Film Score Central, November 18, 2000

Even though, it's only been in the last few years that I have really collected Poledouris' work. I have done so, with much enthusiasm and admiration. Starting with Starship Troopers and Robocop a few years ago, I have grown to love his music.

Funny thing is, I have always felt this way, even before learning who he was. Since, those first few scores I had bought, more and more of his scores, that have come my way, have continued to impress me. Especially, with his versatility and creativity. The above mentioned scores, along with Kimberly and For Love of the Game, and all the others, have for all intents and purposes, made me a fan of this extremely talented composer. A composer, who utilizes a sort of continuity throughout his work, which keeps his own musical voice heard. Even when he is giving the films a voice of their own, at the same time. Rather the accomplishment, if you ask me.

Amanda is no different. This score is to a film, (as the liner notes put it) "never before shown in the U.S." Having, been only shown theatrically within South Africa during 1996. Even the home video release, has not surfaced here, or in the U.K. at this time. Until now, neither has the score. Except for a short suite on Poledouris' own promo, Honor and Glory. What a shame too! The score is just as much a "Poledouris classic", as any of his other recent material. Musically, Amanda has much in common with his other scores, such as Quigley Down Under, Lonesome Dove, Kimberly and Free Willy. All of which adds much to the overall tone of the score. Sure, part of that has more to do with his style, than anything else. Not necessarily, the notes used. Though, it is all Poledouris nevertheless.

The score consists of, mainly the usual Poledouris Instrumentation and orchestration. Such as, strings, winds, brass and percussion. While nice use of piano is utilized as well. However, like the scores mentioned before, such as, Quigley Down Under. There is also acoustic guitar and banjo as well. All of which, makes for quite a varied listen. Nicely thematic, cohesive and it is thoughtfully developed throughout. All 40 minutes is a real treat to listen to.

This is rather like what I call, "light-Poledouris". Even with some darkness at times, like Kimberly, it stays rather "warm" feeling for the most part. And could be considered low-key at times as well. Well, definitely, in comparison, to scores like Conan, Starship Troopers and Flesh + Blood. Not a bad thing, mind you. Those are some of the scores, he has become famous for. I know first hand, since, that is how I got into his music. Fortunately, low-key scores, can be and are just as good though. Maybe even better, in some regards. Either way, it means much more variety, in his work.

Prometheus really ought to be commended, for releasing a "unknown score" such as this. And for their great service to film music appreciation. As always, the liner notes and packaging, are of high quality. Much thought and care has been put into this album. Except, for wanting more music to have been added on the disc, and several short cues, this is a incredible listen, for all of us Poledouris fans.

I can't think why anyone would not like this score. So, it comes highly recommended, as does all of Poledouris' work, not to mention the other albums put out by Prometheus. Here's to more great releases such as this, for a long time to come.

Filmtracks, November 24, 2000

In a cross between Poledouris' western, mystical and childrens' genres of composition, this light and fluffy score exists where its movie does not. The film was slated to be released in 1996, at a time when Poledouris had finished a string of popular and effective films in the children's adventure scene (including the Free Willy films, Jungle Book, Lassie, etc). In short, Poledouris was (and still is, to an extent) the expert at capturing the musical essence of the relationship between animal and young human. In the case of Amanda, a crippled young boy's relationship to a horse is the primary focus of the film, as well as all the typical maturing of confidence and overcoming of disabilities that also has a tendency to drive such stories. Adding more flavor for Poledouris to work with is an older, wiser horse expert who inspires the boy with sories of swords and warriors and knights, thus bringing an element of Conan the Barbarian into an otherwise serene scenario of normal character-building.

The formula of the score is really nothing new. Poledouris' two themes are simple in their chord construction, one for the boy and other for the setting of Montana. Performed by the certainly adequate, but not overwhelming Seattle Session Orchestra, the majority of material composed includes light woodwind solos with string overlays. It is pleasant material, and harmonious in almost all circumstances. The highlights of the score are when the boy's imagination of knights, swords, and warriors takes over and Poledouris injects the otherwise subdued score with shades of timpani and brass that hail back to the days of Conan.

While brief in their outbursts, these cues for riding scenes are symphonically impressive and well worth the price of the album for Poledouris enthusiasts. Explosions of brass and snare occur mostly during the four "storytelling" tracks of the album. The delicate sensitivity utilized by Poledouris for the mass of underscore has a tint of James Horner's thematic approaches for childrens' films, never deviating much from the same lofty, but adolescent harmonies thoughout the score. Poledouris has a knack for never repeating sequences of music or obvious styles between his efforts, and while Amanda is no exception, the score offers little in instrumentation or extended rousing themes to distinguish itself in his filmography.

