It forms the backbone of the cue "Samurai" and is given a magnificent and powerful performance on the erhu accompanied by great brass support. Jutras was one of the pioneers of Cirque du Soleil\'s music, and so Le Rêve is similar in sound, making use of choirs, an orchestra, electric guitars and basses, and drum kits, but it comes off as more cohesive than René Dupéré\'s latest Cirque du Soleil offering, Kà, and the reason probably lies within the melodies, especially one which opens the album and which weaves itself into the construct of the score. In spite of some familiar refrains, Le Rêve is indeed imposing, entertaining and, perhaps most importantly, cohesive. Melody isn\'t everything in scoring: it is an important element, but one has to sometimes look beyond it.
I could have dismissed the whole soundtrack as an uninventive copycat, but I can\'t. And "Splash" uses (deliberately or not, I cannot say) a secondary phrase from Zimmer\'s famous "Brothers" piece in Broken Arrow. The theme Jutras uses in "Overture" and which comes back in several cues, the glue of the score, seems to recall "Flight" from le Cirque du Soleil\'s Kà. There\'s a piano line in "Between the Lines" that reminded me of Michael Andrews and Gary Jules\' take on "Mad World" from Donnie Darko. In Benoit Jutras\' imposing score to Le Rêve, a no-holds-barred circus-like show at the Wynn Las Vegas, I heard familiar melodies. Indian composers are a bit luckier in that respect. There\'s only so many ways a composer can put together twelve notes. One also begins to see a given melody slipping through the cracks and showing its head in thrillers, romantic comedies, action epics. When one composer comes up with a groundbreaking ensemble of instruments, five more composers are usually waiting just around the corner to steal this exact same sound for their score, mostly not out of jealousy but out of pressure from studio executives who want that sound for their movie. The more film scores one listens to, the more one begins to detect trends.
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