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From Hell (2001)
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Reviews
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 Almost too much for it's own good, and that's beyond impressive.
by bansheefan57 (June 29, 2007)
Trevor Jones certainly delivers a possible magnum opus in "From Hell". The film, an explicit adaptation of the "Jack the Ripper" graphic novel. Obviously, it would need something with a certain speciality to compliment the dark tone, and harsh realities that the film presents. For Trevor Jones, composer of such classic 1980's films as "The Dark Crystal" and "Labyrinth", this was a splendid opportunity to take part in what should have been a major motion picture event. An event, not so much, as I recall, but the film, a definite major motion picture. Jones' dark, gothic, victorian score is amazing in it's set-up, and it's orchestration. The score follows the dark, mellow decent nto the unknwon, and the questionings of the most bizzare murders in history. The music is like a complete dark Ballet, or waltz. It has a familiar theme to it, and an outstanding pattern that plays out well. Particularly that of "In Memorium", "Portrait Of A Prince", and "A Sprig Of Red Grapes". Every cue has it's uniqueness to deliver, and each does so in a superb effect that atones to the dark nature of the film. It's easy to loose yourself to the wild imagination of the film, whether it's because so much of it is based on fact, or adapted from the graphic novel. Trevor Jones ' score is a major effort, and boosts the film 110% on it's own, as it has a total life of it's own outside of the film. It's soft texture, and dark contruction is enough to warn the listener of the impending danger. Another track that stands out it the closing track, "Bow Bell (Absinthium)". The album closes with this cue, as sounding like an old record from the 1800s. It has an upbeat feel, but at the same time, it could sound even darker when listened to in context to the film. It's very complex, and very evocotive. A classic effort, one to be remembered for years to come. It is,perhaps, almost too good for itself. It reaches beyond the impressive limits, and exceeds to breathe well enough without any element of the film to boost it. A well done contribution by Trevor Jones, one that was possible overlooked by the Academy that year.
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