That doesn't imply, necessarily, that Amanda is uninteresting. The score, while a lightweight when compared to Free Willy and his other childrens' efforts, is an enjoyable afternoon listen. It won't strike you in a memorable way, but it's a good way to pass some working time. As a resident very near the setting of the film myself, I was surprised that Poledouris did not employ more tambourines, guitars, harmonicas and the such to accentuate the Montana setting; it seems that he was working to capture the spirit of the boy and horse rather than the landscape; only brief moments of "local personality" (as I call it) are inserted, with a good example served in track 12.

The film itself never made it to the theatres in late 1996, as it was planned. It bounced around in South Africa and went straight to video in parts of Europe, going largely unnoticed by masses in Asia and North America. Even with the film's monumental failure, however, Poledouris' score is finally released in limited numbers by the Belgian label Prometheus, and is available only through soundtrack specialty outlets. If you already have Free Willy and Lassie, then it might not prove to be all that more intriguing for you, but keep in mind that Amanda is a relatively recent score --coming after all those previously mentioned-- so all you Poledouris fans might want take another look at it.

Soundtrack Express, November 28, 2000

Evidently an extremely obscure production, Amanda is a variation on the Black Beauty or animal helps child come good kind of story that is a staple of family films. Despite being a South African production, Basil Poledouris' previous associations with the director lead to him scoring the film. This limited edition pressing is likely to surprise even the most hard core Poledouris fans simply because they were unlikely to be aware of the score's existence.

Amanda is indeed a generally fine score, although it falls into that category that frustrates me as a reviewer simply because I can't honestly think of much to say about it. The more famous Poledouris mannerisms are largely kept in check, even if Poledouris' fondness for string arpeggios leads to an appearance in The Story Part II/Caleb's Fear. By the nature of the film we get a slightly folksy effort that is entertaining, even though I don't feel it ever really hits its stride. The main thematic material is pleasant, if not exactly indelible and excessively schmaltzy material is largely avoided, which is always a bonus for this kind of score. Only perhaps during the final three tracks does the music break away a little and suggest what it might have become with the exciting Moross inspired To the Rodeo and ensuing finale music.

I am not entirely sure why this album needed to be a limited edition simply because it was performed by the Seattle Symphony Orchestra, thus reuse fees are not an issue. A regular album would not have been all that expensive to produce - I am sure there are reasons. Whatever the case, it would probably be worth acquiring for a Poledouris fan or anyone who can't get enough of gentle, folksy scores. Otherwise, this falls squarely into the category of good, if unremarkable family scores of which there are too many to mention. The packaging contains detailed (if slightly fawning) liner notes and information about the film, score and composer.

Tracksounds, November 24, 2000

Once again Prometheus Records brings a well deserved score to film music enthusiasts. In a special limited edition compact disc, just over forty minutes of Basil Poledouris' remarkable score has been made available.

Many consider Poledouris once of the most under-appreciated film music composers around today. His name has yet to become household, but the general high quality music he has produced over the years certainly is worthy of such honors. For Amanda, a story revisiting the emotional bond between a child and his horse, Poledouris delivers another high quality score. Amanda follows the vein of some of his other popular works including: Lonesome Dove, Free Willy, and more recently, Les Miserables.

As one would expect, to compliment the heartfelt story, Basil Poledouris utilizes sweeping melodies and tender themes. It is difficult not to make comparisons to Danny Elfman's work for Black Beauty, but Poledouris helps keep Amanda from being a mere copycat score. The deep emotional, if not tragic, element heard in Les Miserables is lightly foreshadowed in Amanda- help making it a deceptively poignant score. Repeated listens of this music is certainly necessary to glean all of its richness.

At times Amanda reflects of the freedom, boldness and grandeur of wide-open spaces or of tales of valiance, but can quickly turn to heart warming innocence as in track 2, Passing Wagon. Much of Amanda, is quiet and reflective, and creates an almost mystical mood similarly to James Horner's The Spitfire Grill; however, the clear Poledouris character is never lost.

