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Harry Potter and the Goblet of Fire
Composed, Co-Orchestrated, and Co-Produced by:
Patrick Doyle

Conducted by:
James Shearman

Co-Orchestrated by:
Lawrence Ashmore
John Bell
Nicole Nevin
Brad Dechter

Co-Produced by:
Maggie Rodford

Warner Brothers/Sunset

Release Date:
November 15th, 2005

Also See:
HP: Sorcerer's Stone
HP: Chamber of Secrets
HP: Prisoner of Azkaban
Quest for Camelot
Great Expectations
Sense and Sensibility

Audio Clips:
3. The Quidditch World Cup (0:34):
WMA (224K)  MP3 (284K)
Real Audio (199K)

10. Golden Egg (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

12. Harry in Winter (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

18. Voldemort (0:30):
WMA (200K)  MP3 (254K)
Real Audio (179K)

Regular U.S. release.


Harry Potter and the Goblet of Fire
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Buy it... if you're open to the idea of a bold new direction for the music of the Potter franchise, with stronger English sensibilities and harsher realities.

Avoid it... if no amount of beauty in Patrick Doyle's score can compensate for the nearly complete dismissal of John Williams' themes for the franchise.

Harry Potter and the Goblet of Fire: (Patrick Doyle) This, the adaptation of the second longest book in the Harry Potter series through six entries, swiftly maneuvers through the events of the book in a mere two and a half hours, dropping some popular sub-plots to fit the story into one film. While the task of directing the films has changed hands several times since the movie franchise's debut four years ago, the films have maintained their continuity thanks to the nearly faithful screenplay adaptations of author J.K. Rowling's writing, a consistent cast aging at approximately the right pace for the films, and most notably, the music of John Williams. Nominated for Academy Awards for both The Sorcerer's Stone and The Prisoner of Azkaban, his three entries in the series received much of the same creative structural treatment that the maestro had used for continuity in his other trilogy works, including a strong presence of title themes and suite performances in every instance. With a busy 2005 schedule, it was known as far as a year in advance that The Prisoner of Azkaban would likely be his final Harry Potter score, and with considerable consternation, fans of the franchise were tortured with rumours that indie rocker Jarvis Cocker would be writing the score. Indeed, with source music becoming an ever-increasing element in the stories, Cocker would contribute as part of the "Weird Sisters" performances of songs in the film. But with English director Mike Newell taking the helm, it was a pleasant non-surprise that he would hire the classically-inclined Patrick Doyle to score Harry Potter and the Goblet of Fire. The two had collaborated on Into the West in 1992 and Donnie Brasco in 1997, two very different and somewhat average works in Doyle's career, but both containing the light and dark sides of the orchestral writing that Doyle would be required to summon for this newest wizarding tale.

It's hard not to cheer for Doyle, having graced so many Kenneth Branagh projects with impressive underscores, and having beaten leukemia in 1997-1998 while writing fascinatingly enticing scores for two cinematic failures, Great Expectations and Quest for Camelot. His best known works in pop culture today could very well exist in the light comedy genre, where his scores for Bridget Jones' Diary, Blow Dry, and Calendar Girls have rarely seen the light of day, and his robust and beautiful orchestral works for Nouvelle France and Nanny McPhee continue to meander beneath the surface. Indeed, Harry Potter and the Goblet of Fire is Doyle's first sure shot at reclaiming the Academy Award consideration that he garnered in the Branagh years of the mid-1990's, and he certainly makes the most of it. The scope of his Harry Potter musical interpretation is broad and magical, brutally highlighting the sinister aspects of the story while catching his breath in moments of tingling, sensitive string writing. Instrumentally, Doyle returns to a palette very similar to that of the little-known Quest for Camelot, with which Harry Potter and the Goblet of Fire shares significant musical connections. Doyle has certainly made it known in select efforts throughout his career that he is not adverse to quick genre switches and unusual vocal usage within the same score, with the Great Expectations score running a marathon through several genres in just half an hour. Here, Doyle remains firmly rooted in his classicaly-inclined scores of Branagh fame, with the creativity shining through in the motifs he creates for the two visiting schools and the Tri-Wizard Tournament, as well as the Irish and Bulgarian influences for the dazzling Quidditch World Cup early in the picture. The latter is simply a spectacular piece, opening with an Irish Jig consisting of beating drums and a full string section, and leading to a base-string and brass ripped rhythm under forceful male chants.

