Days of Heaven review

Days of Heaven (1978)

Composer: Ennio Morricone

Number of tracks: 30/33

Total time: 72:32/63:09

Overview: 

The sophomore effort from director/writer Terrence Malick, Days of Heaven is at its basis a period drama that follows three orphans (Richard Gere, Brooke Adams, Linda Manz) who travel to the Texas panhandle to work on a farm run by a middle-aged widower (Sam Shepard) in 1916. Of course, like with all of Malick's films, that description only scratches the surface of what the director delves into including the conflicts of passion and honor, loss of innocence and the inevitability of change... both great and small. It's a methodic, contemplative and gorgeous work that ranks as one of Malick's finer efforts from his longstanding career. Still, Days of Heaven was a complete box office bomb upon initial release despite garnering high praise from contemporary film critics.

Along with the elegant and painter inspired cinematography, the score by Italian composer Ennio Morricone has long been heralded as one of the productions high points. Originally released in 1978 as an LP with a combination of songs and score from the film, specialty label Film Score Monthly re-released the album along with the entirety of the music written and recorded for the film in 2011, for which this review is based on. While somewhat of a case of "too much of a good thing", the FSM double disc set is still the easiest and best means to own this classic Morricone work.

Review of the music:

Morricone centers Days of Heaven around a quartet of distinct themes that the composer remains incredibly faithful to throughout the work, as was his composing style. The central theme of the film is presented in full during "Harvest" and acts as an overall representation of the story as a whole, periodically returning throughout the film in assorted variations. Clearly inspired by Saint-Saens "Aquarium", the Main themes melancholic yet dreamy rising/falling woodwind and string lines perfectly matches the hazy atmosphere Malick captured for the film. While only appearing twice on the LP program, Morricone returns to the Main theme a handful of times in the film presentation of the score with a standout piano variant in "Main theme (2M1 1st Part)". 

The three secondary themes are tangentially connected to the primary theme, most notably the Love theme which acts as both a romantic identity for the doomed love triangle in the film as well as a loose theme for the trio of orphans at the center of the story. Featured in "Days of Heaven" and "The Farmer and the Girl" while given a darker slant during "The Return" and "Ash & Dust", the Love theme sees duel use depending on its orchestrations, which fits given Gere and Adams characters pretending to be siblings while still carrying on a romantic relationship. For fans of the darker side of Morricone's writing, the lumbering theme tangentially associated with The Farmer is sure to please. Introduced in "The Harvest", the Farmer theme acts as the de facto "villain" material for the score though the reality is far more nuanced than what the young narrator of Days of Heaven (Manz) recalls. Still, Morricone's musical representation of the man as well as the various strifes the protagonists endure is a highlight of the score, especially in the cues "The Chase" (in an ostinato variant as counterpoint to the Love theme) and "The Fire".

The fourth and final theme of the film is the far more bright and optimistic Happier Times theme, heard in "On the Road" and "Happiness", a classic Morricone flute and string piece that captures the happier moments (aka the Days of Heaven) that the characters encounter. Though much like the fleeting moments of bliss, the theme carries a lighter tone that is still underpinned by a slight melancholy or sense of nostalgia. Still, it's a sublime Morricone piece that perfectly captures the fleeting moments of bliss in the characters lives.

Of special note on the '78 album presentation is the inclusion of a handful of non-score tracks including "Saint Saens: Aquarium (La Carnaval Des Animaux)" which Malick would needle-drop into the finished film. Also included are the instrumentals "Enderlin" by guitarist Leo Kottke and "Swamp Dance" performed by Doug Kershaw. Lastly, a small selection of sound effects are included on certain tracks, namely the sound of crickets and wind at the end of "Days of Heaven" and horses neighing at the fadeout of "The Fire". 

While most of this section has been devoted to discussing the LP presentation of the score, the "as heard in-film" assembly included on the FSM album is also worth exploration as it greatly expands on the material heard on the '78 album. That said, the second discs "Extended Score Program" of Morricone's entire recorded work is far too much and quickly becomes repetitive to a near nauseating extent. While it's wonderful to have the entirety of the maestros work preserved, this is one case where the shorter programs are essential.

Closing thoughts:

While not becoming an instantly beloved film upon release, the lasting legacy with eventual reassessment and preservation of Days of Heaven (including registry in the Library of Congress and a home media release from the Criterion Collection) is well deserved. With only being Malick's second film, the sheer mastery of filmmaking that is present in every frame of ...Heaven is astounding and is only bolstered by the evocative score by Morricone. Even if it is perhaps not one of the Italian maestros greatest works in a career filled with highlights, Days of Heaven remains a thoughtful and ever welcoming musical journey. In short, an album well worth adding to ones music collection.

Score:

4 out of 5