The appeal of Amanda is that it is so quietly intriguing. It does not bowl one over. It entertains, but remains unobtrusive- a balance that can not be said of far too many scores. This may be in part why Poledouris goes somewhat under-appreciated, as other composers sometimes force their music and names, by the nature their composition style or by sheer number of scores produced, into the spotlight. When called upon to produce scores for such films as Free Willy, Les Miserables, and now, Amanda, rarely does Poledouris score so far over-the-top as to detract from the feel and telling of the story or make controversial splashes in the film music community.

Unfortunately, the majority of tracks are less than three minutes in length, but with forty minutes of music being the sum total, an adequate portion is provided. The fidelity of the recording is noteworthy and the flow from track to track equally consistent. In addition, the liner notes are above average as they are detailed and informative.

Despite being some five years old, Amanda is now available for music lovers to enjoy and due to its limited availability, it is recommended that this disc be obtained in short order!

Film Music on the Web, December 1, 2000

Here is Poledouris in his more intimate, romantic mode in music for a film which has yet to be seen in America and the UK. It is about a boy and his rehabilitating relationship with a huge, beautiful Shire horse, Amanda, after the boy who lives with his father on a Montana ranch, looses his confidence following a riding accident that threatens his sight.

There is something of the quality and magic of Poledouris Emmy-winning score for Lonesome Dove here. Amanda gives Poledouris the opportunity of writing a quite varied score. There is the heroic material for the stories of knights of old that the enigmatic stranger, Seven (owner of Amanda) tells the young boy, Biddle. There is grand sweeping music for the grandeur and beauty of the Montana landscape. And there is lighter material for the Biddle's joy and optimism that contrasts with sadder figures for cues such as "The Glasses" and "Biddle to Barn". Yet there is also conveyed a real sense of accomplishment and triumph as Biddle experiences his return to the saddle.

As usual, Poledouris's writing is sensitive and assured with many imaginative harmonic twists and interesting and colourful orchestral colourings. Well worth investigating.

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Horsy tales sure seem to offer a composer something. The scores to Black Beauty (any version), The Horse Whisperer, and Running Free have all elicited something special in their music. Poledouris hasn't broken the trend. This is a warm and affecting piece that can only hint at the quality of a movie we're unlikely to see.

The theme for the young boy of the tale is the gentle heart of the score. There are pleasingly diverse variations presented (nicely highlighted in the liner notes), but as memorable as it might be, the album has a bigger Ace in the hole.

Split into 4 "Parts" is "The Story" told by the enigmatic blacksmith Seven. Each of these segments is defined by an exciting stylistic departure into the sort of medieval frolicking Poledouris is renowned for courtesy of Conan The Barbarian. Brass and percussion whip up the swirling adventure also characterised in The Hunt For Red October. After its fourth and last "Part", you'd be forgiven for momentarily thinking the following "To The Rodeo / Biddle Accepts" had segued into some Golden Age Western.

An almost lost treasure, Prometheus are to be congratulated on their care and savvy in rescuing it.

Cinemusic, December 2, 2000

AMANDA is just like any score written by Basil Poledouris -- in short it's excellent. Imagine the velvety "wifeing theme" from CONAN THE BARBARIAN fused with the star-struck wonderment cues from STARSHIP TROOPERS and you have AMANDA (there are of course other fine elements to the score - so I suppose the point here is that Basil's pronounced style and musical voice is at work throughout).

AMANDA the film (as the liner notes, written by Jonathan Broxton of Movie Music U.K. explain) is about a boy and his horse. While the film vanished without a North American theatrical (or video) run, Basil's score simply shines. Given the subject matter of wide open outdoors, animals (horses in particular - ever hear Danny Elfman's brilliant BLACK BEAUTY?) and nature in general it would be hard not to stretch out some lyrical deliciousness. Basil does not disappoint. Like he has in the past Basil anchors his score on a major theme, this one kicks off the album in "Ride To Church". Orchestrations (with contributions by the late-great Greig McRitchie) are for a decent sized (and in tune Seattle Symphony) orchestra with some emphasis on harps and a handful of woodwinds. The effects are calm and pastoral - this is relaxing and pleasant listening ("Klendathu Drop" this is not!)

"Passing Wagon" introduces noble brass, tinkling piano and some lighthearted moments. "The Story Part 1/Night By" is a highlight track, featuring some of the album's finest writing for solo instruments. It's unabashedly romantic music and I just plain like it (and I'm pretty sure most will and or should). "The Story Part II/Caleb's Fear" is where Poledouris really references his triumph CONAN THE BARBARIAN (still one of the greatest scores ever written) with soaring brass calls and a heroic march.