Doyle introduces two new themes for Goblet of Fire, including the slowly rising series of notes for Voldemort that eventually turns downward in a heavy minor in most performances. This theme wastes no time making itself known at the outset of the score, with Doyle bypassing the opening music box cuteness of the first scores and getting to business with a harsh brass rhythm immediately. Doyle hints at the Voldemort theme in "The Dark Mark" and eventually lets it loose during the final confrontation. The other new theme Doyle clearly identifies is one for Harry himself, which is something that John Williams never really accomplished. The most interesting aspect of this theme is its genuinely sincere English sound, taking veteran film music ears back to the beautiful innocence of Sense and Sensibility. The concert piece for this theme is "Harry in Winter," a cue cut abrupty short in the film but serving as a magnificent piece on album. Important to note is that both of these themes are primarily rooted in the upper ranges of the string section, perhaps due to Doyle's own tendencies in his thematic writing (there's even similarities here to the great theme heard during the aerial-shot car ride sequences in Bridget Jones' Diary), but it would be far more intriguing if Doyle made a conscious decision to link the two themes in instrumentation due to the inherent connections in the story between the Harry Potter and Tom Riddle characters. But if you're a fan of Doyle's intensely darker side, with scores such as Mary Shelley's Frankenstein and Needful Things at the forefront of your CD racks, don't despair. Doyle's underscore for the action and suspense sequences in Goblet of Fire, whether in fanfare form or in brutally rhythmic progressions, will blow you away with its intensity. The "Voldemort" cue could, for example, remind you of Trevor Jones' pounding battle sequences in Dark City. Aided by sometimes vicious performances by the resoundingly deep ensemble, Doyle has superbly captured the fright, anger, and victorious exuberance necessary in each circumstance, providing not only an effective score, but an immensely interesting one as well.

The comedy cues in Goblet of Fire may not be as overwhelming, but then again they never really were in Williams' scores either (even with the technical mastery in music such as that for the Knight Bus, it still can't beat the simple elegance of Buckbeak's theme, for instance). Doyle's little waltzes and hymns are incorporated directly into the film as source music, and the music for the wretched reporter, Rita Skeeter, is an extension of the lightly prancing music of Calendar Girls. This isn't magnificent material, but it suffices to the degree that once again, it comes from the appropriate perspective of an English composer for an English setting. One lighter cue that stands out is the necessary musical representation of the song that the mermaids sing when the mysterious egg clue is opened underwater by Potter. Here, the "Underwater Secrets" cue features the lullaby that the mermaids perform with their ethereal female voices. The actual songs in the story's Yule Ball sequence are a somewhat more unfortunate necessity for the album, but are tastefully moved to the end of the product. All three of these pieces, written and performed by the odd combination of Jarvis Cocker and Steve Mackey of Pulp, Jonny Greenwood and Phil Selway of Radiohead, and Steve Claydon and Jason Buckle of Relaxed Muscle, actually appear in the film. Two rather rambunctious 80's rock songs are followed by a love balled of the same era, and after the efforts of Danny Elfman this past summer, you have to wonder what kind of fun that he would have had with an opportunity like this. The ballad, "Magic Works," is actually an enjoyable throwback to those high school proms where the fog machines always accentuated the smell of hairspray and the DJ said such tired things as "This one's going out to all the lovers out there" --an actual line in this Potter song, too. Pat Doyle's own string arrangements in this song place it as Moulin Rouge-worthy throwback material. The ridiculous song titles are a chuckle; "Do the Hippogriff" is downright perverse and "Magic Works" would seem to be a given in the world of Harry Potter.

