Creation Composed by Christopher Young
Lakeshore Records (2010)
Rating:
8/10
Soundclips below from AmazonMP3
“CREATION is quite
the subtle, even minimal, score, but teeming within the notes are
the vibrancy of life and the dark mystery of death; the force of
faith and the duty to science. ”
Tiny Variations
Review by Christopher Coleman
The Nineteenth Century scientist, Charles Darwin, is, to this day, a hero
to many and villain to others. His famous book, "The Origin of the
Species" and the theory it contains remains as hotly debated in the 21st
century as it was Dr. Darwin's 19th century. The film's screenplay was
written by John Collee and is based on "Annie's Box," a biography penned
by Charles Darwin's great grandson, Randal Keynes; itself written from
Darwin's own diaries and family letters. Director John Amiel takes
Collee's script and with strong performances from Paul Bettany (Charles
Darwin), real-life wife, Jennifer Connelly (Emma Darwin), and newcomer
Martha West (Annie Darwin), crafts a film that shows a much different
picture of Darwin than what might comprise the popular perception of the
man. Instead of the diabolical, scientist out to destroy God, Darwin is
portrayed as a brilliant man tormented by physical ailments, deep
emotional wounds, and suffers the ongoing casualties of sitting at the
crux of the great ideological battle of our time: science versus religion.
Veteran composer CHRISTOPHER YOUNG filled his 2009 with projects such as
THE INFORMERS, THE UNINVITED, and one of his best horror scores in years,
DRAG ME TO HELL, yet he transitions from 2009 to 2010 with one of his most
beautiful works to date for CREATION. Often, when the name of "Christopher
Young" comes up, his work in the horror genre quickly comes to mind and
with good reason. With seminal efforts for noteworthy horror films such
as: A NIGHTMARE ON ELM STREET 2, THE GRUDGE, the HELLRAISER franchise, it
would be easy to corner Young in this genre. Over the years; however, his
often-time, smaller or more character driven films have made their way
into my list of Christopher-Young-favorites. THE SHIPPING NEWS, THE GIFT,
THE HURRICANE and UNFINISHED LIFE all demonstrate the considerable talents
and range of the composer, but in more subtle ways. I'm quite happy to say
that CHRISTOPHER YOUNG's work for CREATION now falls into this category.
CREATION is quite the subtle, even minimal, score, but teeming within the
notes are the vibrancy of life and the dark mystery of death, the force of
faith and the duty to science. As Amiel's film does, Young's score audibly
paints the picture of a man who is ravaged by his past choices and the
possible future his book, currently formulating in his mind, may usher in;
one where Science has eliminated God. Still, Young treats Darwin as first,
a man, a husband, and a father, whose work begins to lead his mind away
from the faith that he and his wife once shared. Darwin is humanized by
Young's instrumentation and empathetic melodies. Piano, woodwinds and
strings dominate the score; playing with two main thematic ideas
established in the first two tracks: "Creation" (1) and "Princess in the
Sky" (2). Young takes these two ideas and, with tiny variations, carries
them through the entirety of the score; the brilliance of his work being
that the listener never tires of either by the soundtrack's end. In
fact, I found myself enthralled by them by the conclusion.
In "Creation" (1) we have the title theme set before us and, while it does
reflect some of the wonder and mysteries of scientific discovery, with
it's violin-lead, it immediately paints Darwin as a sympathetic, and very
human, character. Later, Young turns this idea into the driving-force
behind Darwin's work in tracks such as "Cunning Gunning" (4) and "Knowing
Everything I Now Know" (13). The bulk of the middle of this score is based
upon CHRISTOPHER YOUNG's second theme. He introduces this idea in
"Princess in the Sky" (2) as a simple waltz played on piano and
accompanied by strings. He goes on in the score to make abbreviated
quotes that feature small variations. In Unity in Form (3), we immediately
hear the theme again. This time it is played on the oboe before moving
back to piano, albeit with a slight inflection of uncertainty. In tracks
like "Pleasure Perfect" (5) and "Struggle for Survival" (9) Young
incorporates the first two or three notes of the motif with a dark sense
of wonder. Still later, in yet another variant, we hear the "princess
motif" played quickly and brightly on strings in "The Treatment at
Malvern." (8). As the score closes, we are returned to Young's main theme,
still featured on violin, but orchestrally wrapped to exude feelings of
contentment, hope or even joy; first in "Knowing Everything I Now Know"
(13) and then rapturously in "Humility and Love (14). It must be said that
this final track features one of those special symphonic crescendos (1:16)
that induces that rare breed of endangered goose-bump - all too scarce in
film music these days. The price of the soundtrack is easily worth that
moment alone.
At first glance, it might seem a strange choice to put CHRISTOPHER YOUNG
at the helm of such a movie; but Amiel's film does incorporate a number of
scenes some might consider horrific or, at least nightmarish. And at such
times, Young does get to stretch those darker-legs and he unsurprisingly
delivers in these moments. The true force of CREATION, however, is
the beautiful irony that both Amiel and Young are able to convey through
their storytelling and music. CREATION is actually a cleverly told story
of contradictions, the obvious and the not-so. While, 150 years later, the
conflict between religion and science wages on, I find great profundity in
the fact that CHRISTOPHER YOUNG has been able to craft a score so
poignant, so... harmonious.
