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Comments about the soundtrack for Pirates of the Caribbean (Klaus Badelt and co.)

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The TRUE review for this movie
• Posted by: David J B   <Send E-Mail>
• Date: Sunday, January 8, 2006, at 4:42 p.m.
• IP Address: cpe-024-211-229-094.nc.res.rr.com

For anyone who wants a review that isn't so rediculously biased to several unfair points and elements, please read THIS review instead.

First off, in my opinion, I believe that the reviewer gave this score a horribly bitter review because he likely had a problem with this score swaying too far from the 'swash-buckling' pirate identity that has well been established itself in past films, and the fact that Zimmer's crew was picked to score the film instead of someone who could better measure up to the reviewers image of what a pirate film score could/should be like Alan Silvestr. Regardless of the fact that Pirates of the Carribbean was based off the DisneyLand ride, the same pirate extension of music couldn't work for this movie.

The director clearly wanted this movie to lean closer to a more realistically historic darker, grottier visual on the pirates of the spanish main. The generic Peter-Pan, "YO-HO" "Avast-ye-Matey" style [although it fits closer to the past 'swash-buckling' pirate movie style] WOULD NOT WORK in the context of this cinema. The style wouldn't match the cinematography. With that said, that type "real pirate score" would throw off the character of the entire movie. Even if the artists at Media Ventures had took a ride on the original POTC ride, it wouldn't have helped them much in this particular movie. For the record, I enjoyed the score. Every cue fit the emotion portrayed on screen. If a score can do that then as far as I'm concerned, 'mission accomplished'. If they were out to create the perfect modernized theme for the DisneyLand ride then of course they were off. Luckily, they were instead trying to write a score for a modern feature film.

I cant disagree that it's much wiser to create a score with eight artist. In fact, I'm confused why anyone would even bother doing such a thing. For one, it will provide almost certain inconsistancies, a conflict in ideas, and a generally confusing overtone. Not to mention, it's likely more expensive than having just one architect of the entire score. With one artist you know that the style of composition remains the same throughout. For what it's worth, they did their best trying to mask the fact that each composer strained to supress their own musical voice to accomidate consistancy. What a horrible score to work on though. I would NOT want to be involved in a score like that - being forced to try to write like Hanz Zimmer to produce a score with 7 other artists. That would be wild :o . In any case, they did a good job either way. The "Main Theme" was easy enough to identify although there were several cases where needless 'alternative' themes [themes that really don't go to anything else, no characters or situations, other than that particular scene] that seemed to pop out of nowhere or only showed up twice in two completely unrelated situations. No one tends to notice these things but it would've been much better if variations of the main theme were used instead. The only easy to identify themes were "Jacks Theme" [Jack has two themes actually. The big adventure-ish one that he's introduced with, and the quieter slightly comical version that's used from then on out]. There's the Pirates of the Carribbean theme, which, to much dismay, doesn't introduce the movie, but only shows up in action cues and the ending credits. No dynamics in other situations, just the big action cues. Finally there's the romance theme between Elizabeth and Will - used frequently and effective I might add. The orgonization on these themes, and the decisions on when and where to use its dynamic were poorly chosen - this I feel is because there were nearly 15 guys working on the job. Either way, that hardly takes away from the final product in the end.

The score work in every situation. I didn't feel it was suggested any more attention for a situation than it needed, it didn't distract from the movie, it set the mood for each scene perfectly and in the end you get a working film score that got the job done and reached the finish line. Whether or not they made it to the finish line first place, thats up for debate, as there were a lot of key elements and scenerios they could've altered to make the dynamics and balance of the score even better and consistant. One thing though, I have little experience with any of Media Venture's past scores (I've never even seen Gladiator) so this material obviously feels a lot more fresh to me than it does to the reviewer. If what the reviewer says is true (just being the generic Media Ventures peice) then it does loose some brownie points, which just says they followed a 'typical MV scoring criteria' routine and just did what they thought would've been typical of them to do instead of taking things into focus and prospective and drink in what they thought should be a unique identity of the entire movie.

I have the soundtrack to this movie and, as a soundtrack, it provides enough random themes to give every individual track its own identity which, in a weird kind of way, could be a good thing since I really don't like listening to the same song twice. Once again, for emphasis, the typical swash buckling pirate film score could not work for this kind of movie. Here's why: POTC is not a classic pirate movie. It's more about Legend and Myth than Fantasy like most pirate movies and demands a score that follows closer along that criteria. Well, that's the end of my 'counter review'. Thanks for reading.




Comments in this Thread:     Expand >>
  •   The TRUE review for this movie  (1636 views)    We're Here
       David J B - Sunday, January 8, 2006, at 4:42 p.m.


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