A drama set in 1986 Iran and centered on a man, Sahebjam (Caviezel), whose car breaks down in a remote village and enters into a conversation with Zahra (Aghdashloo), who relays to him the story about her niece, Soraya (Marnò), whose arranged marriage to an abusive tyrant had a tragic ending.


1. Main Title (3:12)
2. She Lies By The River (2:54)
3. Soraya’s Theme (0:46)
4. The Meadow (1:41)
5. They Looked Away As I Died (2:06)
6. Death Of Hashem’s Wife (3:43)
7. Digging Graves (1:49)
8. Concubine (1:03)
9. Your Mother’s Ring (1:19)
10. Waiting (1:41)
11. The Beating (2:36)
12. The Verdict (2:03)
13. I’ll Tell The World (1:47)
14. Saying Goodbye (2:46)
15. Dead Woman Walking (1:13)
16. The Stoning Of Soraya M. (12:50)
17. The Gentleness Of Passing (1:59)
18. The Escape (2:35)


Given the similarities in the depictions of life and death between this film and The Passion of the Christ, despite the obvious differences in scope, it is perhaps no surprise that Debney rejoined with the producer for this assignment. The score is often described as “The Passion of the Christ-lite,” which is accurate in the most basic sense, but sells short the engaging reach that The Stoning of Soraya M. achieves despite its less ambitious stature. While most of the press about The Stoning of Soraya M. has concentrated on the brutal killing scene, the score does not dwell upon the power of that sequence. In fact, Debney handles that scene with only a minimal amount of dissonant disruption of the otherwise harmonic beauty of the remainder of the score, albeit sparse. It is not often that Debney reaches such intimate levels of the soul in his music. Assignments like Cats & DogsThe Tuxedo don’t exactly give him many such opportunities. and

The eyes of the world are centered on Iran these days, searching for truth amongst the myriad of stories, photos and rumors. This is a country on the brink of revolution, with democracy and human rights hanging in the balance. It’s a tenuous hour and, as timing would have it, the perfect moment for The Stoning of Soraya M.

While composing the score, Debney wanted the music to reflect the culture in the film as well as the dichotomy it illustrates. He accomplished this task by incorporating ethnic instruments such as the Persian violin and cello, the Oud (a string instrument) and several world woodwinds. An 80-piece orchestra and vocal soloists including Tehran-born Sussan Deyhim complete the beautifully moving score.

The movie explores how religion erases the minds of some people. How they become so narrow sighted they can’t think for themselves. That is exactly what The Stoning of Soraya M. shows the international audience. How Islam erases the minds of many people and replaces them with bullshit. A mother is willing to slaughter her own daughter if Allah says she should. However, Allah never comes down on earth and speaks, its the BS people thousands of years ago wrote. Allah wants its people to think and be good for each other not kill and slaughter, most of the time, innocent women. In the medieval times in Europe they used to kill women too. If anyone accused a woman of being a witch they used to drown her. If she drowns to the bottom and dies then she’s innocent. If she floats then she’s a witch and must be burned.

The film and the original score works as a perfect mirror to Debney’s previous work on The Passion of the Christ. It’s a film that shows the horror of religion passed through a modern filter. The soundtrack reflects that, as we mix through old world sounds until we hit the modern dissonance of the final track. The actual music for the stoning is a nearly thirteen onslaught of audio punishment. It’s harrowing, it’s intense and it is a must listen. Therefore, I recommend it for a purchase on ITunes.


Final Score: 97% –A

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