eastern flavor to it. "Jess Comforts Elliot" (10), after a rather
ominous first-half, includes a soft and sentimental segment played
primarily on piano and cello and strings. JAMES NEWTON-HOWARD saves the
best two tracks for last. Track 17, "Be With You" finally gives us an
uninhibited love theme that evolves from light string and cello elements
into the most emotional performance of part-a of the score's title
theme. The piece is not too far off from his other climactic pieces found
in LADY IN THE WATER or THE VILLAGE, but doesn't quite measure up to
either. Finally, we perhaps hear what JAMES NEWTON-HOWARD had in mind all
along for his score. With the constraints of story and scene behind him,
Howard is allowed enough time to develop his main theme much more fully.
"End Title Suite" (18) allows Maya Beiser's soulful cello room to breath
before we hear the "lightest" interpretation of part-a on piano and
violin. Following this the harp is introduced just prior to a completely
new and lively segment for strings and brass, not heard anywhere else on
the soundtrack. While the majority of this soundtrack is average, it
concludes on a very good note.
THE HAPPENING has proven to be a disappointment for even the staunchest M.
Night Shyamalan fan. JAMES NEWTON-HOWARD's score is mostly reminiscent of
his previous works with the director and, at least on that level, is
disappointing. There was certainly room to do something a bit more preten...err
creative. In itself, the score for this film has its moments but
other scores such as LADY IN THE WATER or THE VILLAGE might more suitably
scratch that Shyamalan/Howard itch you might get from time to time. For
the avid collector, I would call THE HAPPENING soundtrack an acceptable
purchase, but for those outside of that group, you might want to consider
waiting James Newton Howard's other collaborative effort this year...THE
DARK KNIGHT.
Rating: 5/10
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Track |
Track Title |
Track Time |
Rating |
| 1 |
Main Titles |
2:18 |
*** |
| 2 |
Evacuating
Philadelphia |
2:21 |
*** |
| 3 |
Vice
Principal |
1:55 |
*** |
| 4 |
Central
Park |
2:58 |
*** |
| 5 |
We
Lost
Contact |
0:59 |
*** |
| 6 |
You Can't Just Leave Us Here |
1:43 |
** |
| 7 |
Rittenhouse Square |
1:58 |
*** |
| 8 |
Five Miles Back |
1:12 |
** |
| 9 |
Princeton |
3:06 |
** |
| 10 |
Jess Comforts Elliot |
2:30 |
*** |
| 11 |
My Firearm is My Friend |
2:58 |
*** |
| 12 |
Abandoned House |
1:31 |
** |
| 13 |
Shotgun |
4:27 |
*** |
| 13 |
Your Eyin' My Lemon Drink? |
4:27 |
** |
| 13 |
Mrs. Jones |
1:44 |
*** |
| 13 |
Voices |
1:35 |
** |
| 13 |
Be With You |
3:41 |
*** |
| 13 |
End Title Suite |
5:35 |
**** |
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Total
Running Time |
50 minutes |
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