The X Files: I Want To Believe by Mark Snow
Mulder and Scully in The X Files: I Want To Believe (2008)
https://www.youtube.com/watch?v=vbmA8V65czY
2008 saw the release of The X Files: I Want To Believe, the second X Files feature film, this time directed by Chris Carter, the series creator. The film was following both the successful first feature film Fight The Future and the conclusion of the television series in 2002. It was an interesting film that never really broke through with a confusing marketing campaign and the bad luck to open the week after The Dark Knight which became a cinematic behemoth. Now, 18 years later, Chris Carter’s director cut will come to streaming via Hulu - the link to the trailer is above. There has been no announcement about an updated score album so it seemed like a good time to revisit Mark Snow’s original film score for the 2008 release.
The late Mark Snow’s music is synonymous with The X Files and the score for this film was far more orchestral than the previous film - it was great to hear Snow let loose with a full orchestra to such emotive effect.
The score (and the film) begins with Moonrise - a moody, atmospheric drum beat begins the track which slowly builds electronically and thunderously with strange noises and sounds to what can best be described as the film’s chase theme - it is used a number of times throughout. This track work really well because the opening part of the piece really builds that tension slowly and then the more traditional orchestral sound with strings and percussion form the basis of the chase theme. The conclusion of the track returns to moodier vibes with the tinkling of that famous X Files piano.
The following track uses the piano over subtle strings with some lovely low key choir to introduce us to the character of Dana Scully in No Cures/Looking for Fox. The opening piano theme becomes Scully’s throughout the film as the theme for her medical and ethical challenges and it is truly beautiful, but is better developed later in the score. The track then develops into a more traditional X Files sound as she makes her journey to find Fox Mulder. The second half of the track is twinkling and mysterious with further use of the choir before returning to the piano to score the eventual reunion between Mulder and Scully. The Trip to DC continues that emotive piano to score the relationship between Mulder and Scully, it is tender, sweet but with hints of a darkness underneath it as they explore how to move forward with a little brass flourish when they both agree to head to DC to work with the FBI again. The track then leans into more dramatic and exciting strings to score their journey - it’s a track that gives you both the tender character work and the more dramatic score music required for a cinematic thriller.
Ybara The Strange/Waterboard and Can’t Sleep/Ice Field are similar in that they start with something more emotive, the former that Scully piano theme and the latter a more mysterious piano riff before developing into something darker and more traditionally thriller orientated. A Higher Consciousness is the most traditional piece of X Files music from Snow with a swirling and electronic sound that creates both mystery and discomfort. It has that paranoid thriller feel and it could be lifted from some of the classic themes used in the original show and that Snow would revisit in the return of the show in Seasons 10 and 11.
The film and the score pull back from the central mystery to focus on Scully’s medical challenges which actually contrast well with that central mystery as Scully shows care, empathy and compassion. The Surgery is a string heavy piece that leans heavily into the sorrowful nature of the situation with great use of first the cello and then secondly a haunting female choir - it feels like a piece to emphasise Scully’s moral and ethical internal battle and it work brilliantly. Good Luck is the track that follows and scores a tense but respectful exchange between Scully and Mulder. It features a homely yet romantic woodwind arrangement that perfectly captures the time, the respect and the mutual love that these characters have for each other. It’s a relatively short piece but it’s really beautiful, especially when the piano and strings kick in and is later revisited at the conclusion of the film.
The chase theme from Moonrise is revisited in a more extended and developed way in Foot Chase. The track features those dramatic strings with some electronic support. Snow’s use of percussion really adds to the tense nature of the piece as Mulder chases a suspect - those electronics remind you that it’s the X Files with strange sounds and flourishes that are uncomfortable and mysterious to the ear. It’s a pulsating piece of music that adds a real jolt to the score after a number of darker atmospheric pieces that feel traditionally thrilleresque in nature - even though the track build and ends in pure horror.
The final three tracks work well as a series of conclusive pieces - firstly Axe Post is dark and sinister and unsettling as Mulder finds himself in real bother and the track builds to a really excellent dramatic flourish that coincides with the moment where Scully comes to his rescue. Box Them is a short piece that continues that horror and thriller music with jaunty brass and unsettling strings before developing into something warmer and rich with a reconstructed use of the X Files theme on a horn followed by that warm Scully piano theme - in the film it’s the moment where the two stories come together and Scully must use her medical expertise to save the potential victims. This leads into Home Again which is everything you could want as a fan of Mulder and Scully. Mark Snow does not hold back and leans into the orchestral sound to present something warm, hopeful and truly romantic as beloved characters find strength and trust in each other. That lovely piano theme used in Good Luck returns and this time is builds into a soaring orchestral version, its tender and delicate but utterly lush and enveloping. The latter part of the track then returns us to that choir led hospital based theme that has scored Scully’s moral dilemma and as she finds the courage to move forward, the sweeping orchestral version, still with the famous whistle, of The X Files theme plays to remind us of Scully’s strength and capability.
It’s a great score to revisit and who knows how it will sound in the updated Director Cut of the film - my understanding is that the film will feature more songs than previously, but hopefully Chris Carter remembers that often the beating heart of The X Files was Mark Snow’s beautiful, troubling, unsettling, hopeful, scary, inspiring music.
Favourite Tracks: No Cures/Looking for Fox, Foot Chase, Good Luck, Box Them, Home Again