Dogma

Review by Thomas Glorieux:

If one movie religiously showed us another example of how to think about God and Satan, then Kevin Smith's Dogma is it. I personally found the movie to be very enjoyable, politically correct and amusing. Yet I had more problems with the sometimes brutal scenes (like the ending for a change). Still, movies like this they don't make often so cherish for what they bring, either of message, difference or simply controversy. As a score the possibilities were overwhelming. And Shore seems to put a bit of everything in it, since this score listens just on several soft and emotionally calm, at most occasions just blasting the speakers off with massive walls of sound, either orchestral or choral. Dogma is as a film score controversially different on its own. Yet, the problem of this score is that it captures the film so well, it loses its effect outside of it when the more scene like brasses and motifs are heard, if not the sole fact that the score makes the movie, and interestingly the movie the music. It is in fact a score that loses for me my personal interest and mutters just around due to its brassy atmosphere and gothic sound. Speaking of the sound, it doesn't have the reverberation as The Lord of the Ring scores have, but more a distant if other worldly tone. Yet it does sound big and when composed with the same big attitude as the last tracks, then Dogma can amuse and stun simply through its large feel

The score opens with Alanis Morissette. As people know or do not know, Alanis plays a role (and what a role in the movie) and so it was fairly obvious she would be heard at least once on soundtrack. Yet, only appearing once with a song in the movie and that at the end credits, I am still somewhat surprised in not hearing her more. Not that it matters since the song 'Still' is neither stunning nor average. Its just a good song which doesn't bring new horizons to light. The score of Shore is brassy all the way and so it delivers at least on that part big things with it. Yet don't expect masses of theme like The Lord of the Rings because Dogma needs to support a more heavy burden, in creating a soundscape for everything what happens on screen, at it feels that every action is supported with the appropriate motif, yet not creating on its own a satisfying listening experience. There are several themes if the most motifs onto themselves. There is the overall heavenly theme for the Dogma itself, appearing itself the most and the loudest in the last tracks. There is also a very soft yet different musical sounding theme for Linda Fiorentino's character, appearing in 'The Last Scion' and 'A Very Relieved Deity'. Its actually the instrument used to create this theme that sounds different on itself. There is also a motif which is used for either danger or the evil characters whether it is Bartleby and Loki, or the three evil henchmen, appearing in the various tracks.

And through all this, the score of Shore mixes its way to the end. 'Dogma' captures along with 'Stygian Triplets' a sense of comical mischief (using tones Elfman threw in his Beetlejuice score). 'Behold the Metatron' captures apart from choir and a short sign of the main theme a heroic brass fanfare after 3 minutes and 30 seconds which is actually quite good. 'Mooby the Golden Calf' is the most noticed track since it throws in an amusing childish song and 'The Golgothan' is brass all the way through, yet not creating pure melody on its own. The last two tracks bring more that I can appreciate and love, 'John Doe Jersey' captures a striking heavenly choral work which lights the score on fire in the movie and here the main theme receives more oomph. Same for the last track 'A Very Relieved Deity', still here better and larger. The motif of Fiorentino's character as the choral work supporting the heavenly sounding main theme is a nice way to end the score. This makes Dogma a score which again shows the potential of Howard Shore, and people didn't see this before The Fellowship of the Ring was released. Sad of course because this is no way near to something like Seven or Silence of the Lambs. No this is different and now more people seem to accept that of Shore. As a score, Dogma has its faults which can cause people to ignore it. Yet as a movie score it supports the picture with flair and power, just creating what Kevin Smith's movie is all about. And so making Dogma complete of its winning status as a film soundtrack.

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Tracks

Single Disc

1. Still: Alanis Morissette (6.16)

2. Dogma (1.45)

3. Behold The Metatron (4.29)

4. Mooby The Golden Calf (2.52)

5. The Golgothan (4.49)

6. The Last Scion (3.21)

7. Stygian Triplets (1.40)

8. Bartleby & Loki (2.39)

9. John Doe Jersey (6.54)

10. A Very Relieved Deity (6.25)

Total Length: 41.10

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Howard Shore ===