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Jane Got A Gun by Lisa Gerrard & Marcello De Francisci (Review)

posted Feb 1, 2016, 7:45 PM by Kaya Savas

Jane Got A Gun has been on quite a production ride as it had to deal with an ever-revolving door of male leads dropping out and then when things were set in stone Relativity went bankrupt thus losing the distribution rights. The Weinstein Company picked it up and released it in the studio dumping ground known as January. The score by Lisa Gerrard and Marcello De Francisci is notable given their previous collaborations on InSight and Samsara. Unfortunately the duo fail to conjure up anything much more than some tranquil ambience in this western that misses the mark.

Jane Got A Gun is quite standard and predictable when it comes to the plot. A woman must defend her land from a gang of outlaws and enlists the help of her former fiancé to help save her family. Lisa Gerrard is not known for action nor genre scores, but her voice has been in plenty of them after Hans Zimmer teamed up with her for Gladiator. Marcello De Francisci has more of the track record when it comes to the darker crime stuff, but his stylings do fall in line with Gerrard’s. And I think here it just seems to be an example of bad casting. Lisa Gerrard and Marcello De Francisci are fantastic composers, but for some reason during this entire score I could not get into it. The score is almost void of any melodic structure, instead focusing on somber ambience. The warmth of that ambience is trying to illicit some emotions, but it fails to do so. The only parts of the score that are very successful are the tracks aimed at building tension and suspense. “Slow Jeremiah” is an example of some effective scoring at play. But overall the score lacks heart and a spirit. The final few tracks do deliver some great moments and some much needed emotional resonance, but it comes a little too late. And yes if you’re wondering, Gerrard randomly puts her signature vocals at the end of track 3.

Jane Got A Gun feels like a squandered attempt to do something great. Lisa Gerrard & Marcello De Francisci feel out of place scoring outlaws and shootouts, and the score never gains momentum until the very end. There are some warm moments of emotion and some good stretches of suspense, but the lack of melody makes this mostly ambient score distant and uninspired.