Far from Heaven (Elmer Bernstein)

(2002)

One of the most critically acclaimed films of 2002, Todd Haynes’ Far from Heaven was made in the style of many films of the 1950’s, though certain elements of it wouldn’t have been permitted in a film that actually had been made at that time.  The film deals with racial and sexual prejudice in 1957 suburban Connecticut.  There was only one composer active in 2002 that had also been active in the 1950’s scoring films of similar subject matter.  It was, of course, the eighty year old Elmer Bernstein, whose score for this film was the last of his career.

Bernstein is perhaps best known for his western scores, which include The Magnificent Seven, True Grit, and The Comancheros.  As much as I do love those scores, his music has always been at its best for me when it’s written for a serious drama.  To Kill a Mockingbird is considered by just about everybody to be his finest score in that department, and was a score that really set the high point for the genre.  Far from Heaven, whilst perhaps a short step behind To Kill a Mockingbird, is a simply outstanding score, and stands alongside Alfred Newman’s Airport and Bernard Herrmann’s Taxi Driver as one of the finest and most rewarding conclusions to a film composer’s career.

“Autumn in Connecticut” opens much the same way To Kill a Mockingbird did, with gentle piano solos, later joined by woodwinds and then, the full orchestra.  It’s a stunningly beautiful theme, probably one of the best Bernstein ever wrote, and he wrote a great many.  This track also features what is the score’s only real orchestral swell (other than the final track, where the theme is heard again), something that some listeners will probably be disappointed at the lack of.  The fact is that the mood of the film doesn’t allow for that kind of thing, but there’s plenty more material here to keep fans of Bernstein’s music entertained.  The composer noted the importance of the piano – it’s the sort of instrument you’d be likely to find in the household featured in the film.  The other orchestrations focus on the woodwinds and strings, much like Bernstein’s previous scores for this sort of film.  The mood of the music is ever changing – from the lovely “Walking Through Town”, to the somewhat comical piano performances in “Prowl”, to the stunning cello solos in “Stones”.

This is a score that was easily amongst the best written during 2002, certainly the best of those that were Oscar and Golden Globe nominated (though Bernstein was robbed of both awards by Elliot Goldenthal’s Frida).  Elmer Bernstein is undoubtedly one of the greatest film score composers to have ever lived, and I can’t imagine a more appropriate and satisfying conclusion to his career than this magnificent journey to the past.  Seek without hesitation.

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Track Listing

1. Autumn in Connecticut (3:08)

2. Mother Love (0:42)

3. Evening Rest (1:52)

4. Walking Through Town (1:49)

5. Prowl (2:36)

6. Psych (1:02)

7. The F Word (1:11)

8. Party (0:55)

9. Hit (2:42)

10. Crying (1:11)

11. Turning Point (4:46)

12. Cathy and Raymond Dance (2:02)

13. Disapproval (1:00)

14. Walk Away (2:34)

15. Miami – arranged by Patrick Russ (0:56)

16. Back to Basics (1:47)

17. Stones (1:44)

18. Revelation and Decision (4:21)

19. Remembrance (1:56)

20. More Pain (4:04)

21. Transition (0:55)

22. Beginnings (2:17)

Total Time: 46:20

Credits

Composed, Conducted & Produced by Elmer Bernstein

Orchestrations by Emilie A. Bernstein

Performed by The Hollywood Studio Symphony

Piano Solos by Cynthia Millar

Awards

Academy Award for Best Original Score (nominated)

Golden Globe Award for Best Original Score (nominated)

Insert Notes

The liner notes contain detailed notes from both the director and composer, as well as several pictures from recording sessions for the score.

All artwork and images are Copyright © Varèse Sarabande