Finding Green Card on CD as a young student collector of movies and scores, in a no longer existent high end AV store in Adelaide, was one of many wonderful discoveries of that decade.
I can’t exactly recall where I first watched the movie – perhaps in a no longer existent cinema in Fiji, followed by taping it off Australian broadcast TV, but coupled with the ever growing popularity of Enya, and the endearing theme of romance fought and lost, the memory is enduring. Musically, the triangle of contributions with Mozart included has never been replicated so well, with Eastern African influences encompassed in the score, while reverberating the environs of New York.
One must take into account that this was at a time before the Internet and album liner notes were pretty much all a fan had to go on. It was particularly affecting in that Peter Weir being Australian, had Hans come to Sydney to write the score that had a compelling affinity to the experience. Additionally as far as Hans was concerned, collectors had gem after gem to savour, this notwithstanding.
It must be said that the Gerard Depardieu character pre-dates Jack Black’s from The Holiday, where the composer essentially reflects the soul of Hans as a transfiguration. The pure emotion of writing a theme is on open display as it evolves to the finale resulting in what is still unique in the Zimmer canon to date.
Pour Bronte is an exquisite romantic theme that begins with the composer humming the opening bars, followed by a lilting piano and then transitions to synths and momentously builds into a percussive rhythm, and seamless blend of street choir, that segues into a quasi acapella rendition of the theme with lyrics – the gospel tinged Keep Your Eyes on the Prize.
Totally hummable, and elegant in its use of the Fairlight synthesiser – indicative of the technology of the time, yet so apt.