: (Hans Zimmer/John Powell) Just a
few decades ago, when a movie was a monumental fiscal success, studios
would labor over the idea of a possible sequel for a while. After 2008's
was nominated in the top animation categories at
the Golden Globes and Academy Awards and grossed more than half a
billion dollars than it cost to make, however, Dreamworks Animation head
Jeffrey Katzenberg announced that the concept would yield five
additional motion picture sequels after a daytime cartoon on
Nickelodeon, an NBC holiday special, multiple video and web games, and
even a manga. Its plot comically showed anthropomorphic animals saving
the Valley of Peace in ancient China by using legendary kung fu warrior
techniques. The lovable and clumsy Po the Panda is the unexpected savior
of the land when he achieves master kung fu status, and in the sequel he
is challenged by a new villain and revelations about his past. The bulk
of the vocal cast and crew from the first film returns for
in 2011 under the new direction of Jennifer Yuh Nelson, a
furious marketing campaign and new array of video games promoting the
franchise once again. The previous film had originally been a solo
assignment for popular composer Hans Zimmer, and much was made of his
visit to the Chinese National Symphony as a reported method of research
for the assignment. Ultimately, Zimmer's close friend and associate John
Powell was hired to assist him in completing the music for
, representing the first time in eight hears that the men had
worked together formally on a film. While Zimmer had contributed to his
fame with major animation scores in the 1990's, Powell had become the
industry leader in the genre over the latter half of the 2000's,
culminating in the very highly acclaimed
in 2010. Since that score, Powell had already squeezed in genre music
for
As usual, without specific cue sheet attribution it's
impossible to know exactly who wrote what in a score like
Kung Fu
Panda 2, with three familiar ghostwriters from the Remote Control
domain replacing the two who had provided additional music to the
previous entry in the franchise. That said, one of the comforting
aspects of the
Kung Fu Panda score was that its split of duties
was relatively easy to hear in the result. Zimmer's broad, melodramatic
strokes of deep melody were often contrasted by the hyperactive zaniness
of Powell's far more frantic mannerisms. To an extent, the divide
between the styles of Zimmer and Powell can also be heard in
Kung Fu
Panda 2, though the overall result is arguably better integrated for
listeners who can tolerate the vast shifts in direction inherent in
scores of this kind. In many ways, the sequel score is simply an
hour-plus extension of the music from
Kung Fu Panda, almost all
of the elements from the prior work developed throughout the next entry.
Perhaps because of Powell's influence, the tone of Zimmer's orchestra is
more organically dynamic than in a score like
Megamind, the
Chinese elements (led by erhu and regional percussion) again setting the
music apart from the composers' similar efforts. The shifts into 1970's
Lalo Schifrin funk return as well, at times (as in the rowdy "Zen Ball
Master") straying closer to David Arnold's more recent James Bond
territory. Sudden infusions of Powell's frenetic rhythmic material also
inhabit the comedy sequences, offset again by Zimmer's smoother dramatic
tendencies, the two halves not quite at battle as they were in
Kung
Fu Panda. The two most memorable themes from the predecessor return
early and often as well. The pastoral theme of culture, representing
ancient China and the warrior way, is the most immediate reminder,
expressed without delay in "Ancient China/Story of Shen" and "Dumpling
Warrior." The theme's many erhu performances are quite lovely,
highlighted by the mid-section of "My Fist Hungers for Justice." The
choral and percussive backed statements of this idea in the latter half
of the score are not to be missed.
Slower to develop is the cute, bouncing theme for Po
himself, heard only in fragmentary references on woodwinds in the first
ten minutes but finally developing in "Save Kung Fu" and thereafter. By
"Zen Ball Master," the theme is not only in full force but is also in
heightened collaboration with the regional theme. Because of the plot,
Po's theme isn't expressed in as many Mickey Mousey performances, though
in "Stealth Mode" it does resort to silliness and in "More Cannons!," it
is unleashed with full Powell pizzazz. A new sinister theme for the
villain occupies growling bass woodwinds in "Fireworks Factory" and
"Invasion Begins," among others. In general, Zimmer and Powell
concentrate the lesser amount of outward comedy cues in this score to
the trio of "Stealth Mode," "Gongmen Jail," and "Rickshaw Chase" in the
middle third, and this is one of the major differences between the two
franchise scores to date. The role of the choir is also enhanced,
providing some inspiring moments of awe in
Kung Fu Panda 2. Also
like the first score's album presentation, there is a lamentable vocal
and electronic track at the end; "Dumpling Warrior Remix" is so
unlistenable that it would probably be rejected from even a children's
show as insufferable as Yo Gabba Gabba. Otherwise,
Kung Fu Panda
2 is, despite still requiring some programming to filter out the
silly comedy and chase cues (be careful about the thunderous explosion
mimicking a cannon to shred a quiet sequence at 1:00 into "Po Finds the
Truth"), a more consistent listening experience than the original, with
the ethnic elements toned back slightly, interludes of funk less
frequent, the choral mixes a satisfying emphasis instead, and compelling
continued development of existing themes. The redemptive conclusions of
"Po Finds the Truth" and "My Fist Hungers for Justice" both feature full
ensemble statements of the regional theme with choral and percussive
accompaniment that will give chills to Zimmer and Powell enthusiasts.
Those fans have often considered
Kung Fu Panda to exceed its
three-star rating at Filmtracks, and with the aforementioned
improvements to its sound,
Kung Fu Panda 2 successfully
transcends to achieve that fourth star.
**** @Amazon.com: CD or
Download
| Bias Check: |
For Hans Zimmer reviews at Filmtracks, the average editorial rating is 2.84
(in 121 reviews)
and the average viewer rating is 2.96
(in 298,134 votes). The maximum rating is 5 stars.
For John Powell reviews at Filmtracks, the average editorial rating is 3.28
(in 50 reviews)
and the average viewer rating is 3.16
(in 52,492 votes). The maximum rating is 5 stars.
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