Development
Fuqua met James Horner to compose the score for the film,but before the film's production commenced,he died in a plane crash on June 22,2015. The following month,during the premiere of Southpaw (2015),Fuqua revealed that Horner had begun working on the film's music before his death and intended it to present as a surprise. [1] [2]
Horner had written seven themes that run for nearly 15 minutes for the film while his close friend and producer-arranger Simon Franglen had completed those themes while also composed new material for the film. [3] Franglen recalled that he had to deliver the score that serves as Horner's tribute and also sets the appropriate tone for the film,which was reminiscent of Elmer Bernstein's original score for the 1960 film. [4] Franglen said that,"We needed to make sure that the language developed by Elmer was referenced in some way because anyone who loves film music is going to say that Elmer’s score is exquisite [...] But it was very obvious,also,that it was of its time when you put it against this film." [5]
Franglen went for a contemporary action score with a classical undertone and organic instruments—guitar,strings and percussions. Instead of using electronic synthesizers,he went with clapping as rhythm. [5] He took the composer's piano demos and developed them as score suite with recordist-mixer Simon Rhodes. Fuqua and the executives at Metro-Goldwyn-Mayer approved the decision to adapt Horner's themes into a full score. Horner's colleagues—orchestrator/conductor J.A.C. Redford,and music editors Joe E. Rand and Jim Henrikson—worked on the film score. Redford supervised the 80-piece orchestra performed Hollywood Studio Symphony,with featuring musicians—ethnic flautist Tony Hinnigan and guitarist George Doering also contributed to the score who also worked in Horner's The 33 . A three-member choir performed wordless vocals for the action sequences,and Franglen tortured two banjos as the sound for the antagonist. [6]
It took several months for curating the film's score which runs for 107 minutes. Franglen and Horner served the credit for the music contribution while Rhodes was credited for additional music. [6] The score was released through Sony Classical Records on September 16,2016,a week prior to the film's release. [7] The score was Horner's fourth film score to be released posthumously after Southpaw, Living in the Age of Airplanes and The 33,as well as Horner's final film score to be composed in his career. [8] The score also features the original theme from the 1960 film which would be available only in digital streaming services. [9]
Critical reception
Filmtracks.com reviewed "The Magnificent Seven is merely a fascinating academic study,a thoughtful expression of love for a composer lost before his time." [10] James Southall of Movie Wave wrote "The Magnificent Seven isn’t quite the glorious swansong I had selfishly craved it to be,but for what it is,it does the job." [11]
Sean Wilson of Mfiles described the score as "a rousing,rollicking reminder of why Horner's remarkable talent will be missed,but will also continue to live on in our hearts and minds". [12] Pete Simons of Synchrotones wrote "Franglen does a good job making the score as melodic as possible (and for all the darkness,we do get a pretty rousing finale)" and gave 4.5 out of 5. [13] GQ wrote "The score for the new Magnificent Seven,by the late James Horner and Simon Franglen,quotes Bernstein extensively,but it's a sign of the film's joylessness that it doesn't go full Bernstein until the closing credits,when the Aaron Copland-esque percussion and strings finally come alive." [14] Wendy Ide of The Guardian reviewed that the score "hits every western-genre cliche in the book:from hoedown fiddle to Aaron Copland-style Americana." [15]
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