The Mummy

Composer : Goldsmith, Jerry
Year : 1999
Label : Decca Records
Total time : 57:42

It's strange sometimes how music grows on you in the most unusual manner there is, when your first listens appeared to be a total fiasco, and you kept hating those very notes so much through all the years to the point of being animated by a whole lot of silly prejudices. The Mummy exemplifies my own chaotic experience at best, it was indeed a quite sinuous one, and I really felt hatred for it in some way. Don't ask me why exactly, I would simply be unable to give you a fair answer, I just thought, on some level, that it was more of the same, 'The 13th Warrior Returns', which, first of all, is just plain stupid as this Stephen Sommers film was released a bit before that of John McTiernan, although both dating from 1999. Second, add to this yet another minor factor, according to which I probably couldn't get past the fact that Jerry Goldsmith had a true gift for composing... Another foolish judgment of mine, guess such a skittish attitude has its own term, call it 'youth'. Anyway, it's like I was trying to convince myself I was right when I wasn't. So why this change of heart? Believe I have grown musically (or had some vision at night) and my demands have changed concordantly, somehow.

What of now? Now I think it outshines most nowadays' action-driven scores. No less, so much more. It's a dynamic, hugely epic score and the brassy themes are all wonderfully interpreted by the musicians -- I, for instance, simply get exhausted for them players whenever I stumble across Night Boarders, do they ever draw breath when performing this amazing piece? --, while including some of the most breathtaking orchestral arrangements ever heard, ditto for the string pieces, demonstrating the same standard of mastery. It's music that succeeds in getting you in a good mood. Listen to The Caravan, and try and dissuade me from thinking that you're not actually standing in the middle of the desert, literally sweating and lusting for anything that wouldn't dehydrate you even more (crikey, I'm thirsty now!). The Sand Volcano concludes the score beautifully with a romantic and glorious approach. Now, to be honest, I'll admit this score pretty much sounds like a finished draft of The Wind And The Lion. Not a bothersome observation, merely the symbol of a life's achievement, something that took a whole lifetime to reach perfection.

In 1999, after all a quiet year for Jerry, it was made obvious that the composer was still on top of his art, with three of his most valuable efforts in his entire filmography -- the other one being The Haunting. Who would have thought after all these years of truly great service and commitment to film music, along with a brilliant career that commands respect, that he still had so many interesting things to pass along to all the dedicated fans, even though Goldsmith had a hard time trying to find a purpose to people collecting his scores. Perhaps not many of you expected something special with this umpteenth adaptation of Indiana Jones, but he did indeed surprise us once more.

The Best: the extreme epic feel to it, plus all the great themes!

The Worst: some of the most atmospheric cues where nothing seems to be going anywhere ; they're not bad, but some don't do or bring much, these work fine in the film though (and that's what film music is all about, to serve the film, is it not?)

Highlights: Imhotep, Night Boarders, The Caravan, Camel Race, The Crypt (man, that sudden rush of violence from the orchestra at 1:02!), The Sand Volcano...

dudeofthedead