Eras of Indulgence

Olivia Williams stars as Jane Austen in this BBC Films production concerning the later years of the famous novelist’s life. Something of an alternative to Becoming Jane, the film finds Austen approaching forty and helping her much loved niece find a suitor to marry. As she takes to her task, Jane begins to reflect on her own brushes with love and while they may not have been fruitful in real life, they very much blossomed on the pages of her books.

The film attracted much attention in the US, where it aired in February, and aside from the marvellous performance by Williams, and those of Imogen Poots and Hugh Bonneville, it was the music by British composer Jennie Muskett which garnered some attention from critics. With the British television premiere of the film in mind, Cube Soundtracks have seen fit to release Jennie’s score, which is great news as it truly is a lovely piece of work.

The genre is tried and tested certainly, so while the photography, locations and acting vocabulary might be the same as many ‘period’ pieces based on Austen’s life or her novels, the music of Miss Austen Regrets is anything but. Muskett has captured the soulfulness of the Austen character, the sadness and solitude within and the wild romance without. Piano is the main player in this score (how could it not be?), but it is given strong support by gossamer strings, harp and even guitar in places. This is an intimate piece of work indeed and while those elements might seem pretty ‘usual’ for a period drama, Muskett has an ace up her sleeve. Here and there she applies the subtlest of electronic programming, giving the cues in question a faint wash of the contemporary. She places, behind the solo piano in ‘The Proposal’ for example, sampled piano which cascades and echoes in the background, while in ‘Searching For Help’ it reverbs and even plays in reverse. There is something mesmerising about the effect and in that latter cue, the general feeling is one of helplessness and desperation.

Muskett’s main theme, introduced in ‘The Proposal’, is tethered at first with the first few notes almost afraid to let go and embolden. Embolden they do though, as the performance on piano (by Dave Hartley) becomes more intense, joined by strings which unite into a semi-urgent and passionate refrain, the emotional intensity of which is reminiscent of Einaudi. The theme is the heart of the score and certainly Jane’s music, returned to in the cues ‘Beyond Reach’ (the lengthiest), ‘Regrets’ and the finale piece ‘Listen To Your Heart’. Supplemental material comes in the form of a waltz in ‘A Social Engagement’, which is the basis of following cues ‘Desire’ and ‘Hampshire’ – all poignant and very listenable.

Pepping things up a little is ‘Jane’s Jig’, a wild highland fling for solo violin (performed by Dermot Crehan) and harpsichord; a highlight certainly, while ‘After Dinner Speeches’ offers a fine, flighty waltz for piano, harp and strings.

Miss Austen Regrets sees Jennie Muskett, a composer who has for a long time been ensconced on the darker terrain of Spooks and The State Within, let her hair down and spread her melodic wings. The album is sadly over in a flash, but the impact is immediate and lingering; this is music for sequestered hearts indeed.

In 2005, with the film and film-music world still slightly abuzz over director Peter Jackson and composer Howard Shore's masterwork for "The Lord of the Rings" trilogy, came "The Lion, the Witch and the Wardrobe". Between Jackson's epic trilogy and the "Harry Potter" franchise, the fantasy-genre was big-bucks again. However, with the well documented friendship between authors, J.R.R. Tolkien and C.S. Lewis, specific comparisons between the two author's eventual film-adaptations were inevitable. Director Andrew Adamson's vision of C.S. Lewis' story was as different from Jackson's work as Tolkien's tale is from Lewis'. One of the key differences was reflected in the film's score by composer Harry Gregson-Williams. The unexpected modern-edge for "The Lion, the Witch and the Wardrobe", especially in light of Shore's more operatic work, perhaps brought undue criticism from the soundtrack community upon the score. In the years since; however, as the Lord the Rings energies have simmered down, the first film from the land of Narnia, as well as it's score has become, for some, appreciated on its own merits rather than merely as a contrast to Howard Shore's work.

