Some soundtracks work to evoke visuals memories of a film; others are
simply background and go largely unnoticed; though others you can listen to and
not recall much of it ever actually being in the film ('Music Inspired by,' my
posterior! - not literally, of course). It's interesting to listen to a film's
soundtrack in isolation, removed from the visual elements, to see what it makes
you think: of the film; the music itself; or just a feeling of confusion.
The 1990s produced not only some good Asian cinema, but also some nice
soundtracks to accompany them, whether original or specifically selected from
one's CD collection (in the days when you required shelves to do such a thing).
Here is an admittedly limited selection of soundtracks from the aforementioned
decade and continent that can fit into one or more of the above categories, all
with their own merits, though perhaps for differing reasons.
Maborosi (Maboroshi no hikari)
The thing I found most notable about Kore-eda Hirokazu's breakthrough
feature is the use of colour and light. Seemingly filmed entirely in twilight
to emphasise the sense of limbo of lead Yumiko, the film is all about mood. But
strangely, despite this emphasis, I can't say I recalled too much about the
soundtrack on first viewing.
But, recently listening to the soundtrack on repeat while staring at
spreadsheets, the soundtrack is indeed as haunting as the visual elements of
the film, and while not bringing any specific scenes to mind, it does conjure
that same emotions when listing to it. Composed by Taiwanese musician Chen Ming
Chang, this acoustic soundtrack combines proper
guitar playing with piano and more traditional instruments to create a sound as
if awakening from a meditative state, much as the film's conclusion alludes to.
The fact that the soundtrack doesn't particularly stand out on a first
viewing is its strength, merging with the visual elements perfectly, for a
singular audio-visual experience. While possibly blending into the background
of the wider whole as part of the film, the soundtrack is worthy in isolation
as a truly brilliant piece of music.
Hana-bi
The soundtrack for Kitano Takeshi's 'Hana-bi' is much more in the
foreground. Joe Hisaishi's piano and orchestral accompaniment is a key feature
of the film, notably the rostrum camerawork for Kitano's paintings used in the
film. For these montages, it feels almost as if the paintings accompany the
music, rather than vice versa. On listening, one can't help but recall Horibe's
musings as he contemplates his lot.
This is a soundtrack that works on all levels: a prominent feature
within the film; a stand-out piece of music in its own right; yet also evokes
scenes from the films as listening. 'Painters' is a particular example of this:
incidental, enjoyable and recallable all at once; as it 'Thank you...for
Everything'. The tracklisting very much works like chapter headings for the
film, forever associating the music with the film, but with the audio and
visual elements working so well together, this is no bad thing.
The strongest of Hisaishi's collaborations with Kitano, this rivals any
works he has composed for Miyazaki.
Dead or Alive (Dead or Alive: Hanzaisha)
Both the beginning and end of the first film of Miike's 'Dead or Alive'
trilogy are quite literally explosive. The in-between bits, however, are more a
sombre, moody and character-driven in Sho Aikawa's atmospheric pursuit of Riki
Takeuchi. And Koji Endo's soundtrack follows the brief, he was no doubt given,
to follow suit.
To start, thrash guitars blast over a near-endless montage of sex,
drugs, murder, guns, noodle-splatters, cocaine 'n' rock'n'roll. This gives the
misleading belief that you will be treated to a film of endless energy. The
reality is somewhat different, however, as Miike chooses a more measured route
for most of the film.
The opening scene is mindless, and the repetitive guitar likewise. The
remainder of the soundtrack is more incidental, atmospheric music, that - while
an intriguing mix of different instruments and sounds - is not as easily
recalled and standout in its own right. This is very much a film score.
Chungking Express (Chung Hing Sam Lam)
Wong Kar-wai's soundtracks are always a well-considered, hand-picked
selection of local flavours, re-imagined pop classics and obscure rhythms that
one can't exactly dance to. The soundtracks, therefore, are varied in style and
tempo, though do have a consistency in quality. 'Chungking Express' is perhaps
one of the more commercial soundtracks from his films, combining a number of
well-known tunes, though not always in original form; the film's star Faye Wong
covering a couple of well-known songs
from the hit parade.
The song perhaps dominating the film is the Mamas and Papas'
'California Dreamin''; Faye Wong's character playing it continuously on loop as
she works the counter of her food stall. Though this is a film of two halves,
and a soundtrack that is likewise. The first-half dominated by Takeshi
Kaneshiro's lovesick detective giving a slicker, more noir mood, countered by
the more lively second half of the film, with Faye Wong and Tony Leung's unspoken
romance.
There has been more than one release of the soundtrack, naturally with
pre-released songs featured, some were not originally included, though recent
re-issues have seen them restored, but perhaps led to some 'filler' tracks not
necessarily included in the film to feature on certain versions. The subsequent
'Fallen Angels' and 'Happy Together' had soundtracks in a similar vein.
Ghost in the Shell (Kokaku Kidotai)
In some films, the soundtrack can steal the show; all thoughts of the
film bring you back to its sound. 'Ghost in the Shell' is a seminal anime for a
number of reasons: its philosophy; the stunning visuals; and notably Kenji
Kawai's soundtrack is with us throughout. After the infamous 'thermoptics'
scene, with Major Kusanagi falling into invisibility at the film's start, the
film is brought into life with the spine-tingling 'Making of Cyborg', reprised
for the standout scene as Kusanagi wanders the cityscape.
Each scene is matched perfectly with the accompanying music to the
point where even the silence is perfectly chosen; wonderfully atmospheric as
the film moves. For all the film's strengths, when recalling key scenes, the
sound is something that comes to mind as much as anything, playing along in the
mind with the visuals. Sometimes it is worth watching simply for the soundtrack
alone, though I've got it on CD, so don't have to.
The films of the 1990s were much less polished in them days, though
there was a lot more artistry for it. Soundtracks are part of this. With the
increasing decline in physical media, particularly in film, and the disposable
nature of music in the new millennium, film soundtracks are something that
could get easily lost and forgotten, when a good soundtrack can make or break
the enjoyment of a film. While they have always been something quite difficult
to get your hands on and for the purists, studying the soundtrack in isolation
is an important part of film critique.
Hopefully the resurgence of vinyl will lead to
an increase in re-issues of soundtracks to be enjoyed without having to stream,
such as the re-release of the 'Chungking Express' soundtrack last year.
Otherwise, you're forking out £200+ to enjoy some random music that most others
have little-to-no interest in...Actually, you can maybe see why it's not such a
viable commercial option...
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