THE LAST OF THE MOHICANS

TREVOR JONES and RANDY EDELMAN

Rating:

Original Review: At first glance, a re-recording of The Last of the Mohicans might be seen as being a little unnecessary. Written by Trevor Jones and Randy Edelman (independently, with Edelman being drafted in to write a series of additional cues after Jones' score had been recorded), the score is one of the most popular in both men's filmographies. The film only dates back to 1992; the sound and performances on the original Morgan Creek album is more than adequate, and it runs longer than this album. So why re-record it at all? Truthfully, I don't know, but somehow this version is the stronger of the two, and provides a far superior listening experience. For some reason, the phrase "separating the wheat from the chaff" springs to mind.

The film, of course, is based on Nathaniel Hawthorne's classic American novel, set during the British-French colonial war, and tells the tale of the Mohawk trapper and guide Hawkeye (Daniel Day-Lewis) who becomes involved in a tale that pits passion and romance against treachery and murder, and finds himself caught in the middle of two wars: the political war fought on the battlefield, and the private war between himself and his father Chingachgook (Russell Means), and the nefarious Huron guide Magua (Wes Studi). With Madeleine Stowe and Jodhi May providing the love interest, Michael Mann's direction keeping a tight rein on the proceedings, and Dante Spinotti capturing the beauty of the colonial landscape through his cinematography, The Last of the Mohicans rightly became one of the box office successes of 1992, and made a romantic leading man of its star.

The centrepiece of Mohicans is, quite rightly, is the stunning main theme, popularly known as 'Top of the World'. Introduced in the 'Main Title' and with a broad presence thereafter, it's trademark Trevor Jones through and through, and has formed the basis for many similar "epic themes" since then, not least Jones's own score for Cliffhanger the following year. It speaks of broad vistas, of natural beauty, and of personal courage and heroism. In the past, I have always felt that, in terms of orchestration, the theme was never as rounded as it could have been. Everything plays in unison, and there is very little in the way of countermelody except for the deep, throaty pedal provided by the horns. However, this re-recording somehow fleshes the theme out and makes it seem greater and more passionate than the original. Imagination and perception may play a large part in this notion, but subtle nuances in performance are also often a factor, and McNeely's conducting seems to draw out the best in the RSNO. The action cues - 'Ambush', 'Fort Battle' and the immense 'Massacre' - are large scale, loud and violent, pitting a dense bed of percussion against a variation on the main theme which gradually builds to act as a recurring motif for Hawkeye's acts of valour in combat.

In the end, Edelman suffers much more than Jones does by the re-structuring and reduction of the album. Of his efforts, only his most famous and memorable contribution, the guitar-driven 'The Courier', remains completely intact; bits and pieces are taken from cues such as 'Cora' to form 'Bridge at Lacrosse' and 'Garden Scene', while most of the rest are dumped entirely. The lively, reel-like "The Gael" by Dougie Maclean remains intact, driving along and providing superb counterpoint in cues such as 'The Kiss' and 'Promontory', while Sling Blade composer Daniel Lanois's ethereal melody "Orchestral Mohican" makes its one and only appearance during 'The Glade'.

As a package, Varése's re-release is actually superior to the original, despite containing less music overall. Chief among the bonuses are Paul Tonks' insightful, near-poetic liner notes, and the fact that the album is sequenced in chronological order, concluding with a breathtaking performance of 'Top of the World'. One of my greatest criticisms of the original album was the that this awe-inspiring track played at number nine of sixteen, leaving the album to fizzle out with Clannad's insipid "I Will Find You", thankfully omitted from this CD. It's difficult to know whether to recommend this CD or not. Those who have neither should pick up this one, for the reasons specified above. For those already owning the original, I would say it's purely a matter of personal taste, or a need for completism, as to whether it is worth paying for it. Personally, I'm pleased I own both.

Track Listing: Running Time: 45 minutes 26 seconds

Varése Sarabande VSD-6161 (1992/2000)

Music composed by Trevor Jones and Randy Edelman. Conducted by Joel McNeely. Performed by The Royal Scottish National Orchestra. Orchestrations by Guy Dagul, Brad Dechter, Jack Smalley, Bobby Muzingo and Greig McRitchie. "The Gael" composed by Dougie Maclean. "Orchestral Mohican" composed by Daniel Lanois. Recorded and mixed by Jonathan Allen. Album produced by Robert Townson.

Cinemusic Online: Review by Michael Lyons (*****)
Filmtracks: Review by Christian Clemmenson (****)
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