Things get wistful in "Biddle Lightens Up" and "Amanda Pushes Biddle" then Basil begins pushing all the right emotional buttons with "Pole Practice II" and the epic "The Story Part III/Amanda Kills Spoke". In these "story" tracks lies the real meat of the score which should please fans of Basil's muscular writing style while remaining true to their sensitive sides.

A dash of Copland is evident in the high-flying "To The Rodeo/Biddle Accepts". "Amanda's Gift" and "You Make The Magic" close out the album on a noble and majestic note. At just north of 40 minutes, AMANDA never runs out of steam nor does it overstay it's welcome. It's pleasing when a fine score such as this is rescued from obscurity. Often it's another Williams or Goldsmith effort dusted off from the archives - however this is Basil Poledouris and the more I hear from him it's obvious to me that he's one of modern film scoring's legendary talents.

Film Music Review, December 2000

This is the eighth in the excellent series of Limited Edition CDs from Prometheus. The other seven soundtracks are: THE MASTER OF BALLANTRAE (Bruce Broughton); BREAKOUT (Jerry Goldsmith); CONTRACT ON CHERRY STREET (Jerry Goldsmith); BITE THE BULLET (Alex North); THE CHALLENGE (Jerry Goldsmith); HAMMETT (John Barry); and POLICE STORY (Jerry Goldsmith). According to Jonathan Broxton's helpful notes, this film concerns a friendship between a boy, Biddle Farnsworth (Kieran Culkin) and his horse, Amanda. The film was written by Tom DeCerchio and even though the drama is set in Montana, the film has only been shown in South Africa and parts of Europe. It has yet to be released in the US or UK in any format. Based on this lovely score by Poledouris, it should be well worth watching.

This is a a warm and gentle score somewhat in the style of his Emmy Award winning score for the TV mini-series, LONESOME DOVE. The first track sets the mood nicely with its statement of the folklike main theme, with subtle use of woodwinds and strings. The theme sounds like it could have lyrics set to it, but fortunately we are spared the agony of hearing one of today's pop divas warbling it.

The second track, "Passing Wagon," is a good example of the way Poledouris handles this material. It's begins with just woodwinds in close harmony and expands into a glorious statement with horns and brass. There isn't a great deal of contrast on the soundtrack but that doesn't matter much because the material is so well handled. The four different tracks for "The Story" for example. Each has its own distinctive character. Track 8, "Night By," features flute and strings; and track 9, "Caleb's Fear," opens with harp and strings and then slowly builds with the addition of majestic brass, and strings. In track 15, "Amanda Kills Spoke," there is are moody solos for oboe, flute and bassoon. The fourth part of the story is track 18, "The Sword." This is probably the most heroic sounding of all four parts, with prominent use of brass and horns.

Jonathan Broxton's CD notes about the movie, the score and the composer are well done. The cover photo of "Amanda" the horse is a quite appealing in its design. The sound quality on this CD is good and crisp. The score demonstrates the many talents of Basil Poledouris, who can not only compose for big action flicks, like CONAN and THE HUNT FOR RED OCTOBER, but also for films like this one and a recent film, FOR THE LOVE OF THE GAME.

Music from the Movies, December 9, 2000

Amanda tells the story about the friendship between a little boy and his horse - sounds like Black Beauty in a disguise. The film was never released in cinemas, except for South Africa (!) where it was shown in 1996. Directed by Bobby Roth, this little oddity is blessed with a heartwarming, beautiful score by veteran Basil Poledouris - a composer who has been very succesful in the animal-family-adventure genre, scoring hits like Free Willy, Lassie and White Fang. All of these scores rely heavily on thematic writing, expansive melodies and poignant orchestrations. This is also the case with Amanda, which has a wonderful main theme with a melodical flow typical of its composer, tailored to function in many different dramatic settings.

Apart from this strong theme, what I like the most about the Amanda score is the way Poledouris uses solo instruments, notably flute, piano, clarinet, recorder, and even bassoon (listen to 'The Glasses' for a fine example of how evocative this instrument can be in its higher registers) - this is one of those lyrical and very charming Poledouris scores where the meaning of scoring film music for live musicians becomes so obvious: there is no way this score would have worked without the fine and sensitive performances by real musicians.

Coupled with several tracks depicting the more action-oriented, adventurous aspects of the film, the sensitive, low-key scoring makes this album a wonderful little item. Thank you, Prometheus, for making another fine rarity available.