Three years later, we finally have the second installment from "The Chronicles of Narnia: Prince Caspian". Returning for the sequel is director Adamson, the four main "child-stars", and composer Harry Gregson-Williams. In "The Lion, the Witch and the Wardrobe", we clearly heard Gregson-Williams establish a distinct style for the Narnia franchise - an intriguing, albeit surprising, mix of classical and contemporary styles and instrumentation. It was certainly a bold move back in 2005 given the success of the Lord of the Rings and the Harry Potter franchises, which were both complete with more traditional, symphonic scores. The 2005 film was slower than some anticipated, especially at it's onset, hence the score was considered to lack a little intensity as well. Still, well established were themes and motifs representing the world of Narnia, the Pevensie children and Aslan. Having done this, Harry Gregson-Williams, like the four youngsters who have returned to Narnia, is able to more fully explore his musical-landscape. In the end, "Prince Caspian" delivers a richer listening experience.

Following the characteristics of the new film, Harry Gregson-Williams' score features a darker, more intense, and more fully developed personality... as well as a greater number of action/suspense pieces. With the Pevensie's return to Narnia, some 1300 years later, they find the land is quite a different place than the paradisiacal kingdom they inadvertently abandoned. Since that time, another race of man, called Telmarines, has taken power (apparently Spanish conquistadors found their way to Narnia and made it their business to exterminate all of the beings and races there.) With the good Prince Caspian on the run from his evil uncle and momentary king, Miraz, the four kings and queens of old being transported back to Narnia, the platter for a different movie experience is served.

Harry Gregson-Williams makes significant use of his original themes throughout. Very early on, he musically connects the the two films by following a subtle, french horn statement of Prince Caspian's theme with, first the Narnia theme, and then the Pevensie theme in "The Kings and Queens of Old". He goes on to deliver a number of permutations of the Pevensie theme in "Arrival at the How", "Raid on the Castle" and the finale "The Door in the Air". The Narnia motif, which help establish the overall tone of "wonder" in the previous film, does show up a number of times as well. In "The Kings and Queens of Old, we hear an expansive quotation, but is also occasionally employed in intriguing fashion in action sequences like "Raid on the Castle" and "The Duel". Outdoing even the Prince Caspian's theme, the composer makes the most use of Aslan's triumphantly strong motif. It is found in one form or another in just about every track that isn't directly representing one of the evil-doers of the film. It too, makes strong appearances in each of the action sequences, but there are a few other noteworthy inclusions as well. We hear it played exotically on the electric-violin in "Journey to the How", most majestically in "Arrival at Aslan's How" and the most powerful performance of the theme in either film can be found in "Return of the Lion".

A favorite moment comes in "The Door in the Air" where Harry Gregson-Williams again teases portions of Imogen Heap's "Can't Take it In," which, itself remains one of the best pop-track inclusions on a score album to date. Also of note is "Sorcery and Sudden Vengeance", which may be the darkest piece of either film. In it, we here similar, gutteral vocals (a la Buddhist chant) as we did in "The Stone Table" from the last film, before it erupts into the White witch battle theme also established "The Lion, The Witch and the Wardrobe". While the detail of this scene was not included in the book, it's both visually and musically invigorating. Further, the throne-ursurping Miraz is provided his own 8-note theme first heard "Raid on the Castle", but most clearly in "Miraz Crowned". Of course, the most significant thematic addition is that of Prince Caspian. Rather than rival the heroic nobility of Aslan, the young prince's musical moniker is inherently more uncertain. By the conclusion of the score however, Gregson-Williams is able to convey the growing boldness and strength of the young prince.

A sad note on this release is that the three included pop-tracks don't come near to those from the previous soundtrack. "Can't Take it In" and "Wunderkind" from The Lion, The Witch and The Wardrobe, went on to be well-recognized and huge hits in their own rights, but I'm not so sure any of these will do likewise. Apparently, Imogen Heap did again submit a song for soundtrack, but it was rejected because it was said to be "too dark". In regards to these pop-tracks, the overall rating of this soundtrack suffers only marginally, as the producers have wisely relegated them to the end. Your propensity to enjoy this score is going to be directly connected to your reaction to first film's score. "Prince Caspian" is, on some level, more of the same. If the electronic elements didn't work for you in "The Lion, the Witch and the Wardrobe", then they likely won't work for you here. However, if you have come to appreciate Harry Gregson-Williams unique and surprisingly detailed approach to this fantasy film, as I eventually have come to, then you'll likely find this score even more enjoyable than the first. "The Chronicles of Narnia: Prince Caspian" is a score that has, like the Pevensie's, grown up a bit. While there remains an underlying sense of wonder, the music this time out is much more aggressive...and more engaging. Prince Caspian is, without question, similar to its predecessor, but it is far from being the same thing twice.

