2002年，我们终于有幸听到 Bruce Broughton 的完整版配乐，虽然这是张限量严重的 Composer Promo 。我喜欢这张配乐不仅因为它动用了大场面的交响乐，而且Bruce Broughton 那出自内心的音乐，那些让人流连忘返的 themes。Bruce Broughton 抓住了青年福尔莫斯的聪慧热情的气质以及他的英国绅士风度，用短笛演奏的 main theme 特别用来表现福尔莫斯侦破悬案的聪明才智，稍加改变就成了一首 love theme 来表现福尔莫斯的心上人伊丽莎白。配乐同样有描绘影片中其他角色的曲目，像是福尔莫斯的顾问 Waxflatter 和恶棍 Rametep，还用了令人胆寒的合唱表现了金字塔里的祭祀活动。
I rarely review "golden oldies" nowadays unless they are re-releases, but this spellbinding piece of music has seen the inside of my CD player with such alarming regularity these days I find myself being compelled to write something about it. Young Sherlock Holmes was written at a time when Bruce Broughton was the hot new composer in Hollywood film music circles: the same year as this landmark work, he also penned the Oscar-nominated Silverado. In 1985, Broughton was a composer at the top of his game, and who looked sure to go on to be a great force in the industry.
Young Sherlock Holmes, directed by a pre-Bugsy Barry Levinson and released by Amblin Entertainment, was a light-hearted speculation on the initial meeting between the famous detective Sherlock Holmes and his amiable assistant Dr. Watson. With Nicholas Rowe in the lead role, Alan Cox as the bumbling physician-to-be, Sophie Ward as the detective's beau, and with support from Anthony Higgins, Susan Fleetwood and Freddie Jones, the film has Holmes and Watson encountering each other as teenagers in a Victorian London boarding school. Striking up an immediate friendship, Holmes and Watson soon find themselves involved in their first mystery together: a wicked plot involving several deaths, hallucination-inducing thorns shot from blowpipes, and ancient Devil-worshipping Egyptians.
Originally, around 30 minutes of Bruce Broughton's score was released on the MCA label, but only on vinyl and cassette: the digital revolution had not fully taken hold in 1985. Subsequently, Broughton's music has never become available on CD, much to the dismay of many of Broughton's admirers. This 70-minute release of the full score has been floating around the collector's market for a few years, and anyone fortunate enough to have the opportunity to acquire a copy should do so post-haste. It is, beyond doubt, one of the standout scores of Broughton entire career: a powerful, thematic, lively, totally addictive work that demands to be heard, and is in desperate need of a re-release.
The music is built around a single core theme, presented in full during the first cue, 'Main Title'. A lively flute melody opens the piece, and acts as recurring leitmotif for Holmes himself throughout the score, characterising his lust for adventure, his indomitable spirit and his inquisitive mind. The theme suddenly segues into a stunning bridge for the massed ranks of the string section, swelling rapturously in the lushest Hollywood fashion, before continuing on into further performances of the merry dance, ending with an unusually effective arrangement for Copland-style fiddles. In terms of temperament, the Holmes theme reminds me of the one he would compose a decade later for the "Fortuitous Encounter" section of that other great score, Tombstone. It has the same life, energy and vitality as the western.
It's a great testament to Broughton's talent that his main theme is so adaptable. By adding simple orchestral effects, or by affecting a change in instrumentation, Broughton is able to make his central melody convey multiple moods - such as the youthfully ebullient strings of 'Fencing Lesson', the playful multiple settings of 'Solving the Crime', and the spine-tingling heroism of 'It's Rathe!' and 'Watson's Big Moment', when the theme is re-orchestrated to act as an action fanfare. It's also worth noting the unusual orchestral effects Broughton works into the first and last tracks: the peculiar rumbling sound was created by having the entire string section tap the backs of their bows against the cases of their instruments. An offbeat, entirely original sound which was surely the sign of a composer enjoying his work while at the height of his creative prowess.