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There is, among all this praise, however, one extremely difficult criticism that must be leveled against Doyle for his work on Goblet of Fire. No matter how strong his underscore, no matter how beautiful his themes, and no matter how effective his comedy, he stepped onto a moving train and suddenly diverted it onto a new track. The themes by John Williams for the first three films were firmly established by the end of Prisoner of Azkaban, and their powerful allure still exists in the form of their easy memorability. Doyle only references the opening bars of the "Hedwig Theme" in two or three cues in Goblet of Fire, and they seem forced into the equation. No other clear references are made. Williams' eight-note Voldemort theme, his brassy extension at the end of Hedwig's theme that had become the identity of Hogwarts (as well as the default title theme), the gorgeous "family theme" written for Richard Harvey's woodwind solos, the exciting and rapid brass-blasting theme for the game of Quidditch, as well as the several explicitly developed auxiliary themes by Williams... none of these are even suggested by Doyle in Goblet of Fire's major cues or album. Therein lies the debilitating weakness in Doyle's score. Changing the title themes this late in the game is as awkward as if one of the three main actors were to be rotated out. This is not to say that Doyle should have simply regurgitated Williams' work; the underscore in Goblet of Fire is exemplary, but without the occasional references to the established Williams themes, Doyle fails to provide any sense of continuity. When you take into account the honest fact that Williams' themes are simply more vibrant and memorable than Doyle's (despite their own superior characteristics), Goblet of Fire is likely to be a bittersweet score for many Potter and Williams listeners. Thus, in the end, Doyle's music for the film is awkwardly missing the context necessary at this point in the series, and even his own material here is badly edited and undermixed in sections of the film. But on album, divorced from all the visual reminders of the previous Potter films, Doyle's score is among the very best of 2005. You have to decide, for your own enjoyment, how strongly you identify the Potter franchise with Williams' themes, and this will likely be the determining factor in your evaluation of Patrick Doyle's new direction. Price Hunt: CD or Download

    Music as Written for the Film: ***
    Music as Heard on Album: *****
    Overall: ****

Bias Check:For Patrick Doyle reviews at Filmtracks, the average editorial rating is 3.81 (in 27 reviews)
and the average viewer rating is 3.38 (in 20,787 votes). The maximum rating is 5 stars.

 Viewer Ratings and Comments:  

Regular Average: 3.38 Stars
Smart Average: 3.28 Stars*
***** 1057 
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   Complete Score
  Drew C. -- 7/15/12 (10:34 a.m.)
   Re: Ah, the limp dishrag sound.....
  Richard Kleiner -- 8/26/11 (9:42 p.m.)
   Re: Question
  PeterK -- 8/26/11 (9:25 p.m.)
   Re: Patrick Doyle is underrated.
  PeterK -- 8/26/11 (9:24 p.m.)
   Patrick Doyle is underrated.
  Richard Kleiner -- 7/14/11 (11:43 p.m.)
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 Track Listings: Total Time: 75:45

• 1. The Story Continues (1:31)
• 2. Frank Dies (2:12)
• 3. The Quidditch World Cup (1:52)
• 4. The Dark Mark (3:27)
• 5. Foreign Visitors Arrive (1:30)
• 6. The Goblet of Fire (3:23)
• 7. Rita Skeeter (1:42)
• 8. Sirius Fire (2:00)
• 9. Harry Sees Dragons (1:54)
• 10. Golden Egg (6:11)
• 11. Neville's Waltz (2:11)
• 12. Harry in Winter (2:56)
• 13. Potter Waltz (2:19)
• 14. Underwater Secrets (2:28)
• 15. The Black Lake (4:37)
• 16. Hogwarts' March (2:46)
• 17. The Maze (4:44)
• 18. Voldemort (9:39)
• 19. Death of Cedric (1:59)
• 20. Another Year Ends (2:21)
• 21. Hogwarts' Hymn (2:59)
• 22. Do the Hippogriff* (3:39)
• 23. This is the Night** (3:24)
• 24. Magic Works** (4:01)

* written by Jarvis Cocker and Jason Buckle, performed by Jarvis Cocker, Steve Mackey, Jonny Greenwood, Phil Selway, Steve Claydon, and Jason Buckle
** written by Jarvis Cocker, performed by Jarvis Cocker, Steve Mackey, Jonny Greenwood, Phil Selway, Steve Claydon, and Jason Buckle

 Notes and Quotes:  

The insert includes a note about the score by director Mike Newell.

  All artwork and sound clips from Harry Potter and the Goblet of Fire are Copyright © 2005, Warner Brothers/Sunset. The reviews and other textual content contained on the site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 11/18/05 (and not updated significantly since). Review Version 5.1 (PHP). Copyright © 2005-2015, Christian Clemmensen (Filmtracks Publications). All rights reserved.