The Man In The Iron Mask: Music From The United Artists Motion Picture [Soundtrack]

the man in the iron mask: music from the united artists motion picture [soundtrack]

Editorial Reviews
Amazon.com
The directing debut of Braveheart scribe Randall Wallace adapts the Alexandre Dumas classic for Leonardo di Caprio and--well, at least it doesn't hit an iceberg. The first full score by sometime Hans Zimmer collaborator Glennie-Smith is one of those instances of a composer outwitting his film material. Utilizing the fusion of the electronic, symphonic and choral music familiar from Zimmer's best work, Glennie-Smith manages the impressive feat of sounding classical and contemporary in the same moment. --Jerry McCulley

The Man In The Iron Mask: Music From The United Artists Motion Picture,Nick Glennie-Smith,Milan Records,Pop,Soundtrack,Soundtracks,Soundtracks & Film Scores

The Man In The Iron Mask: Music From The United Artists Motion Picture [Soundtrack]

Average customer rating:

Wallace dons the mask whilst Glennie-Smith tames the iron
One of the best soundtracks I've ever heard!
Great soundtrack makes movie even better, yet stands alone
amazing
A score made of solid iron

The Man In The Iron Mask: Music From The United Artists Motion Picture
Nick Glennie-Smith
Manufacturer: Milan Records
ProductGroup: Music
Binding: Audio CD

Movie Soundtracks | Soundtracks | Styles | Music

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1990s | By Decade | Soundtracks | Styles | Music
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ASIN: B0000060F6
Release Date: 1998-03-10

Tracks:

Surrounded
Heart Of A King
The Pig Chase
The Ascension
King For A King
The Moon Beckons
The Masked Ball
A Taste Of Something
Kissy Kissie
Training To Be King
The Rose
All Will Be Well
All For One
Greatest Mystery Of Life
Raoul And Christine
It Is A Trap
Angry Athos
Raoul's Letter
The Palace
Raoul's Death
The Queen Approaches

Amazon.com

The directing debut of Braveheart scribe Randall Wallace adapts the Alexandre Dumas classic for Leonardo di Caprio and--well, at least it doesn't hit an iceberg. The first full score by sometime Hans Zimmer collaborator Glennie-Smith is one of those instances of a composer outwitting his film material. Utilizing the fusion of the electronic, symphonic and choral music familiar from Zimmer's best work, Glennie-Smith manages the impressive feat of sounding classical and contemporary in the same moment. --Jerry McCulley

Customer Reviews:

Wallace dons the mask whilst Glennie-Smith tames the iron.......2006-03-26

Without Nick Glennie-Smith, we would not have been blessed such splendid work as "We Were Soldiers" or "The Rock," and although his work is not in such an ample supply as, say, John Williams or Jerry Goldsmith, I nevertheless find his music extraordinary. If given the choice, "We Were Soldiers" would likely be the one as its simplicity throughout the film with the two foremost themes not only helps set the bar for the movie (as more and more lately, the score had a tendency to guide the film, rather than the other way around), but that's saved for another time. For now, "The Man in the Iron Mask" strikes so deeply that if listeners will allow themselves to be moved simply with their ears, I find it genuinely difficult not to be taken somewhere with such musical fervor as this.

If nothing else, put yourselves in the seventeenth-century surroundings. Open your minds for the baroque templates used here not only to exemplify the time period Glennie-Smith was given to create in, but also to aid the structure that it was then. Granted, he grows a shy too dramatic through the pivotal scenes in the movie, but always in the end he struck my nerve with the "magnificent valor," indeed, that was displayed during those essential climatic instances.
The central theme, which was, of course, most frequently adhered in track thirteen, "All For One," where at that point in time in the film, the four musketeers and Philippe, D'Artagnan's other son (twin brother of [King] Louis XIV) charge forth into the heavily-armed group of musketeers, into what they all thought was their inescapable kismet. "But if we must die - if `we must die,' let it be like this," as D'Artagnan said just before the charge. While incorporating Vivaldi's work in-and-out during the movie, I have to say it was this theme, together with the more melodious counterpart between D'Artagnan and Queen Mother Anne, that never went unnoticed because without it, and I hate to state this but it's the truth, the scene where the four musketeers - and a son - went running to their prospective deaths would not have meant as much without the right prehensile tone. I respect Glennie-Smith's decision to make it so thespian because in that type situation, little less could have been expected.

