This film was made in 1925 and underwent restoration in 2001. The film received a new score from Pierre Oser. I was initially attracted by the striking artwork but Oser’s score (for a small ensemble that includes flute, oboe, clarinet, violins, viola, cello) is quite striking. This cue “Death of A Queen” is quite sombre but the recording and the ensemble make it quite an interesting listen.
This track sounds like something you would hear on a DVD backing a menu page. It’s melodic but slow-paced with the same passage repeating 3-4 times over.
The solo strings in this title track is quite sad but at the same time makes a statement of honour. The cue resolves to a bolder sound that appears more reverential.
Bold rhythms, striking and interesting percussion: it’s textbook Beltrami in my book and it’s a great little track. Love this style when the composer’s in the groove.
Another percussive track this one, full of metallic-sounding percussion. Various rhythms play out with occasional dissonant string chords and the inclusion of an echo-y piano adds even more haste to the cue.
I love the harpsichord theme that starts the cue. But it highlights how bad I can be at identifying thematic material in music: I only recently realised that this theme is a modified statement of the Dies Irae. And after having it pointed out to me I was quite embarrassed. I particularly like the way that layer after layer of instruments are laid over each other one-by-one.
I have assumed that this Einaudi piece was not composed specifically for this film but is, in fact, a piece that is tracked into the film. Having a vague idea of what the film is about I cannot imagine where this music could fit. The music itself is a lovely piece for solo piano. Typically Ludovico Einaudi I would say.
A documentary that focuses on the medical wing of the immigration port, this particular track is quite sad sounding. It’s orchestrated for a particularly small ensemble and has a few hints of various geographical locations with the instruments used: Ireland, what sounds like somewhere like the Middle East.
A time when score artwork was going through its “Blue Period”, it’s another arresting cover. The music has a catchy brassy passage that, together with the driving rhythms, makes it worth listening. The ethnic strings towards the end of the track probably make more sense to someone who has seen the film.
The main reason I listen to any of the Saw music is for the theme. I also like the brutal percussive aspect to this track – which is lucky because this makes up most of the cue.