The opening track is not especially promising, a wash of synths that don't really go anywhere, but The Waves of the Caspian Sea is an early highlight with a cliché, but effective musical portrayal of the sea in a typically Debussian fashion. As always, Horner's atmospheric and dramatic compass seems spot on, with a melancholy mood that pervades every cue. The piano is often highlighted, or functions alone as in Two People, which has a marvellous duality about it as the harmonies shift from major to minor, which draws the listener in, while keeping things perpetually unsettled. Break-In reprises the surging strings of The Waves of the Caspian Sea, turning them into a more suspenseful motif with a little percussion.
To paraphrase a comment regarding Wagner's operas, House of Sand and Fog has good moments but boring quarter hours. This is especially noticeably in The Shooting, A Payment for Our Sins which only engages sporadically, the rest is rather more filler. What is presumably a small hint at the origins of Kingsley's onscreen family, a little quasi-ethnic percussion underpins a couple of cues, notably Behrani's Thoughts and, more intensely, in "This is no longer your house." House of Sand and Fog is almost drama without music. You can feel the tension and pain of the film throughout every minute of the score, but that doesn't necessarily make it good music and certainly doesn't make it enjoyable. Hard going at times and with plenty of longeurs, but not bad for all that.
Rating ~
Total Time ~ 69:25