Scoreland, December 14, 2000

If you like Poledouris, run, don't walk, to Soundtrack Magazine and order this before they run out.

There's just something about horse stories that seem to be especially inspiring to composers. I dunno what it is, but it seems like every time someone makes a movie about a person and a horse, there's a great score to go along with it. This is no exception.

The liner notes explain, this is a little-known and never-in-America-seen movie along the same basic lines as Black Beauty about a boy and a horse. I won't go into the story of where and how this movie wasn't released, but suffice to say that almost no one except people in South America have heard of it. It's a true shame Poledouris's score got drug into obscurity with it. While there's very little in here that's new territory for Poledouris, it's that this is done so well.

Essentially, if you've heard his scores for Lassie and Free Willy, you know what you're in store for here. Cross those with a touch of the folk music style of Lonesome Dove, and a couple tracks that sound vaguely Conanistic, and you've got it.

In some ways, this is the Poledouris CD with something for everyone. There's lots of landscape music, with grand sweeping versions of the two main themes. (both of which are fairly simple in construction, Lonesome Dove-style) There are more tender moments, with his trademark bittersweet strings. The Story tracks, where a blacksmith regales the boy with tales of the days of olde (wow, I NEVER thought I'd get to write that phrase!), are where the Poledouris fantasy elements come in. They aren't AS powerful as his Conan music, but definately in that style, just toned down a bit to fit the overall score. They ALSO break up the flow of the album and breathe a little life into something that could, otherwise, just be a collection of pretty, quiet tracks.

Practically every cue on here is lovely. I wish the tracks were longer, but there's still a good 40 minutes of music on here that Poledouris fans will love. While this isn't the BEST Poledouris has done, even for a composer who rarely composes a bad score, this is on up there. And it seems richer every time I listen to it.

The only question is why Promethius only saw fit to make 3000 copies of it. This is one score that really deserves to be out there and heard by the public, and it's a shame it's shortly only going to be in the hands of collectors. Maybe if it does well enough, they'll put it into more general production. So go buy it already.

SoundtrackNet, January 4, 2001

Amanda tells the story of a relationship between a boy and a horse. The horse's mysterious owner helps the young boy overcome his problems with medieval tales of heroism and bravery, all of which feature the black Shire horse, Amanda. Though never given a North American distribution, the film has its fans overseas and the few who have caught it on video. Consequently Poledouris' score never got a CD release until now.

The music for the most part is very lighthearted and warm. It's a family movie, and Poledouris has provided the movie with a more than adequate voice. The main character's theme, which constantly pops up throughout the score, is fittingly lyrical and pushes the right emotional buttons when it's supposed to. With a piano based structure, woodwinds and strings support the theme. As light as it is, it's unmistakably Poledouris.

The parts of the score that truly stand out, however, are the storytelling cues. These fantasy stories give Poledouris a chance to go back to the type of music that made him famous. Though somewhat reminiscent of Conan, they're not simple knock-offs. During the first few listens, I thought these cues were a bit too rousing for an apparently simple family movie. The music conveys a great sense of soaring over wide-open plains. The full orchestra kicks in, and the music carries the listener along for the ride. It was only after reading the liner notes and discovering the subplot about the medieval stories did it finally make sense as to their inclusion. Consequently, those are cues that are most memorable, where you're prompted to hit the repeat button

The music to Amanda never loses sight of what it is and sticks with it. The Seattle Session Orchestra provides an appropriately intimate feel. It's not big nor is it supposed to be. Never a one-note composer, Poledouris isn't afraid to show his playful side either. One of the standout tracks, "Amanda pushes Biddle", is structured like a musical tug of war and builds to its own little climax.

The album is a limited released by Belgium-based Prometheus Records. As usual, they've done a wonderful job of putting this release together. The album sounds clean and well mastered. The liner notes are brief and informative in giving the background of the movie and the approach Poledouris took. Overall, this is a good package and well worth owning for Poledouris fans.

The Soundtrack, January 10, 2001

Check your six guns and the rifles at the door and you have this new score from arguably the most talented contemporary composer in Hollywood today. This is the third of an informal agrarian consideration from Poledouris. The fact that it has no sense of violence, only heart, is not to say that is bereft of intelligence. There is an articulate sense of place and posture here that pleases. No a small thing when you consider that most romantic scores today are thudding re-statements of a decent theme that's ultimately played to death, usually ending in a wordless veil of female voices. Not so here. Amanda is rich in near-poetic Americana.