Tag Archives: Deathly Hallows

Rise of the Guardians (2012) – Alexandre Desplat

I had never listened to an Alexandre Desplat score before 2010’s Harry Potter and the Deathly Hallows, Pt. 1, and I’ve been hooked ever since. His scores for The King’s Speech was simple and wonderful, and I’m still astounded by the fact that his score to Harry Potter and the Deathly Hallows, Pt. 2, was not nominated for an Academy Award for Best Original Score, as it is one of the most beautiful, emotional scores I’ve ever listened to. That being said, when I saw that his score for Rise of the Guardians, a film that I’ve been excited for for quite some time now, was available, I purchased it without hesitation.

*possible spoilers due to track titles; I haven’t seen the film*

The score starts out with a very Harry Potter-esque track titled “Calling the Guardians;” in particular, the first few seconds remind me of the track “Snape to Malfoy Manor” from the Deathly Hallows, Pt. 1, soundtrack, mixed with a little of Danny Elfman’s theme to the 1989 Tim Burton Batman film. It’s quite an exciting entrance which quickly transitions into something more typical of Desplat’s music – a sweeping string melody accompanied by a charming piano countermelody. The brass eventually come in with a triumphant fanfare fitting of the track title, suggesting a different kind of superhero than we are accustomed to…which certainly seems to be the case with this film.

Throughout the score, we are treated to quiet, tender tracks such as “Alone in the World” and “Jamie Believes,” the latter of which contains what I would consider to be the main theme of the film, taken from the track “Still Dream,” composed by Desplat with lyrics by David Lindsay-Abaire and sung by Renée Fleming. We also hear fast-paced, raucous tracks such as “Tooth Collection” and “Pitch At North Pole,” as well as tracks that seem to emanate hope and magic, including “Sandman Returns” and “Oath of the Guardians.”

When I think of Desplat’s music, I think of beauty; his score to Rise of the Guardians only helps to reinforce this association. Every bit as colorful as the album artwork, Desplat’s music soars and never bores. His rich strings and powerful brass will leave you refreshed and wishing for more – it makes me even more excited for the film!

Rating: 4 (out of 5)

1.

“Still Dream” (performed by Renée Fleming)

3:12

2.

“Calling the Guardians”

2:06

3.

“Alone in the World”

2:04

4.

“Fanfare of the Elves”

0:53

5.

“Wind Take Me Home!”

1:28

6.

“Dreamsand”

2:03

7.

“Pitch on the Globe”

0:57

8.

“The Moon”

1:32

9.

“Snowballs”

1:31

10.

“Busy Workshop”

1:33

11.

“Sleigh Launch”

1:45

12.

“Nightmares Attack”

7:17

13.

“Tooth Collection”

2:22

14.

“Jamie’s Bedroom”

2:31

15.

“Jack & Sandman”

4:18

16.

“Memorial”

1:21

17.

“Guardians Regroup”

0:58

18.

“Easter”

3:39

19.

“Jack Betrays”

3:20

20.

“Kids Stop Believing”

2:35

21.

“Jack’s Memories”

2:24

22.

“Pitch at North Pole”

2:00

23.

“Jamie Believes”

3:01

24.

“Jack’s Center”

4:52

25.

“Sandman Returns”

2:36

26.

“Dreamsand Miracles”

2:18

27.

“Oath of the Guardians”

3:11

Total Length: app. 69 min.

iTunes Album Link

-Chad

P.S. – Read my review of the film here!


The Social Network (2010) – Trent Reznor and Atticus Ross

The hype for director David Fincher’s 2010 film The Social Network was strong and, in my opinion, deservingly so; I seem to like it more and more every time I watch it. However, I didn’t expect to like the soundtrack, composed by Trent Reznor (of Nine Inch Nails fame) and Atticus Ross. Being a big fan of Alexandre Desplat’s score for Harry Potter and the Deathly Hallows – Part 1, I was rooting for (and expecting) his score for The King’s Speech to win. At the time, though, I hadn’t heard the scores to either The Social Network or The King’s Speech, so, when The Social Network took the Academy Award for Best Original Score at the 83rd Academy Awards, I decided to buy both and decide for myself which I liked more, expecting the Desplat to win.

To my surprise, I liked The Social Network’s score more.

Trent Reznor and Atticus Ross’ score to this movie is, to say the least, unconventional. Most of the time you hear an orchestra in the background of a film, not a bunch of electronics and guitar, but that’s exactly what you get in The Social Network…and it’s delightful.

From the haunting piano melody of “Hand Covers Bruise” (which acts as the theme for the film) to the underlying excitement of “Intriguing Possibilities” to a sort of experimental electronic rock in “Eventually We Find Our Way”, Reznor/Ross’ score delivers in every way I can think of: excitement, atmosphere, tension, emotion, etc.

My favorite tracks are “In Motion”, “Intriguing Possibilities”, “Pieces Form the Whole”, and “Carbon Prevails”, and the arrangement of the classic “In the Hall of the Mountain King” is reminiscent of the work of composer Wendy Carlos (TRONThe Shining).

The score for The Social Network has something in it for everyone, whether you are a fan of the film or not. Check it out!

Rating: 5 (out of 5)

1.”Hand Covers Bruise”  4:18

2.”In Motion”4:56

3.”A Familiar Taste”  3:35

4.”It Catches Up with You”  1:39

5.”Intriguing Possibilities”  4:24

6.”Painted Sun in Abstract”  3:29

7.”3:14 Every Night”  4:03

8.”Pieces Form the Whole”  4:16

9.”Carbon Prevails”  3:53

10.”Eventually We Find Our Way”  4:17

11.”Penetration”  1:14

12.”In the Hall of the Mountain King” (Edvard Grieg)  2:21

13.”On We March”  4:14

14.”Magnetic”  2:10

15.”Almost Home”  3:33

16.”Hand Covers Bruise, Reprise”  1:52

17.”Complication with Optimistic Outcome”  3:19

18.”The Gentle Hum of Anxiety”  3:53

19.”Soft Trees Break the Fall”  4:44

Total length: app. 67 min.

iTunes Album Link

-Chad