还记得以前我曾经介绍过Spike Lee的《Miracle at St. Anna》吗？电影仍然遥远，据说要到2009年才能上映，咱们的消息还要跟它两年。
现在一号男主角的人选已经敲定了，据说在最初是要邀请动作派影星Wesley Snipes的，可他却由于个人原因无法离开美国前往影片拍摄地意大利。最终确定的主角是颇受瞩目的年轻一代演员Derek Luke。不过这个结果是我希望看到的，我个人认为对于一部表现二战中黑人部队英勇史实的电影，主角选用动作派出身的老演员Wesley Snipes多少会让人很难冲破他以往电影中的角色。如果选择年轻的Derek Luke，会让人拥有更多的新鲜感，他在《Catch a Fire》中的表演也很对《Miracle at St. Anna》的味道，就好像Denzel曾经拿到奥斯卡最佳男配角的《Glory》一样。
除Derek Luke外，《Barbershop》系列中的Michael Ealy也会加盟，他的外形特别像二战时期的黑人形象。还有经常演军人形象的Laz Alonso。特型演员（胖）Omar Benson Miller。另外有两名白人演员John Turturro和James Gandolfini，估计是反派了。
Very thanks to scorenotes about the next soundtrack explaining!
About the Soundtrack: Again reuniting with Spike Lee, composer Terence Blanchard continues his ongoing collaboration with the director for "Miracle at St. Anna," a film set in World War 2 depicting the hardships of four african-american soldiers trapped behind enemy lines. The soundtrack is comprised of 24 tracks (75 minutes!), all of which is bona fide score material, and is arranged primarily as various theme sets. Regarding its length -- there is a great wealth of music on this release, including some tracks that are over 10 minutes long, thus the running time is above average.
What You Need to Know: Pre-conceptions can, at times, lead to disappointment. That is the case here as it relates to my expectations from this score. Given that the storyline of the film brimmed with promise, I was hoping the score would be a soaring, dramatic body of work that would move me. What I ended up with was a score that didn't really hit it's stride until the final act, which by then, was too late.
The soundtrack begins deliberately, with a slow moving pace that is geared toward a build up of some sort that finally arrives in track 5. That some of these initial tracks were dubbed as "themes" was a little confusing since I couldn't really detect a significant enough a motif that can categorize them as so. And speaking of which -- many of the tracks laid out on this score are indeed represented as "themes" in their titles, such as the "War is Hell" theme that appears three times in all on the soundtrack. While I love the promise of a score that categorizes segments of is music as related themes, I think it is even more important to deliver on these titles with material that is significant enough to be categorized as such.
Focusing on the most effective of the themes, the aforementioned "War is Hell" is the best of the lot. It's in these tracks that Blanchard hits dramatic crescendos that I felt was necessary for a film such as this. The three cues from the 'War is Hell' segment are broken apart at different points on the album but are connected thematically in their structure and vary in tone when needed. Paced intermittently by military style drum rolls and percussion, I really enjoyed these pockets of music, including the cue that spans over 10 minutes in length (which very well felt like a suite).
The Main Theme that begins so weakly at the outset of the soundtrack later resurfaces near the album's conclusion to a far better fate. As I mentioned earlier, Blanchard hits his stride late in the game on this one and a lot of that has to do with how well the Main Theme is presented in it's final rendition. Likewise, the end credits, where the music offered a bit of a better, dramatic flow to it.
I suppose my key issue with "Miracle at St. Anna" is that the score never quite seemed to present itself in a unified manner . There is a sour palette that is often heard through the notes and felt as if the instruments never quite seemed to synchronize. Granted, I am certain it was Blanchard's intention to force the music to be at odds with itself, specifically when dealing with the Nazis, but I was hoping for a bit more poignancy from the work. At no time was I taken aback with emotion nor did I ever feel a strong connection with the style of music.
Final Score: A bit of a misfire, "Miracle at St. Anna" isn't all too bad but it simply doesn't offer enough consistency or emotion throughout. Granted, the soundtrack produces a nice send off with it's final 5 tracks, but there are too many lukewarm moments to get through to truly enjoy the payoff. I'd take a pass on this one.
出生于1962年3月13日，曾经在纽约居住了16年,现为新奥尔良居民的Terence Blanchard，不但是今天最受赞誉的小号手之一, 而且跻身于这个时代最多产的作曲家行列。五岁时开始学习钢琴,小学三年级的一个学校集会看到小号手Alvin Alcorn的爵士乐表演之后，便投身学习爵士小号。 Blanchard的音乐偶像包括 Miles Davis, Clifford Brown, John Coltrane, Thelonious Monk和Duke Ellington。
在成为一个专业的小号手前,Blanchard 是传奇爵士鼓手Art Blakey的“爵士信使”（Art Blakey’s Jazz Messengers）的成员。离开Art Blakey的乐团之后,他和另外一名爵士信使乐团资深成员、萨克斯演奏家Donald Harrison组成自己得乐团 ,并在八十年代中期共同带领乐团发行了五张唱片。从九十年代起，Blanchard开始单独领团演奏，并亲自操刀音乐的录制工作。除了电影配乐方面的成绩，乐团同时发行了六张唱片。最近的一张唱片“心语倾诉”（The Heart Speaks）(哥伦比亚唱片公司/索尼发行)获得了1996年的格莱美音乐奖提名。
二十世纪九十年代给Blanchard开辟了另一条事业道路。从1990年获得格莱美音乐奖提名的电影原声专辑“更多更好的布鲁斯”（Mo’Better Blues）(哥伦比亚唱片公司/索尼发行)开始，Blanchard逐渐成为著名黑人导演Spike Lee的御用电影配曲作曲家,其音乐还出现在电影“丛林热”（Jungle Fever）(环球影业) ,“马尔科姆X”(Maclcolm X) (华纳兄弟影业)，“乘车”（Get on the bus）(环球影业),“格鲁克林”（Grooklyn）(环球影业)和获奥斯卡提名的“四个小姑娘”（Four Little Girls）(HBO 电影公司), Blanchard因此获得艾美奖的提名。Blanchard也为电影“蜜糖山”（Sugar Hill）(二十世纪福克斯公司)、“恩赐之地”（The Promised Land）(HBO电影公司)，Gia(BBC/Discovery),以及“伊甸园之外”（Free of Eden）(演出时刻电影公司)和“夏娃的复仇”（Eve's Bayou）(MCA/环球影业) 的作曲配乐而倍受好评。深具天赋而一丝不苟的Terence Blanchard无疑是当代的顶尖艺术家之一。(十分感谢VC-JICKBIN对本片原声作者的介绍!)
Thank you so much - RICKY8!
1. Opening Credits 1:11
2. Main Theme 4:04
3. Tim Boyle Theme 4:12
4. The Primavera 0:57
5. War Is Hell 11:58
6. Theme Of An Angel Part 1 3:00
7. White Commander 0:55
8. Renata You're Beautiful Theme 1:47
9. Third Reich 5:13
10. Great Butterfly Part 1 1:45
11. Paisans Theme Part 1 2:31
12. Stamps & Bishop Argue 1:36
13. Main Theme At Herbs 3:50
14. Theme Of An Angel Part 2 1:17
15. Paisans Theme Part 2 1:46
16. Main Theme - The Prayer 1:11
17. Renata You're Beautiful Theme / Bishop And Renata 1:23
18. Paisans / The Massacre 1:21
19. Great Butterfly Part 2 5:31
20. War Is Hell / Final Battle 7:14
21. Theme Of An Angel Part 3 2:17
22. War Is Hell / Mourn The Dead 2:36
23. Finale Theme 3:45
24. End Credits 4:36