Composer: Patrick Doyle

Label: Sony Masterworks

Patrick Doyle’s score soundtrack for Kenneth Brannagh’s MURER ON THE ORIENT EXPRESS was one of the most anticipated releases of the year in my agenda.

I consider Patrick Doyle one of the most interesting film composers currently working in cinema, and even if his inspiration and canvas of ideas are not as vivid and sensational as they were back in the first decade of his career, his unique signature is evident in most of his recent scores. This detailed orchestral touch and the charisma to create cinematic emotions avoiding crude impressionistic clichés always ruled his creative portfolio and his score to MURDER ON THE ORIENT EXPRESS showcases this point once more.

Agatha Christie’s mystery novel develops with a tragic incident of child murder as a “McGuffin” - as Sir Alfred Hitchcock would put it - and Patrick Doyle decided to focus the score to this detail which of course is the main motivation for the movie title’s “MURDER”. The score follows a somber and dramatically heavy orientation that reaches its peak with the 9 and a half minute cue “Justice” which is heard a little before the end of the cd program. This somber idea – an adagio-like piece of music – is the pillar of the score and can be heard in various moments of the album’s 57 minutes, including an emotionally charged singing performance by Michel Pfeifer who plays Caroline Hubbard, a crucial role in the novel and the film of course. Unfortunately this idea is the only one that is developed in a satisfactory way on the cd.

There are of course themes for the Orient Express - a propulsive and very addictive little cue in my opinion the strongest part of the score - and the location which is supported with very interesting oriental instrumentations (czimbalom, tablas and duduk mainly). To be quite honest, I would prefer a more focused and detailed development of these themes. The weakest part of the score is the lack of an adequate Hercule Poirot theme. There is a tune that as it seems is inspired by the character, but I would expect Doyle to compose a really memorable cue for Poirot’s unique persona, a blend of genius, flamboyance and humor, and not for one more time compose a Cole Porter nostalgic mish mash.

I haven’t seen the movie yet but it is obvious that the score’s approach is centered around the motivation of the murderer and inevitably drives it to a more somber and low key direction. I admit I was mostly prepared for a score with a different more character-based orientation – this also includes the Orient Express - but Doyle’s approach is honest and well executed.