Posted by: Ram <Send E-Mail> Date: Wednesday, March 6, 2013, at 2:22 p.m. IP Address: cpebcc8100feed7-cmbcc8100feed4.cpe.net.cable.rogers.com
I expected the reviewer to take the position that he has taken in this review, having just read his Goldeneye review. He seems to be an Arnold fanboy, and knocks anything that is different or modern.
Bond has been with us for 50 years. Times change and sadly people age too. The great John Barry, the scion of Bond scoring, is no longer with us. We will never hear another of his superb compositions for this series again. He set the standard, and is as important to what made Bond on Film great as Sean Connery.
I object to is obvious and pale imitations of Barry. Tragically, that is what David Arnold has been giving us for the last decade, apart from some great sporadic flourishes (such as African Rundown in Casino Royale or Night at the Opera in Quantum of Solace for example) his stuff has been very pedestrian indeed and certainly unmemorable. A terribly poor imitation of Barry. What has been particularly disgraceful (to use the reviewer's favourite adjective) has been the way Arnold overused the James Bond theme during the Pierce Brosnan years. Only in Casino Royale did he dial it back. John Barry never overused the James Bond Theme, particularly from Goldfinger onwards - he incorporated it into the score subtley and modified it.
Thomas Newman probably realized that he could not imitate the great Barry (something Arnold failed to do) and chose to take his own approach. And he's done very good work here. New Diggs is excellent, as is Shanghai Drive, and The Chimera. Severine is far superior to anything Arnold has done, including Vesper's Theme. It has a modern touch and very much went with the movie. All it lacked was a little orchestral flair (it's there but muted) and if he can bring that out in Bond 24 (I'm assuming he's scoring it if Mendes returns) then we'll have a classic on our hands. Keep in mind, this is his first kick at the can. Arnold has had 5 tries, and has not produced one classic score. Newman gets an Oscar nomination on his first try.