When it comes down to it, you really have to ask yourself what you thought of the movie and for me; I enjoyed the film for its focal moments. Sure, the screenplay was a little off-centre with the dialogue, and as I have read through the literary edition, I'd say Randall Wallace could have kept more to the story at hand, but the motion picture, as a whole, was delightful enough. The acting was superb, predominantly on John Malkovich's, Jeremy Irons' and Gérard Depardieu's behest, and I can watch this film a number of times without feeling like I wasted anything. Even Leonardo DiCaprio, whose fame sent many of the teenaged girl throbs to see this film, did exceptional in his role as twins and I couldn't have asked for much more on his behalf.
To continue, let me just say that if you enjoyed the film, you'll likely agree that Nick Glennie-Smith's judgment to make the score as such was a fine idea, and furthermore I pray you took pleasure in listening to the man's work; for those few who did not like the movie, chances are you'll like the score even less. You'll call it tawdry, senseless and in all probability, "Hollywoodized," and in that sense you'll be wrong. Perhaps the picture itself could have been better, but for all the film's worth, Glennie-Smith, I think, did his best at creating the world Randall Wallace fashioned and stuck to the guidelines on not blemishing the job and making it another Michael Kamen tragedy in "The Three Musketeers," starring Kiefer Sutherland and Charlie Sheen. Though I cherish Kamen's work, may he rest peacefully, I really did not like "The Three Musketeers" at all, but that comes to little surprise as the film itself was a complete disgrace to Alexandre Dumas' work.

Anyway, yes. My opinion is the score was well composed and conducted, and while I haven't seen much of Nick Glennie-Smith lately, I look forward to hearing more of his evermore honing skill in the art.

(Plus, for those keen to chronology, like myself, you might be dismayed to know this soundtrack does not follow track-by-track as the film went by, and instead goes with, well, some order I haven't yet figured out. All the music is here, mind you, only not in the order seen onscreen. Don't expect any sequential arrangement.)

One of the best soundtracks I've ever heard!.......2005-04-21

Although The Man in The Iron Mask wasn't the best movie ever made, the soundtrack is one of the best I've ever heard. Nick Gelnnie-Smith does a wonderful job capturing the mood of this movie. The music is not only beautiful, but wonderfully orchestrated, brilliantly composed, and beautifully played. The soundtrack, without a doubt, far exceeds the movie.

Great soundtrack makes movie even better, yet stands alone.......2005-03-15

Mr. Glennie-Smith's incredible soundtrack takes this mediocre movie to the next level. The spirit (and action) of the film is captured so well in this score. The themes are played out and used eloquently; repeated but not overwhelmingly forced upon the listener. There is a lot going on, but these songs are easy on the ears and mind - a wonderful listen while not impeding on other aspects in your life.

Overall - a must-have soundtrack!

amazing.......2004-10-13

Awesome soundtrack.. belongs up there with the best of Hans Zimmer and John Williams and Howard Shore!! All, and I mean all the tracks on the CD are good, I didn't have to put any on skip.

A score made of solid iron.......2003-02-26

It's nice to see Nick Glennie-Smith break from co-composing scores with Hans Zimmer and compose his own scores. I wish he would do it more often because this score really shines. The music consists of 2 parts: quick tempo, upbeat action cues and more laid back, slower and softer, romantic music. "Surrounded", "King for a King", and "All For One" are the best cues with the heroic main theme played in full force. The theme slightly resembles the theme from The Rock, which makes sense because Glennie-Smith co-composed that score with Hans Zimmer and Harry Gregson-Williams. These 3 cues feature strong brasses, powerful percussion, electric guitars, synths, and a deep male voice choir, which was used a lot in The Rock. A great rousing theme, which represents the second type of music I was talking about, is found in "Heart of a King", with a nice flute solo building into a full orchestral delight. "The Moon Beckons" also contains a nicely played flute solo, playing a slightly mournful tune. "A Taste of Something" contains a lovely string theme, while "The Pig Chase" (sounds like a Springer episode title) is a fun and enjoyable woodwind and percussion delight. "The Masked Ball" is a great period piece played in a Handel like fashion. However, I was disappointed about the end of this track, which ended abruptly as in the film. In the end, this score is well balanced and an enjoyable delight. High, high recommendations for this one.

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