This is the DVD trailer for 2008's Sense and Sensibility miniseries for US market.

The is a promotional trailer for the recently released Persuasion DVD for US market.

This is the advertisement to promote Masterpiece Classic's 'The Complete Jane Austen' on US television. The song used for this advertisement is 'Fix You' by Coldplay.

This short advertisement is to promote the documentary of "Celebrating The Complete Jane Austen" which was shown on US public television where a panel of Jane Austen experts discussed her works and the recent film adaptations.

Echoing the intents of the successful James Barrie biopic Neverland, the tale of fellow Victorian children's author Beatrix Potter frames her life through a distinctly modern prism. In this telling, the creator of Peter Rabbit shrugs off provincial restraints to become something akin to a feminist environmentalist, a notion that's deftly underscored in this hybrid orchestral soundtrack by Australian Nigel Westlake and Oscar-winning veteran Rachel Portman. The former's cues tend towards shimmering washes of strings and winds, weaving a wintry atmosphere that's more wondrous than treacly, while Portman's three contributions are cast in more shaded, autumnal arrangements that suggest the interior struggles of Potter herself. The coda to this delicate, compelling suite is Katie Melua's haunting ballad "When You Taught Me How to Dance," a slice of gentle melancholy that serves the score well.

This is the trailer for the second part of Sense and Sensibility which will be aired on Sunday night, 9 April 2008 on US television.

Sense and Sensibility is shown in two 90 minutes episodes and the first part will be aired on US television on 30 March 2008. Hattie Morahan plays levelheaded Elinor Dashwood and Charity Wakefield is her impulsive sister Marianne. Though poor, they attract a trio of very promising gentlemen: soon-to-be wealthy Edward Ferrars , heroic Colonel Brandon and Byronic John Willoughby. Adapted by Andrew Davies. Directed by John Alexander. Produced by Anne Pivcevic. Executive Producer for WGBH, Rebecca Eaton. It is a BBC and WGBH/Boston Co-Production.

War and Peace is a 2007 mini-series adapted from the renown historical literature of the same name. It is a production of Lux Vide company film which with the cooperation of Russia, France, Germany, Poland and Italy television stations. Directed by Robert Dornhelm, with screenplay written by Lorenzo Favella, Enrico Medioli and Gavin Scott, it stars Alexander Beyer in the leading role of Pierre. Other characters were played by Malcolm McDowell, Clémence Poésy, Alessio Boni, Pilar Abella, J. Kimo Arbas, Juozapas Bagdonas and Toni Bertorelli.

This is the official website for PBS's Masterpiece Classic for 'The Complete Jane Austen Season' that premiered on US television in January 2008. It is an interactive website which has preview clips on the six adaptations of Jane Austen novels plus a biopic on the author's life. The Austen extravaganza includes four new adaptations of 'Persuasion', 'Northanger Abbey', 'Mansfield Park' and 'Sense and Sensibility' and a new drama, 'Miss Austen Regrets' based on Austen's bittersweet love life. In addition, previously released adaptations of 'Pride and Prejudice' and 'Emma' will also be aired.

For each of the title, there is a synopsis describing the gist of the story, video clips to whet our appetites, lovely photo gallery to view and a brief description of characters and actors that play it. Cast and credits are also listed so that the viewer know who plays who in the show. As an added feature, there is also 'The Men of Austen' gallery where interested viewers can read each personality of the characters in all Jane Austen's novels and select your favourite man.

Emma is a 1996 production and was originally broadcasted in the US the following year. Kate Beckinsale stars in the title role as the tireless matchmaker who professes no interest in matrimony for herself, only for her orphaned protégée, Harriet Smith. Still, Emma does feel a certain twinge for Frank Churchill and a brotherly regard for Mr. Knightley. Adapted by Andrew Davies. Directed by Diarmuid Lawrence. Executive Producers Delia Fine, Simon Lewis. Produced by Sue Birtwistle. Produced by United Film and Television Productions in association with Chestermead Ltd and A&E Networks.

This is the trailer for the third and final part of Pride and Prejudice which was aired on 24 February 2008.