The other moments of major musical genius are the massive choral works that appear during 'Secret Ceremony' and 'Waxing Elizabeth'. Playing like a cross between Chris Young's Hellraiser, Carl Orff's Carmina Burana, and John Williams' thuggee music from Indiana Jones and the Temple of Doom, these two black masses are simply immense. With the choir portentously chanting the name of the Egyptian deity Ram-I-Tep, and with the orchestra blasting out deep and sinister musical carnage for all it's worth, these two cues are undoubted highlights for those who appreciate Gothic power and majesty. The Ram-I-Tep ostinato is also cleverly carried over into the following two cues, 'Chase/Crypt/Pastries/You're A Hallucination', as Holmes and Watson are pursued into a graveyard by the cult's shaven-headed devotees, and 'India/The Letterhead', as Holmes finally realises the identity of the Ram-I-Tep's high priest.
In addition to the main motif, two sub-themes weave their way in and out of the score at appropriate moments. A kooky "flying" theme similar to the one John Williams would later create for Hook is heard during 'Waxflatter's First Flight' and 'Another Failed Flight', depicting the ill-fated efforts of the eccentric university professor to take to the air. During these and many other sequences, you get the feeling that this is the best score John Williams never wrote, and that Amblin actually hired Broughton because he brought the same kind of nostalgic sound to the project. Similarly, the understated romantic motif for Holmes and Elizabeth as heard in 'Library Love', 'Elizabeth in the Courtyard' and 'Love Theme' accurately depicts the nature of their relationship - chaste and honourable, yet obviously loving and full of tenderness.
Broughton's action music is rapid, exciting and inventive - 'Unhealthy Meal/Running Home', which actually underscores the pre-credits pecking peacock sequence, is actually rather unsettling when heard independently, as are the Herrmannesque 'Stained Glass' and the frantic 'Waxflatter Attacked', the latter of which employs some extremely clever but highly dissonant woodwind effects. The final set-piece, 'Ehtar's Final Battle', is the most exhilarating of the lot, featuring lots of frantically undulating string lines and concluding with a startling set of discordant brass phrases which are, unusually, similar to the trench battle music from the ending of Star Wars.
You can probably tell that I love this score to bits. Considering that Broughton wrote both this score and Silverado in the same year, it is almost inconceivable that he should be reduced to writing music for TV movies and Warner Brothers cartoons just twenty years later. A man with this much talent should be scoring major movies - but for some inexplicable reason it seems to be becoming more and more common in Hollywood these days for the best guys to be getting less work. Young Sherlock Holmes was easily one of the best scores to emerge in 1985, and along with the aforementioned westerns, remains at the leading edge of Broughton's output to date.
1.The Gamecock/The Bird Is Alive (2:53)
2.Flaming Hat Rack/Main Title (3:41)
3.The Heart Of London (1:00)
4.A Deductive Mind Never Rests (:44)
5.Library Love/Waxflatter's First Flight/The Visitor (2:51)
6.Fencing Lesson (1:05)
7.I Never Want To Be Alone/Stained Glass Knightmare/Solving The Crime (8:06)
8.Waxflatter Flies Again (1:09)
9.One Last Duel/Window Parting/Curio Vision (4:08)
10.Waxflatter's Death/Holmes Returns (3:38)
11.The Hat/Holmes And Elizabeth (Love Theme) (3:15)
1.The Game Is Afoot/Tip Of The Iceberg (6:22)
2.The Ceremony (3:05)
3.Stop! She's Alive!/Pastries & Crypts (6:42)
4.Caught/Friends Of Waxflatter (4:55)
5.Warning Shot (1:31)
6.Cragwitch's Vision (1:46)
7.The Struggle (1:21)
8.A Fifth Princess/Holmes In Flight (6:15)
9.Waxing Elizabeth/Diversionary Tactics (7:04)
10.Ehtar's Escape/The Final Duel/Final Farewell (9:36)
11.The Riddle's Solved/End Credits (6:25)