The Black Dahlia (2006)

Director: Brian De Palma
Composer: Mark Isham
Engineer: Simon Rhodes

“I select music that I think will inspire the composer for that theme. Some composers don't want you to do that at all. Some composers don't want you to put temp tracks in, and you have to describe the music or say “it should be a little like Mahler's 3rd” or “a little of Puccini here,” you sort of describe the music to them and they go off. Morricone was like that, Herrmann was like that. But some people like you to give musical suggestions and I give them very clear musical ideas of what I had in mind.” - director Brian De Palma

The Black Dahlia is film noir crime thriller directed by Brian De Palma based on the 1987 novel of the same name. Both book and film are inspired by the heavily sensationalised media coverage of the gruesome murder of Elizabeth Short in Los Angeles 1947. It stars Josh Hartnett and Scarlett Johansson with the music provided by distinguished New York session player turned composer Mark Isham. The highly anticipated release, after the success of film noir hit LA Confidential, is currently the renowned director's last big Hollywood studio project after the film tragically flopped at the box office.

I have been a fan of Isham since his compelling and gritty score for the 1988 hidden gem The Beast. The criminally underrated composer collaborating with the innovative director of Carrie, Scarface and Carlito’s Way was always going to grab my attention. Apparently, James Horner was originally hired to score the project but for reasons unknown Mark Isham was brought in to replace Horner at the last minute. Isham has a rather splendid background in jazz and is a tremendously skilled trumpeter, making him a savvy choice to match the atmospheric and beautifully shot neo-film noir setting.

The score opens with a sliky-smooth trumpet solo performed by Isham that establishes the musical voice of Josh Hartnett’s character. This opening sets the scene for a gorgeous mixture of jazz, blues, driving rhythms, irregular strings and fully orchestrated actions cues. The overall effect of the score is emotionally complex and a rewarding listening experience. Both the movie and music give a modern twist on an authentic film noir experience. It’s a fine moment in Isham’s career, it just oozes class and is one of his best scores to date.

“I build up my templates, and then along the way, ideas will presumably start flashing in front of me and I very quickly try to get them down. I don't necessarily worry about making them fit the picture or how long or short they are. If there's a good kernel of an idea, you just want to get it down. I’ll end up with maybe 20 different ideas all sketched out as a starting place.” - Mark Isham