December 7, 2012

  • Review: The Impossible (Velazquez)

     

     

    The Impossible ***1/2

     

    FERNANDO VELAZQUEZ

    18 tracks – 52:29

    Quartet Records SM 021

    Juan Antonioa Bayona ‘s (The Orphanage) second film, The Impossible, is about the terrible tsunami that struck Southeast Asia in 2004 and one family’s struggle through that tragedy.  The film appeared at the Toronto Film Festival and will make a limited appearance at the end of December no doubt to qualify for Oscar notice.  Fernando Velazquez (Devil) gained a great deal of attention for his score for his thriller score in The Orphanage (2007).  Here he gets a chance to score a more emotional drama.

    The first noticeable thing about the score release is that it is bookended by strong opening titles and an end credits suite.  These tracks allow one to hear some of the exposition of Velazquez’s main themes.  It starts with a gorgeous cello melody reaching ever upward with emotional intensity.  The music grows into an impassioned string idea that is perhaps some of the finest film music you may hear this year.  This primary theme is so very strong and emotion-filled that it becomes an important glue that holds the score together through some of the other touching musical moments.  Velazquez thriller/horror work is able to shine well here too.  “Is it Over?” is perhaps one of the finest fast swathes of tension building you are likely to hear.  Clusters and cutting accents in low brass are very effective against a climbing string idea.  This music allows for some contrast to the richer, more Romantic approach.  Even here, Velazquez deftly manages to find ways to create tension and unease.  “Even If It’s the Last Thing We Do” presents this cello theme but here it grows to not quite resolve which proves to be a perfect musical depiction of not knowing what will happen next.  There is always some thread of this theme present in the score which really helps provide emotional continuity to everything.  The piano versions tend to add a bit of melodramatic emotion which works well because of the orchestral support often given to this line.  Strings move between unisonal writing and harmonic support which gives the music further forward motion.  Also worth noting is the way Velazquez builds tension through an increase in tempo or clusters of sound that open up into richer harmony when an emotional response is required to underline the narrative.  On its own it provides better musical drama as well. 

    Velazquez is another important new voice to listen for as he continues to explore his particular style.  It is especially good to hear his score a more “traditional” drama with thematic development as is on display in The Impossible.  For those familiar with Alberto Iglesias’ more romantic orchestral scores, you will find more to admire here as well.