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FILMTRACKS.COM
PRINTER-FRIENDLY VIEW 
Review of City of Ember (Andrew Lockington)
FILMTRACKS RECOMMENDS:
Buy it... if you seek a highly entertaining extension of Andrew
Lockington's engaging action romanticism as heard in the Journey to
the Center of the Earth franchise.
Avoid it... if you've never been able to connect with Lockington's fantasy writing because of its sometimes awkward thematic formations and a nagging familiarity to David Arnold's vintage sound.
FILMTRACKS EDITORIAL REVIEW:
City of Ember: (Andrew Lockington) One of the most
disappointing cinematic mishaps of the 2000's was the 2008 adaptation of
Jeanne DuPrau's series of "The City of Ember" novels. Despite admirable
production values and a solid cast, the story's translation to film was
criticized heavily, and City of Ember failed to come even close
to recouping its $55 million budget. The plot tells of a
post-apocalyptic underground society on Earth, one forced there hundreds
of years earlier due to nuclear war. As the infrastructure and political
systems begin to break down, two youngsters decide to take it upon
themselves to figure out a way to escape to the surface, spurred by
their discovery of secret instructions from the underground city's
original builders detailing how to make their way. They become fugitives
after they uncover politicians' corruption, forcing another layer of
suspense into the story. Unfortunately for director Gil Kenan, City
of Ember represented just his second major mainstream project and
stunted his career there due to its immense failure. He had worked to
successful ends with composer Douglas Pipes on Monster House a
couple of years earlier, and Pipes was originally set to score City
of Ember as well, but he was reportedly fired at some point in the
production process. In stepped Canadian composer Andrew Lockington, who
had toiled with lesser projects in his short career but had broken
through with the impressive action score for Journey to the Center of
the Earth earlier in 2008. Lockington was a revelation at the time,
causing many to hope that his career would accelerate quickly
thereafter. That continued recognition did not come for years, however,
and some listeners within the film music community have speculated about
whether or not the attribution of some of Lockington's success to
veteran orchestrator and conductor Nicholas Dodd, who was partly
responsible for the rise of David Arnold in the 1990's, was responsible
for his stagnation. Nevertheless, City of Ember is an impressive
work, especially considering that the composer didn't have an excess of
time to complete the assignment. Listeners familiar with Journey to
the Center of the Earth and its even more remarkable 2012 sequel,
Journey 2: The Mysterious Island, will hear roughly the same
style of orchestral and synthetic blend in City of Ember,
Lockington's brand of bold tonal expressions of grandeur and orchestral
majesty remaining consistent. Regardless of whatever attribution Dodd
deserves for this end result, these scores are all quite entertaining,
and City of Ember does not skimp in its reliance upon attractive
themes, either. Lockington's infusion of electronics and choir into the
equation is nicely supplementary.
While the general dynamism of City of Ember will be entertaining enough for some listeners, Lockington's loyalty to two themes in the score is what holds it together. The primary identity is one for the underground city, its mechanisms, and its people, heard with robust stature on resolute brass in "City of Ember Main Titles." It is generally a defiant, imposing presence in the score, returning similarly in "First Day," "Tunnels," "Map and Hole," and "Room 351." Sensitive interludes hint at salvation in "The Mayor" and "Blackout" before the theme is translated into a magnificent tour de force in "Fugitives," "Loris' Bike," "Clockworks," "Control Room," "Water Wheel," and "The Mayor Retreats." Its redemption comes when it is reduced to harp in "Escape to Sunrise" and journies from antsy enthusiasm to outright heroism in "One Last Message." Lockington sometimes uses a four-note phrase pulled out of the middle of the theme as a standalone point of suspense or action, and you can hear him reference this technique during the outstanding introduction to the theme in "Main Titles." The other main identity in City of Ember is just as vital to the score's success. Representing the heart of the protagonists in the story, this idea does recall the problematic formation of the main theme of Journey to the Center of the Earth, one that makes it sound more like an interlude to another identity in the way it opens. Heard first in "Lina Mayfleet," the theme exudes warm, romantic string tones in that cue, "Blue Sky," "The Mayor," and "Room 351" before transforming into an action setting for "Fugitives" and "Clockworks." The youths' perseverance pays off with large-scale romantic renditions of the theme in "Control Room" and "One Last Message." The two themes finally mingle as appropriate in the latter cue, suggesting clearly the joined transcendence of the city and these characters. The statements of either of these themes are the highlights of the score, both "Clockworks" and "One Last Message" excelling beyond all others because of them. In between is solid work that exhibits smart electronic usage, Lockington's standard rhythmic and pulsating effects applied tastefully. Likewise, the chorus is not overused. The composer only occasionally provides unique tones, a wailing animal cry effect in "Control Room" and elsewhere a notable inclusion. The weakness of the score comes in some of its dull ambient cues in between the thematic explorations, though any listener could still assemble over 20 minutes of very strong fantasy material into a suite. Sound quality is excellent as well, the elements well balanced; a surround sound presentation of this score is deserved, just like Journey 2. It's unfortunate that no sequel was ever forthcoming for City of Ember, because Lockington's identities here are strong enough to anchor further development. Fortunately, the once difficult to find CD album for the work was re-issued at an affordable price a few years after the initial release, making it an easy recommendation. ****
TRACK LISTINGS:
Total Time: 71:08
NOTES & QUOTES:
The insert includes no extra information about the score or film.
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