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Review of The Equalizer (Harry Gregson-Williams)
FILMTRACKS RECOMMENDS:
Buy it... if you have a history of appreciating Harry
Gregson-Williams' sibling scores for Tony Scott thrillers, this entry
really no different from the established equation.
Avoid it... if you demand to hear some of Stewart Copeland's original television theme (or much of any stylistic influence) in this adaptation score, a somewhat disappointing but understandable decision.
FILMTRACKS EDITORIAL REVIEW:
The Equalizer: (Harry Gregson-Williams) Running for
88 episodes in the late 1980's, the "The Equalizer" was a generic
vigilante justice television show featuring a former government
operative who comes out of retirement to aid helpless victims in
crime-ridden America. The 2014 film adaptation of the same name follows
the show's framework pretty well; it's the kind of equation in which
audiences know exactly what they are going to get. Nothing more, nothing
less. After director Paul Haggis and actor Russell Crowe bowed out of
the project, Antoine Fuqua took the helm and Denzel Washington landed in
the titular role, raising hopes that another film of the quality of
2001's Training Day could emerge. In this version of the tale,
Washington is the former operative resigned to a peaceful life working
at a Home Depot (they call it something else in the movie, but let's get
real) and keeping to himself. When a young prostitute he befriends is
brutalized by her pimp, he decides to take action, finding himself at
odds with the Russian mafia and killing a whole slew of people in
creative hand-to-hand combat. Washington seems to enjoy these types of
performances; they are littered throughout the last dozen years of his
career, and viewers will find significant parallels between this entry
and the various Tony Scott endeavors in which Washington starred. At
least this one offers a unique perspective on how to use Home Depot
merchandise to kill other human beings, with graphic depictions of such
creativity for all to enjoy. Not surprisingly, another carry-over from
the Scott/Washington collaboration is composer Harry Gregson-Williams,
who has toiled in the previous few years without substantial accolades.
He too seems content earning his way with projects like this, and though
his thriller music will never compete favorably with his fantasy works,
at least he has tackled the thriller genre enough times to write
effective music for it in his sleep. Scores of this variety are easily
interchangeable, and The Equalizer is a simple and effective but
unquestionably boring extension of that sound. Hire a string section,
overlay it with thumping electronic loops for the chase sequences,
sampled noises for scary synchronization points, slight electric guitar
for the element of "don't mess with this asshole" coolness, and piano
for the auxiliary character reflection and there you go. No need for
anything else. How Gregson-Williams employs those ingredients becomes
the issue.
The question most people will want answered is regarding Stewart Copeland's storied theme (or any other influence from the show's scores) and whether that identity has carried over to the film. Unfortunately, no. But something has to be said in favor of that choice, because Copeland's theme was already a bit aged culturally and stylistically by the time the show ended. It would have been neat to hear Gregson-Williams find some way to adapt the melody into his work, sure, but Copeland's identity was too rooted in the 1970's generation of hip vigilante music to really suffice in this updated version. Where Gregson-Williams fails is in finding some alternative sensibility relating to style with which to emboss this score into the spirit of the film. That's not to say he should have stolen wholesale from David Arnold's urban music capabilities, but some movement in that direction would have been welcomed. This is especially true given that the lead character has shifted from being a white guy to a black one with arguably more mysterious swagger. As is, Gregson-Williams' score only offers the absolute most basic accompaniment necessary to enhance the suspense of the environment and story. Outside of a few infusions of gritty electric guitar, there is little to suggest that this professional killer in the role of protagonist has any sense of confidence whatsoever. The movie suggests that this style exists, of course, making the score a missed opportunity. You can't really argue with the basic foundation of the composer's music, however. There's plenty of electronic thumping for the urban setting, and the strings offer some organic suspense. He applies a piano sparingly to enhance the character depth. At times, as in "Concerned Citizen," he tunes the synthesizers to produce a vaguely foreign sound, perhaps addressing the Russian element of the story. On album, the 50+ minutes will test your patience. Thematically, listeners will be attracted to the first two tracks, which address the main character's loneliness, and the conclusive "The Equalizer," which finally unleashes some sense of self-confidence in its development of the primary theme for the film. Enthusiasts of Gregson-Williams' electric cello sequences will be rewarded with a satisfying performance of the theme in that last cue. With a sequel to The Equalizer immediately planned after the fiscal success of the initial film, one has to wonder if the enhanced style of the final cue will be developed in subsequent movies now that the character has accepted his role in society to such an extent that he can advertise his services. Even as an origin score of sorts, this one takes too long to get off its ass. **
TRACK LISTINGS:
Total Time: 51:38
NOTES & QUOTES:
The insert includes a list of performers but no extra information about the score or film.
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The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Equalizer are Copyright © 2014, Varèse Sarabande and cannot be redistributed without the label's expressed written consent. Page created 12/20/14 (and not updated significantly since). |
