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Artwork copyright (c) 2000 Sony Music
Entertainment, Inc; review copyright (c) 2003 James Southall
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TITUS Breathtaking
work is a modern classic
Few films have made such a profoundly personal impression on me as Julie
Taymor's Titus. I walked away from the cinema in a state of shock
and confusion, unable to speak to my two friends, stunned by what I had
witnessed. It was hardly a surprise, given her reputation and past work,
that Titus would be such a visceral, visual extravaganza, but some of
Taymor's imagery went beyond anything one might have expected. Her
adaptation of Shakespeare's text was brilliant in itself, and her staging of the
film in a sort of timeless version of Rome with gladiators intermingling with
motorbikes, togas with leathers, beyond brilliant. The play - if you don't know - is frequently (somewhat snobbishly) regarded
as being one of Shakespeare's minor works, but to me it speaks volumes about
mankind's pursuit of revenge and is as relevant today as it was when it was
written over 400 years ago, perhaps even moreso. Titus Andronicus is a
Roman warrior who has captured the goth Tamora and her two sons. When a
new emperor is needed, he lends his support to Saturninus, but the latter's
gratitude turns to hatred when Titus's daughter Lavinia rejects his amorous
advances. Saturninus then sets off on a violent quest for revenge, aided
by Tamora, her loyal servant Aaron and her sons. The revenge is so bloody
and violent that Lavinia ends up with her tongue cut out; Titus with one of his
hands chopped off; and Tamora's sons are baked in a pie by Titus at the
conclusion and fed to their unknowing mother, in a scene whose dark humour is as
beautiful as it is shocking (and, with Anthony Hopkins as Titus, the obvious
Hannibal Lecter allegory is a joy). Throughout, Titus becomes increasingly
mad, unable to cope with everything that is happening, but at the same time
hatching a diabolical plot for revenge of his own. One piece of truly
unforgettable imagery is when Lavinia's tongue is cut out and her hands chopped
off, replaced by sticks. Titus's assistant Marcus Andronicus sees her in
the distance but it is only when he gets close that he realises what has
happened to her hands; and only when she opens her mouth and blood pours out
that he realises the full extent of what has happened. Titus received, astonishingly, a lukewarm critical reception, with
Anthony Hopkins's performance in particular attracting criticism. I
thought he in particular was brilliant, but so was the rest of the excellent
cast, including Alan Cumming, Jessica Lange, Harry Lennix, Colm Feore and Laura
Fraser. As mentioned earlier, the film's visual style mixes images from
the time of Christ with modern (and even futuristic) ones. This blend of
the ancient and the modern was what composer Elliot Goldenthal took as the basis
for his music. He says he drove around Rome (even modern-day Rome, let
alone the version in the movie) and was struck by hip-hop music blaring from a
car mixing with an Andean pan flute group performing on the street, mixing with
an Elvis impersonator and decided that "in Rome - as in this film - it is
possible in an instant to embrace eons." This is exactly what his score does. It opens with a choral
processional - precisely, brilliantly choreographed to match marching gladiators
on screen during the opening titles - "Victorius Titus" - one of the
most memorable pieces of film music in years. From then it goes from one
style to another quite frequently, with Goldenthal's trademark action music
appearing in "Revenge Wheel" and "Arrows of the Gods";
modern hip-hop stylings defining Tamora's sons in "Swing Rave" and
more chilled-out beats scoring one of the most shocking moments of the film,
"Pickled Heads" (with the heads in question being of Titus's
sons). A wonderful march accompanies a gathering of forces for Titus in
"Ill-Fated Plot"; and perhaps the score's true highlight is the
eight-minute "Finale", as moving and beautiful a piece of music as
Goldenthal has ever written. Is the score flawless? In the film, certainly it is; the combination of
music and image is as potent and brilliant as any I have ever seen in
even the most classic movie/composer combinations. On album, there are
just one or two nagging feelings that would leave me unable to quite elevate it
to that level - for one thing, the conflicting styles, while incorporated
brilliantly by Goldenthal (he tends to blend the modern elements in gradually
rather than just overlaying percussion or flitting about schizophrenically like
most film composers would), do mean that I can see why some listeners would find
the experience a little uneven when divorced from the movie, especially if they
hadn't seen it - and for another, there are various pieces that Goldenthal has
taken from previous music he's written. One piece, "Pressing
Judgement", was actually licensed from his score for A Time to Kill
and used in the movie and on the album; "Adagio" is simply his song
"O Foolish Heart" from the play The Green Bird without a
vocalist; and the "Finale", stunning though it is, is very much along
the same lines as a similar piece in Michael Collins. Those two criticisms aside, however, this is one of the finest scores
composed in many years, truly a masterpiece. Opinion is somewhat polarised
over it - some film music fans love it, some hate it. But nobody who has
seen the film could deny its brilliance in that context, and no fan of
Goldenthal could possibly be disappointed with the album. Speaking of the film, I do urge you to pick up the DVD, whose presentation is
an example to which all other DVD releases should aspire. There are
commentaries by Taymor, Hopkins, Lennix and (yes) Goldenthal and one of the most
illuminating "making of" pieces I've ever seen. As it follows
the making of the movie from the earliest days of pre-production right through
to the editing and scoring, you can see the whole process of making the
film. Goldenthal not only went on set, he sat in on the earliest
rehearsals and spent a lot of time at filming, surely one contributory factor to
the score's effectiveness. It's fascinating to see Hopkins apparently
falling to pieces over the course of filming, with the role clearly consuming
him, but he still found time to give a wonderful comment about the business of
acting. While considering actors' technique he says "all we do is
learn our lives and turn up - no more - it's the easiest job in the
world." But you can tell that he put so much into the role that he
isn't really being serious. Titus is an essential film - I have seen it countless times now, and
it still gives me goosebumps and affects me in a way that is difficult to
describe - and an essential score. Buy the
DVD by clicking here!
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