Intrada Soundtrack Forum

I'm not sure about the rest of you, but I still consider Anne Dudley's work for American History X one of the most complex, beautifully-composed scores of the last 20 years. In fact, the score works so incredible within the melodramatic film--particularly the ending--that it's impossible to hear the composition on its own without having your mind conjure up some of the more emotionally-driven and pivotal scenes in the film. I thought Norton deserved the Academy Award that year, and just the same, Dudley deserved a nod for her best score to date. It gets a lot of play in my house. And for good reason. Any other opinions are welcome; what do you guys here think of this great score?


Anne Dudley, via artofnoise.com

I'll let the esteemed Douglass C. Fake speak:

Anne Dudley is one of three very visible woman composers establishing careers with U.K. films, now making ripples in America. Like Rachel Portman and Debbie Wiseman, she has moved rapidly up the ranks and already has an Academy Award to her credit, for her comedy score to THE FULL MONTY last year. Dudley trained at the Royal College of Music and worked in popular music with artists that included Tina Turner, Elton John and Annie Lennox. Also notable is her work with Trevor Horn in establishing the Art Of Noise. Her knowledge of music covers the gamut from traditional to avante garde.

She is also very well represented on compact disc, with releases for THE CRYING GAME, THE FULL MONTY, KNIGHT MOVES, GENTLEMEN DON'T EAT POETS, HOLLOW REED, WHEN SATURDAY COMES, BUSTER, KAVANAGH KC and AMERICAN HISTORY X in the marketplace.

AMERICAN HISTORY X is probably the most powerful work she has written to date. Taking credit for conducting and orchestrating the score as well, Dudley has written music described in the liner notes as "big and elegiac". Her message is delivered via large orchestra and chorus. The music was amongst the most dramatic of last year, sadly neglected by the Academy this time around.

The drama takes place within a brief two day period, centering on Edward Norton, just out of prison, and his younger brother (Edward Furlong). Told with flashbacks (in black and white) and current events (in color), the movie covers topics as intense as the American Nazi movement, white supremists, hatred and the consequences of that hate, and redemption. Though not a box-office success, viewers generally agree on the performances. They're terrific, especially Edward Norton, nominated this year for an Academy Award for his lead.

Anne Dudley uses her orchestra and choir in a somber, deeply moving and even pretty opening piece. But there is an urgency in the piece too as the power of her instrumental forces take over. The mood grows intense, the moving choir returns and is juxtaposed against the brutal crescendos in the orchestra.

The movie title actually refers to a homework assignment given to Furlong and the lean sound of solo French horn dominates the music as he begins to type his paper.

A highlight in the movie and the score is certainly "Playing To Win". A neighborhood basketball contest between white and black sets the stage for much of the movie's subtext. It's an amazing set-piece for Edward Norton. Scored initially with outbursts from the percussion and trombones, the music launches into an action setting, eventually emerging as a powerful and soaring work for orchestra. In my mind, it's as dramatic an example of developing three intense minutes of music into a powerful climax as has been done in recent years.

Some other great moments on the album: "If I Had Testified", one of the longest cues, is dark, boldly punctuated with low brass. The mood is pretty stark, interrupted by the rich choral material again striving to be heard against a powerful orchestral fabric. One of the most chilling scenes in the film involves Norton, his mother Beverly D'Angelo, and a Jewish friend played by Elliott Gould. Amidst the powerful dialog in this sequence is Dudley's rich and moving string music, emphasizing the middle and lower sonorities.

"Raiders" keeps the unrelenting pace going with the orchestra in a dark and powerful tutti throughout. Underscoring a violent assault by racists on a local supermarket, Dudley ensures the music assumes a suitably vicious role. And in one specific dramatic scene, "The Right Questions", her music moves from the overall mood of grimness to a more neutral setting for strings.

With "The Path To Redemption" a moving clarinet solo and yearning strings allow a feeling of light within this dark picture. Towards the end of this cue the major chord sonorities in the strings, accompanied by the brass, bring the score to one of it's more impassioned and heartfelt moments. It continues during "We Are Not Enemies" allowing more rich and passionate string writing in a mood hopeful but not without struggle. This path moves into "Two Brothers", a cue using exquisite piano lines within a sadly elegiac form. Together these three pieces allow the score a melodic rise over the despair and unrelenting gloom of the earlier cues.

"Storm Clouds Gathering" keeps the picture of grimness in view but favors the strings and their warmth over any brass. Though there is some tympani underneath the piece keeps stays subdued. The finale to the album, "Benedictus", is another highlight, accompanying an admittedly strong final scene. Though the percussion speak at the beginning the strings predominate. The music is rich, based partially on material from the opening. The piano makes an appearance as well, followed by the chorus. Strings, woodwinds and chorus combine to bring the music to a sad and moving close in a minor key.

My only quibble with this album, and this is small: the omission of Dudley's opening music. Scored for military-styled percussion and French horns, it was a lean and dramatic opener. The balance of the album does represent her score perfectly however. Upon examination, I think I'm elevating this into a shared position for top spot on my list of favorite scores this year, alongside SAVING PRIVATE RYAN.

Anne Dudley's score took me completely by surprise when I saw the film. The main title wasn't anything like what I expected the music for this film to be like, I expected a more rock-oriented approach. It announces that this movie isn't going to be quite what it seems (the film delivers, in my opinion).

The score is about the relationship between the two brothers during that two-day period, which grounds the film in a very human place despite some very reprehensible actions. The music keeps Edward Norton's character from turning completely into a monster, instead allowing us to view his crimes from the perspective current in the film.

Brilliant score well-utilized in an excellent film.

The record is a very good representation of the score, and if I don't listen to it that often, it is only because it is such an intense emotional experience to listen to.

I bought this one on impulse when I found it used in a clearance bin. Sometimes those buys just add clutter to my shelves ... other times they pay off. This is definitely one of the latter cases! Simply put: a powerful work.

As for the film ... Avery Brooks needs more big-screen roles!

Her music is superb. But don't let that distract you from noticing how nuanced, frightening and powerful Edward Norton is in the lead for this movie. I think he gives one the screen's truly great performances... up there with Brando (ON THE WATERFRONT), Scott (PATTON), Streep (SOPHIE'S CHOICE), O'Toole (LAWRENCE OF ARABIA), HOFFMAN (MIDNIGHT COWBOY), Tracy (CAPTAIN'S COURAGEOUS), De Niro (RAGING BULL)... you get the idea. Norton was/is in that league.
--Doug