EDIT (October 2011): It’s come to my attention that I’ve been cited on the DH2 score’s Wikipedia page as a music critic. I just want to confirm that I am NOT a professional writer, just a curious and passionate fan.

Late last year we heard rumours that John Williams would return to the Harry Potter franchise to compose the final Potter film, which I wasn’t particularly writing home about. I’ve actually not been much of a Williams fan in the Potter series (“Hedwig’s Theme”, “Fawkes the Phoenix” and the Prisoner of Azkaban score notwithstanding). However, it was later announced that Alexandre Desplat would stay on for Part Two.

After all, it just makes sense to finish what you’ve started.

I wrote my review of Harry Potter and the Deathly Hallows, Part One in April. I thought Desplat’s score enhanced the film wonderfully, and I was confident that Part Two was in sensitive and capable hands. Listening to Part Two now, I can happily back that prediction.

I’ll have my review of the film soon enough, but I thought I’d jot down my thoughts on the score now while my enthusiasm’s still this amazingly high. Once again, British composer Nicholas Hooper takes up the mantle of composing the Harry Potter films for director David Yates. I thoroughly enjoyed his interpretation of The Order of the Phoenix—really, just glad to be shot of John Williams for once—and I fully anticipated the same magical and uncoventional tone that embodied the last score. I am probably one of the few who’s absolutely adored what Hooper’s contributed to the series. Yeah, maybe I’m a nutcase. But I admire how he takes advantage of what’s at his disposal—he creates unusual musical arrangements but somehow he makes them work. He takes calculated, creative risks and I think for the most part they’re incredibly successful. It’s wonderful, really, and I couldn’t be more pleased with what he’s done in Half-Blood Prince. If only the film had highlighted this wondrous music better. Apparently Hooper may be stepping down for the Deathly Hallows films, making way for John Williams’ return. Personally am not warming to this piece of news (just yet).

Opening (2:54)
A shadowy, ominous opener, with …

(I initally meant to post this on the 1st October. Go me.)

Brideshead Revisited

Up until this point I always assumed Evelyn Waugh was a woman, but this is the name, in fact, of a man. And I had no idea that the mini-series adaptation was held in such high regard. I got “free” tickets for an advanced screening at Nova, thanks to my delightful affiliation with the Monash Golden Key Society. Honestly, I paid $93 to join them; I should get the money back slowly but surely, no? In any case, I’m glad I didn’t technically pay for the film, because it was a bit of a disappointment. My appetite for visual candy was more than satisfied, however, probably to the point of gluttony. It is a sumptuous, seductive film for the senses. But for the mind? Maybe not so much. The protagonist, Charles Ryder, a modest painter is introduced to a world of decadence, wealth and opulence through his growing relationship with Sebastian Flyte at Oxford. He is swept away by the grandness of Sebastian’s home, Brideshead. What follows is a series of events that lead Charles into the closing, controlling grip of Brideshead itself, and the choices he makes …

Hehe, finally, I update with reviews! Just as The Dark Knight surpassed all expectations, so too has its music score—a remarkable creative achievement from the collaboration between two of Hollywood’s A-list composers, Hans Zimmer (Gladiator, The Last Samurai, The Da Vinci Code) and James Newton Howard (The Village, Blood Diamond, Signs). Where Batman Begins set the tone and atmosphere of Nolan’s universe, The Dark Knight is its moodier, madder and gutsy evolution. There are fourteen tracks on the official soundtrack, with a regular CD edition, a limited CD edition and an LP.

Why So Serious? (9:14)
A comprehensive suite of the Joker’s themes and motifs. Clearly this is in Zimmer’s ballpark; he has gone batshit crazy with the Joker creating a terrifying, paranoia-laden composition—long, drawn-out synths, slashing, seething guitars and trembling strings, furious brass, sudden deathly silences, ominous out-of-tune piano notes lurking in the shadows. Doesn’t really beg for repeated listening given its aggressive and scintillating nature, but it’s absolutely perfect for the Joker.
Rating:
I’m Not A Hero (6:34)
The two-note motif utilised in the Batman Begins score is further evolved and developed in The Dark Knight; now it is more than just a symbol, but an all-encompassing force. Heavy, undulating strings and …