Understanding Film Scores and Soundtracks on their Own
The Jaws score.
On the topic of music in cinema this week, it’s time to discuss something I’ve noticed often. With music reviews being as popular (or even more popular, in circles) as film reviews, there is often the case of a crossover event: the review of film scores and soundtracks. I frequently see film scores or compilations being critiqued as is, or with little to say about the films they come from. Understandably, this is a different product than the complete film, since albums can be purchased or streamed regardless of whether or not you have watched the film in question. Does the music hold up in an album format? That’s something that is important to consider, to a degree.
However, I also think it is a little fruitless to separate a score or soundtrack completely from the films they come from. Great film scores often succeed because of how they affect scenes from a film. When you revisit the film in musical form, you are reminded of the tones of the film, the scenes in question, and your memories of having seen this work for the first time. Of course, enjoying a soundtrack or score without having seen the film is perfectly fine. At the end of the day, it’s still an album full of music (and sometimes the occasional line of dialogue from the film).
The Phantom Thread score.
For me, criticizing a score for feeling incomplete or misguided on its own is somewhat silly. Of course, if you extract any sole element from a pieced-together medium, there stands the chance that the element may be a bit wobbly on its own. These songs are meant to be parts of a fuller film, after all. Try taking out sound effects and listening to them on their own, or performances and scenes without context; have you ever tried showing a clip of one of your favourite films to someone who hasn’t seen it, and didn’t quite get your fascination? Context is imperative when you’re observing individual parts of a cinematic tapestry. Critics that proclaim a score — sold as a release of its own — to be incomplete sounding may not be giving these works a fair shake, especially if it served its respective film greatly.
For me, the primary function of selling scores and soundtracks is to be an extra valuable attached to a film one loves. I have purchased scores and soundtracks to films I adore, especially because I can now put on these songs while I work or travel, and reminisce on my favourite films in audible form; either that, or I simply enjoy the songs that I heard from these films and wish to hear them again. No one is forcing anyone to not listen to a score or soundtrack before watching a film (if ever): the score for Blade Runner sold incredibly well, for instance (even within the electronic music scene as a stand alone release, presumably with the occasional people who hadn’t seen the film). I just think there needs to be some consideration that is taken when it comes to reviewing the musical accompaniments to a feature film.
The soundtrack for The Crow sold incredibly well upon release, thanks to its feature of many then-contemporary artists.
When it comes to soundtracks that compile popular songs — or original compositions by popular musicians — I believe the same ideology still applies to an extent. Without a film, these soundtracks may act as unique compilations or playlists that may not make complete sense (if not linked thematically), and there’s a large possibility that these particular artists and songs are being sold as a release for promotional purposes; who wouldn’t want to get a mix containing all fo the best artists and singles of a particular time period or genre? That’s why soundtracks are a little bit more different to me. It’s not like the majority of these songs (or any of them) are made for the film. They are assembled together. The question is whether or not they work together, within a film or outside of it. A score is a series of orchestrated tracks made solely to be used in a film. “Free Bird” wasn’t.
I think enjoying scores and soundtracks is an absolute luxury for cinephiles and audiophiles everywhere. Reviewing them is something that must be taken with a grain of salt. They’re technically whole as themselves, but incomplete as they serve films. A critic complaining about the length of an album or the lack of variety may be missing the point. These tracks match the tone of a film, and maybe the film didn’t use music throughout the entire duration (so the similar sounding tracks didn’t affect the film negatively, but complimented its singularity). For me, these releases are the continued celebrations of the films we admire, and the music we love as well. On their own, they’re a piece of a puzzle, a preview of what is to come, or a reminder of a favourite event of yours.
Trying to pick apart these releases as they stand alone is almost unfair. It devalues work that is sold mainly for those that appreciated the marriage between the music and the film enough to purchase it. Sure, some soundtracks are sold a little more disingenuously, with compiled artists just to make some money, but critiquing all scores and soundtracks (especially the well-intentioned ones) in such a way is a disservice.
Andreas Babiolakis has a Masters degree in Film and Photography Preservation and Collections Management from Ryerson University, as well as a Bachelors degree in Cinema Studies from York University. His favourite times of year are the Criterion Collection flash sales and the annual Toronto International Film Festival.