专辑中文名: 刺杀希特勒
专辑英文名: Valkyrie
艺术家: John Ottman
资源格式: APE
发行时间: 2008年
地区: 美国
语言: 英语
简介:
专辑介绍:
纳粹党徒邪恶横行，世人人尽岌岌自危，时值二战期间，高压独裁统治下的德意志，一群高官秘密展开了谋杀策划。其中的核心人物，正是陆军上校克劳斯·冯·施陶芬伯格（汤姆·克鲁斯）。出生于德国贵族家庭的施陶芬伯格，自幼深受将军父亲的影响，立志踏上戎马生涯。他的果敢、聪明和组织能力很快得到赏识，被提拔为德军高级军官。然而，战争的残忍、炮火的毁灭性和希特勒的丧心病狂，都渐渐让施陶芬伯格深恶痛绝，而在一场北非突尼斯战役中，他更失去了左手两个手指、整只右手和左眼。触目惊心的死亡让他确信：一意孤行的希特勒，必须被阻止！施陶芬伯格并不是德军中唯一的异类分子。很快，他便结识了另一批对纳粹深恶痛绝的德国军人。结束战争方能拯救德国的共同信念，促成了这个秘密反纳粹组织的成立。不久后便被指派为柏林预备军总长的施陶芬伯格，是反抗力量中最有机会接近藏身于德军大本营地下暗堡“狼穴”内（也即纳粹指挥部）的希特勒的人，他的加入对正密谋暗杀希特勒的反纳粹小组来说，无疑如虎添翼。被命名为“瓦尔基里”(Valkyrie)的刺杀行动，悄悄展开。计划如下：1、制造精密定时炸弹；2、将炸弹暗藏于公文包中；3、瞒天过海，将公文包带入纳粹指挥部；4、仅有10分钟时间不做声色地逃离；5、炸死希特勒及他的左膀右臂戈林和希姆莱。这一系列看似简单的步骤，却无时无刻不是惊险重重。 1944年7月20日，“瓦尔基里”暗杀计划执行日......
原声碟原文介绍:
Undoubtedly the most daunting obstacle standing in the path to success for director Bryan Singer's Valkyrie is the knowledge of the vast majority of audiences of how a story about any assassination attempt against Adolf Hitler will resolve. Despite this challenge, Singer created a partially fictional depiction (though faithfully accurate on the major details) of Colonel Claus von Stauffenberg's participation in a plot by several Nazi officers in early 1943 and beyond to overthrow Hitler, contain the S.S., and save Germany from its inevitable annihilation. By many critical accounts, Singer was successful in not only generating enough tension to secure audience interest, but also in shielding its lead actor, Tom Cruise, from his own reputation. Valkyrie comes at a time when World War II dramas are curiously common in mainstream cinema, and this film, like its contemporary counterparts, has once again hit the mark in its impressively realistic production values. The music for such films also presents composers with generally the same problems, usually forcing them to balance melodramatic considerations with a need for stylistic restraint. Along again for the journey with Singer for this venture is John Ottman, who serves as both composer and editor. When the assignment was announced, two thoughts about Ottman's career immediately crossed the mind. First, he had long speculated in the 1990's, a time when his career was largely defined by horror and thriller flicks, about the opportunity someday to write grand, lush (and romantic) orchestral material, and Valkyrie was a possible chance for him to explore that avenue. Second, his collectors know that one his more memorable themes (and arguably most powerful, despite its somewhat derivative nature) is the waltz he wrote for the opening of Apt Pupil, which used his usual orchestral and choral textures of that era in his career to characterize the menace of Nazi mentality. How would Ottman address those potential methodologies for Valkyrie? In terms of the melodrama, we do hear some distinctly sorrowful and attractive material, though its duration is frightfully brief. As for the spirit of Apt Pupil, Ottman treads in a different direction, choosing to restrain the tone of his score from any such outbursts of malicious intent.
While the score for Valkyrie offers a few highlights that may perhaps make the generous album worth the investment for those Ottman collectors, the confinement of these bright points to just ten to fifteen minutes in length is surprising. Ottman made a handful of stylistic choices in his foundations for the score that are dubious in their application to the subject matter. The most blatant of these choices is the substantial use of electronic accompaniment to a partial orchestra in an effort to emphasize the textural landscape of the work in its conversational and other less active scenes. Also of note is the sparse employment of motifs in a score with such scope of sacrifice. Finally, and likely the fatal blow for many listeners, the composer opted to withhold his dramatic tones except for just a couple of scenes (gravitating towards the end of the film). The keen sense of instrumental creativity heard from Ottman throughout the years has disintegrated into meandering underscore that barely registers in volume for extended sequences and therefore does little to engage the listener when heard on album. The vast majority of Valkyrie, and the entirety of its middle sequences, are handled with an extremely conservative touch by Ottman. His string ostinato for the planning scenes makes a positive impact in "Operation Valkyrie," faintly recalling the same technique used by James Newton Howard in his score for the concurrent Defiance. A theme for Hitler himself is underwhelming in its rendering. The score's striking highlight is a theme that pays tribute to the event in "They'll Remember You," with four minutes of elegant choral and string work underneath a solemn female soprano voice. This cue, aided by far lesser incarnations in "Seconds Lost" and "I'm Sorry," is precisely the kind of melodramatic material that Ottman fans have been hoping to hear from the composer, and it is indeed another page turned in his collective works. Along with the similar but restrained "Long Live Sacred Germany," Ottman finally does take advantage of the opportunity to write gripping and stirring music of weighty, romantic heart. Otherwise, however, the score is unremarkable, a considerable disappointment given the compelling script. A strong 30-minute album could have represented Valkyrie much better; at twice that length, you'll find yourself returning to only the superior opening and closing tracks.
