Surrogates Composed by Richard Marvin
Atlantic Records (2009)
Rating: 6/10
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“[RICHARD] MARVIN's
style is skillfully subdued and unobtrusive, comparable to that of
say, MARCO BELTRAMI or HOWARD SHORE.”
No Substitute for Mostow and Marvin
Review By Helen San
SURROGATES (2009) stars Bruce Willis as
a die-hard cop. No surprise there. But there's a twist: he's a young Bruce
Willis mannequin remotely controlled by the current aging Bruce Willis
lying in a high-tech reclining chair. In that futuristic world, everyone
has an ageless, beautiful model of themselves (called surrogates)
interacting with each other, while their real, imperfect selves are hidden
behind electronic circuitry and closed bedroom doors. Though the movie has
car chases, foot chases, fights, and murders, SURROGATES is at heart a
social commentary about the avatar-happy online community that hides
behind usernames and other artificial façades.
Most famous for U-571 and all five seasons of SIX FEET UNDER, RICHARD
MARVIN has largely worked in television, scoring such popular series as
WITHOUT A TRACE and a long list of TV movies. SURROGATES, directed by long
time collaborator Jonathan Mostow, represents his second album release and
composer credit for a big budget movie (after U-571). While U-571 (also
with director Mostow) was generally well-received as a good listen, it was
sometimes criticized for being too derivative of existing scores. This is
not an uncommon ill to befall scores whose directors fall too much in love
with temp tracks and may not reflect the creative vision of the composer.
SURROGATES, then, is MARVIN's second chance to prove he's got the
originality and presence for a major motion picture.
And he does, with the exception of one track. MARVIN's style is skillfully
subdued and unobtrusive, comparable to that of say, MARCO BELTRAMI or
HOWARD SHORE. Showcased against the muted backdrop is an outstanding
signature main theme, heard best in "Drive to Club" (2). A poetic motif
flowing on a current of propulsive rhythms, the main theme highlights the
film's dramatic metaphors without letting you forget it's an action
thriller. This minute and a half is the reason to buy the album, if you
can't buy the single track.
While MARVIN's quietly suspenseful and, at times, dissonant
understatements fit the film's pensive and unsettling mood very well, it
is not the sort of music I enjoy listening to. The action cues are more
engaging and inspired, such as in "Operation Prophet" (8). The kinetic
drums and heralding horns impart exactly the right kind of energy for good
action tracks.
The one blemish on the album, if I may call it that, is "Warrant
Received/Foot Chase" (4), which is ironically one of the album's best
tracks. The similarity to DON DAVIS' THE MATRIX is discreet, but
noticeable. Though he
greatly improved on the more discordant original, MARVIN doesn't do
himself any favors by conjuring flashbacks of Keanu Reeves in black
leather. Given MARVIN's history with U-571, anything short of farm fresh
is a minus--though again, one should keep in mind the similarities may
reflect the director's wishes rather than the composer's.
That is too bad, because I have no doubt the composer has talent. In
addition to the main theme, it can be clearly heard in "I Want You," (7)
the climactic scene in which Bruce Willis' cop tells his pallid, wrinkled
wife that he misses and loves her, the real, unhappy, broken her. Though a
very short cue, this is is where MARVIN shows he can make delicate and
fragile blossom beautifully with deep, rich colors. Were he able to have
developed this theme beyond two minutes, the album would have earned a
much higher rating.
There are a handful of very talented television composers who deserve the
opportunity to expand their range outside of TV. MARVIN, I believe, is one
of them. His music flows fluently even when restrained. I would love to
see what it's like when it's granted a larger canvas.
