The Crow (1994)
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Birth of the Legend
The Crow Descends
Pain and Retribution
Inferno
Last Rites
Exquisitely crafted and immersive
An oddball choice for this type of film, Kiwi Graeme Revell’s score for Brandon Lee’s final movie feels wildly appropriate for a rain soaked and populated with rock and goth inspired scumbags Detroit. Using a combination of ambient electronic sounds, keyboards, ethic elements (e.g., Duduk, female vocals and chants, shakuhachi flute) and industrial guitar riffs before these were a mainstream thing, give “The Crow“ a tragic and otherworldly approach that at that point, had not been heard before. One could notice how Revel employs three different takes to describe different sections of Proya’s second feature rarely merging them together.
First, we have a simple orchestra of violins with some piano notes for moments of loss, mourning and romance (“Birth of a Legend”, “Believe in Angels”, “Rain Forever”), a theme that was so popular that was used several times across movie trailers fitting well with the sorrowful aspects of Eric’s and Shelley’s relationship. The addition of a muted trumpet is a nice touch giving neo-noir vibes in a story that is dominated by themes of injustice and vengeance. Quieter moments such as “Pain and Retribution“ and the “Last Rites” stick to you forever due a profound sense of melancholia behind their arrangement mostly due to the usage of a female based choir and a female vocal solo accent respectively.
The other two are perhaps more interesting. The movie’s atmosphere gets lots of momentum from Revell’s ambient work here in which he implements a variety of exotic instruments varying from Middle East (e.g., Duduk) to Japan (e.g., shakuhachi flute). It might be Detroit, but the city’s character is flirting with supernatural. Cues like “Resurrection”, “Her eyes…so innocent” and “Captive Child” boast a fascinating mix of instruments like the aforementioned Duduk, djembes and shakuhachi in a score that on paper would require a stereotypical and banal approach. Every time you might be listening to them in a Dolby Atmos setting, you might discover something new.
Finally, to cover the action front, you have the industrial tones which could have easily engulf less dynamic sounds but Revell’s elects not to do so (“Devil’s Night“, “Tracking the Prey“). “Inferno”, in particular, is a standout due to a great and blistering solo packed and superb percussion which is so good that is also repeated in the “Captive Child” track but at a much slower pace.
Revell’s work here is quite sophisticated with clear production values manipulating rhythm samples, a small orchestra and unique musical elements to create a mystical and immersive listening experience that has become synonymous with the film itself. Instead of embracing a traditionally structured score, Revell throws the rule book into the fireplace and creates something that has endured the test of time.