PRINTER FRIENDLY VIEW
(inverts site colors)

Any listener or casual movie-goer might assume that the flying sequences in The Aviator, if not simply the romantic elegance of the period, would merit a general reprise of heroic brass themes and beautiful string interludes from The Lord of the Rings, but Shore's overall approach to the 2004 film is, outside of a few notable exceptions, far more restrained. Despite these occasional deviations on a grand scale and certain familiar instrumental applications (especially in the low strings and woodwinds) , Shore's work for this film is largely tethered by internal demons, teasing the audience with repeatedly initiated crescendos that suddenly cease or disappointingly fade away with a whimper. If you think about it, that style largely resembles Hughes' life. No doubt, The Aviator is not the most satisfying of scores. It is not the romantic sugar-coated flying music of the 1940's like you heard in James Horner's The Rocketeer. Shore does conjure a heroic theme for Hughes' moments of great achievements in aviation, but he is careful to present the theme with staccato notes in short bursts, even when at its loftiest. Very few (if any) satisfying whole notes from the brass are to be heard, and this choppy effect teases the listener more than anything else, promising an outburst of fully victorious, romantic personality for flight that is never realized at any point in the score. Due to this anticipatory nature, the theme isn't particularly memorable after the score concludes, heroic cues such as "H-1 Racer Plane" and "The Way of the Future" successfully diluted by the plethora of mumbling, brooding string meanderings constantly pulling at Hughes from his darker half. You constantly yearn for the music to break through, especially during the lengthy performances of a slithering rhythm by the bass strings and woodwinds that exist throughout the score (and especially in the entire "7000 Romaine" and "Screening Room" cues) as the reminder of Hughes' disturbed half.

As hinted in the opening "Icarus" cue of distinctly classical inclinations, there is a sense of defeat and despair that truly defines this score by its conclusion. Very well rendered, the twisted elegance in "The Germ Free Zone" and "Quarantine" is distancing and at times irritating, but Shore's methodology of using the woodwinds (literally lost in the wind) specifically during these moments of loss is commendable. Deep bass woodwinds seem to be Shore's primary choice for the most demented characterizations, and this choice is as alluring here as it was in The Lord of the Rings. Some of the more interesting aspects of the album include the Spanish influence upon the score (likely representing Californian culture at the time), including castanets throughout and a traditional guitar in "7000 Romaine." The use of the theme from Hell's Angels in "Hollywood 1927" and the overlay of a reporter's live account of the "Spruce Goose" test flight over a snippet of Tchaikovsky are welcome diversions, though keep in mind that other classical insertions in the film (including some well placed Bach) are not included on the soundtrack album. A grand solo piano performance of the theme is restrained to only "America's Aviation Hero." Overall, the lack of a fluid theme and, outside of a few clarinet solos, a more surprising absence of 1930's and 1940's jazz for the romances in the tale cause the score's troubled heart to leave the most lasting impression. A sense of fear and urgency conveyed during much of the score never resolves itself, which is likely what Shore and Scorsese wanted, but the lack of an easily tonal, melodic breakthrough may leave the listener of the somewhat short album potentially unsatisfied. Ironically, the distinctly different tone of "Icarus" makes it the only track to sway the listener's heart, with the solitary remainder of the score leaving you wanting more, or perhaps something different, in a way very similar to Hughes' ultimate lifestyle. In the flying sequences, fans of The Lord of the Rings will hear familiar progressions and instrumentation (perhaps distractingly so), but the rest of the work is far more challenging by choice and necessity.  ***   @Amazon.com: CD or Download

Bias Check:

For Howard Shore reviews at Filmtracks, the average editorial rating is 3.56 (in 25 reviews) and the average viewer rating is 3.32 (in 101,260 votes). The maximum rating is 5 stars.

Total Time: 47:28