Since the overwhelming success of Jaws (Steven Spielberg) back in 1975, the summer has become a dramatic battleground where Hollywood studios briskly compete for the audience’s attention and hard earned dollars. During this season, we are bombarded every week with at least one movie that promises unsettling action, unearthly landscapes, and emotional bliss. Faithfully accompanying these flicks to the combat zone are their music scores, eager to reinforce on the perception of the viewer the magical worlds promised by the tag lines. Thus, this time of the year is also the best moment for soundtrack lovers to look for majestic, brooding, or melancholic music. Fortunately, three of the films released during the month of July feature alluring compositions and performances.
Music from the Motion Picture The Bourne Ultimatum [rating: 9]
The Bourne Ultimatum
(Paul Greengrass), which follows The Bourne Identity
(Doug Liman, 2002) and The Bourne Supremacy
(Paul Greengrass, 2004), is the latest entry in the successful trilogy of gloomy spy flicks based on the clever books written by the late Robert Ludlum (1927-2001). While there is no contest that Jason Bourne is not as popular as James Bond, it is undisputable that the Bourne films played an influential role in the gestation of the latest Bond adventure, Casino Royale
(Martin Campbell, 2006), which is by far the grittiest and most violent of the series. Arguably, a substantial contribution to the success of the Bourne movies has been their dynamic scores composed by John Powell. Perhaps the most inspired action film music in years, the soundtracks for these three films are structurally similar on their aggressive use of percussions to underscore the brutal action and brooding suspense.
Released by Decca, the soundtrack for The Bourne Ultimatum
presents a generous amount of music in an extraordinarily crisp recording. Composed for full orchestra and electronics, the music places a strong emphasis on the percussions and the low strings, creating a dark acoustic atmosphere. As with the previous films of the franchise, The Bourne Ultimatum
is underscored with music that perfectly highlights its unbearable tension, exotic locales, and relentless pace. In addition, The Bourne Ultimatum
often reprises the two main motifs from the previous scores, which are the driving force behind the lengthy tracks “Tangiers” and “Waterloo”. Underscoring the two main action sequences of the flick, these tracks are relentless in their use of percussions and rhythm to accelerate the frenetic tempo of the images they accompany. On the other hand, “Thinking of Marie” is a meditative and melodic composition, which serves as a neat balance to the aggressiveness found in the rest of the score. In this regard, this soundtrack is an authentic acoustic tour-de-force that perfectly demonstrates why the music for the Bourne movies has become a staple of modern action film scoring.
Harry Potter and the Order of the Phoenix Motion Picture Soundtrack
Another continuing series of popular movies are those in the Harry Potter franchise. But contrary to the consistent musical structure of the Bourne films, the Harry Potter series have featured three different composers over the course of five flicks. Indeed, the legendary John Williams provided serviceable scores for The Sorcerer’s Stone
(Chris Columbus, 2001), The Chamber of Secrets
(Chris Columbus, 2002), and The Prisoner of Azkaban
(Alfonso Cuaron, 2004), while Patrick Doyle composed surprisingly effective music with overwhelming dark overtones for The Goblet of Fire
(Mike Newell, 2005). Now, for The Order of the Phoenix
(David Yates), the musical wand was in the firm hand of composer Nicholas Hooper. Arguably, Hooper’s greatest challenge in the scoring of this film was to follow the giant footsteps left by two of the most distinguished composers in the business. While the resulting score is not a breakthrough of musical underscoring, Hooper succeeded in creating an elegant and charming score.
For The Order of the Phoenix
, Hooper composed a score for large orchestra and choir in traditional symphonic fashion. As such, Hooper appears to showcase a solid understanding of classical music structure, composition, and orchestration. For this score, Hooper cleverly balances all the sections of the orchestra to enhance the magical content of the moving image. Some of the highlights presented in the soundtrack CD include “Possession” and “Death of Sirius”, two dark passages which feature harps, high strings, and whispering voices. Equally satisfying is the reprising of the Hedwig’s theme, which was originally composed by Williams, and now can be found in “Another Story”, “Hall of Prophecy”, “The Room of Requirement”, and “A Journey to Hogwarts”. But nevertheless, the compositions feel fresh and avoid a simple re-hashing of the original. Overall, The Order of the Phoenix
feels as one of those instances where the score proves to be far superior to the film itself.
No Reservations Original Motion Picture Soundtrack
While The Bourne Ultimatum
and The Order of the Phoenix
belong to well known franchises, No Reservations
(Scott Hicks) is one of those summer flicks which are rare to see these days: it is not a sequel, nor a remake. A romantic comedy that takes place in a high brow restaurant, No Reservations
mostly relies on opera arias than on an original score. For instance, the soundtrack CD includes “Celeste Aida” and “Nessun Dorma” performed by the late Luciano Pavarotti, and “La Donna e Mobile” interpreted by Joseph Calleja. As such, only a fool would dare to criticize the composition and performance of these pieces. In this regard, perhaps the only wise comment is that the music fits nicely the kitchen locale of the movie.
The CD also includes a couple of popular songs, such as the unforgettable “Sway” by Michael Buble and “Mambo Gelato” by Ray Gelato. The rather brief original music found on this soundtrack was composed by the celebrated Phillip Glass using his characteristic minimalist style. However, the only two tracks with Glass’ music are “Zoe & Kate Watch Video” and “Zoe Goes to the Restaurant”, which are very brief and quite likely to disappoint the artist’s fans. A mixed bag of goodies, the soundtrack for No Reservations
ultimately provides an overall unsatisfying listening experience.