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Weak parts of the soundtrack?
• Posted by: Queen Kong   <Send E-Mail>
• Date: Wednesday, November 26, 2003, at 9:12 a.m.
• IP Address:

The ROTK soundtrack is amazing, although not just because I am a fan of the films, it is also because I enjoy listening to classical film scores. Howard Shore has worked wonders with the 3 LOTR scores and I consider the FOTR score to be the best and most emotional.

However, I must have been one of the few people who didn't much appreciate the TTT score: I thought it had some great moments but there were too many weak tracks for my liking. I think the soundtrack to The Return of the King follows a similar pattern.

The great tracks are...great. However, there are a few 'throw-away' tracks like 'Minas Morgul' and 'Cirith Ungol' which only last for about 90 seconds and are very difficult to admire.

Shore's use of the new Gondor theme has also be sparingly used. This theme, often used in conjunction with the city of Minas Tirith and, of course, the King's coronation later in the story, could have been the grand recurring theme of the ROTK soundtrack (much like the Fellowship theme from FOTR). Therefore, one must assume that Shore has deliberately decided not to make the final score as thematic as the previous two, instead concentrating on 'darkening' the score with many tracks from Mordor and one from the inevitable carnage of war at The Pelennor Fields.

Every Lord of the Rings score has its zenithal moment. The Fellowship of the Ring had 'The Bridge of Khazad Dum', The Two Towers had 'Forth Eorlingas', and The Return of the King seemingly has 'Shelob's Lair'. Regarding Shelob's Lair, I would love to be pointed in the right direction to a better piece of music that captures the [probable] action and anxiety of a scene. Howard has really superceded himself with that one!

So, as I said, the good parts of this soundtrack are mesmerizing, although casual listeners may find tracks 6-10 a bit tiresome. Now all we need to do is see the film. Roll on December 17.

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