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.

Part Two’s promotional teaser simply reads, “It all ends”. Where there was a thread of foreboding in Part One, now the emphasis is on the finality, in every sense of the word. As I mentioned earlier, Part One ...]]> 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.

Part Two’s promotional teaser simply reads, “It all ends”. Where there was a thread of foreboding in Part One, now the emphasis is on the finality, in every sense of the word. As I mentioned earlier, Part One is degrees above previous films in maturity and scope; Part Two certainly doesn’t erode what Part One established – in fact, it only unapologetically amplifies the epic scale, which seems uncharacteristic of Desplat at first, but he never loses grasp of the emotional complexities of the story – its pervasive themes of death, loss and renewal.

“I think the goal was to find something as gentle, as sweet, and as kind as a lullaby with a guilty touch to it. It’s a very simple melody that anyone can hum, child or adult, and we found this incredible singer, Mai, who has a very pure voice, almost like liquid gold.  So it will haunt the film and Harry all along the last episode.”

—Desplat on creating “Lily’s Theme” (Credit: The Leaky Cauldron)

The outstanding highlight must surely be “Lily’s Theme” – a new overture that much like its namesake cocoons itself around Harry. I can only describe it as indescribably, devastatingly Desplat. It’s a haunting melody, laden with fragility and tinged with sadness; it cements the tone for the rest of the film and is instantly memorable. It recurs in dramatic instances: “Snape’s Demise”, “Voldemort’s End” and most movingly, “The Resurrection Stone”, which I consider Desplat’s magnum opus in this score. It is four minutes and thirty-three seconds of sheer aural perfection. Soulful strings lull “Lily’s Theme” along, with solo vocals by Mai Fujisawa, whose voice is strikingly pure and arresting. You may know that Fujisawa is the daughter of Japanese composer, Mamoru Fujisawa (or more famously, Joe Hisaishi of Studio Ghibli fame). She has sung themes for Nausicaa, Princess Mononoke and Ponyo, but I didn’t recognise her here.

Familiar themes return from Part One – “Underworld” hints at the “The Locket”, a fitting motif for the continued hunt for Horcruxes. The “Obliviate” cue recurs in “Harry’s Sacrifice” and “Harry Surrenders” as Harry learns of his doomed fate, but welcomes it openly. New motifs are introduced during the Battle of Hogwarts – “Panic Inside Hogwarts”, “Statues”, “Battlefield” and “Courtyard Apocalypse” convey the anticipation, the thrills and the devastation of the war in sombre, lyrical fashion. Similarly, “The Grey Lady” has meandering, ghostly moments of poignancy and scintillating suspense as Harry attempts to win Helena Ravenclaw’s trust so that she will reveal to him the whereabouts of a Horcrux hidden inside Hogwarts’ walls.

Harry’s best friends, Ron and Hermione, finally have some off time to themselves in “In the Chamber of Secrets” in which Hermione destroys a Horcrux of her own, and is then snogged by Ron (about time!). It’s a momentous occasion for fans like me, so I’m deeply disappointed that Ron and Hermione don’t get their own theme. Ten years of angst and misunderstandings and they don’t even get a theme?! Even Harry and Cho got “The Kiss” theme! That said, their pivotal moment does use a leitmotif from Part One’s “Ron’s Speech” which I officially dub the unofficial Ron and Hermione theme. Meanwhile, lucky Neville gets two themes to himself: “Neville” and “Neville the Hero”, the latter clearly outweighing the former. It’s a quietly triumphant theme, echoing its namesake’s endearing transformation from the fumbling, somewhat dim first year to a great, brave hero in his own right, a hero whom the Sword of Gryffindor itself deems worthy of wielding it.

“This theme is crucial to the success of the story, and it would have been disrespectful and stupid for me not to use it at the crucial moments where we need to refer to these ten years of friendships that we’ve all had with these characters and kids…”

—Desplat on using “Hedwig’s Theme” (Credit: The Leaky Cauldron)

Williams’ iconic “Hedwig’s Theme” also has more prominence in Part Two. Desplat reasons that as much of the film takes place inside Hogwarts, and given that the theme is so quintessential to Harry’s childhood and connection with the school, it had to be included. It is incorporated to varying effect in “Dragon Flight”, “A New Headmaster”, ” In the Chamber of Secrets”, “The Diadem”, “Snape’s Demise”, “Harry’s Sacrifice” and “Procession”. My favourite interpretation of the theme is in “Snape’s Demise”, which curiously blends “Lily’s Theme” into it too.

Speaking of Snape, the unfolding of his mysterious past has great significance and plays a monumental part in resolving the story. Through Harry’s eyes, we discover that what we always outwardly saw as someone antagonistic, quite possibly maybe evil, was in fact the most emotionally tragic character. Severus Snape loved deeply and wholly and died for doing so. We catch glimpses of Snape’s past in “Severus and Lily”, a dreamy, ambient montage of memories, made more devastating by what we already know of Lily’s tragic end.

Indeed it is a grand ending that we’ve so anxiously waited for. I get apprehensive when Desplat tackles high-handed action scenes – they remain his weakness – but he plays a deft hand in Part Two. “The Tunnel” is just the entrée in this feast of flavours, but it’s an exhilarating starter.  “Underworld” is the most chaotic composition – multiple listenings tend to singe ears. “Gringotts”, “The Diadem” and “A New Headmaster” are deceptively simple with an initial hint of danger, with the latter opening up as Harry confronts Professor Snape at Hogwarts. “Dragon Flight” is a brilliant ride, almost childlike in its exuberance, which is much in the essence of Williams’ ‘flighty’ themes like “Fawkes the Phoenix” and “Buckbeak’s Flight” of earlier Potter films. “Broomsticks and Fire” is similar to that effect, as Ron, Harry and Hermione rush to escape the Fiendfyre that sets the entire Room of Requirement aflame.

Desplat flexes his epic, operatic muscles in the final act, when we really feel the intensity and urgency of the ultimate duel between Harry and Voldemort, which Desplat’s orchestration magnificently brings to life in “Showdown” and “Voldemort’s End”. “Showdown” is a tumult of brass and strings and thumping timpani, topped by the sweeping grandeur of the London Voices choir. Similarly, the great crescendo in “Voldemort’s End”, which meanders into the haunting whispers of “Lily’s Theme” at the end, is just breathtaking. And if that heart-stopping climax hasn’t killed us already, “A New Beginning” gently drops us back to the ground, ending on a pensive, wistful note filled with hope and promise.

As a great Harry Potter fan and a great Desplat fan, I couldn’t be more pleased with Desplat’s effort, and I am so grateful that he was given this rare opportunity to work on something so fantastic and huge as Harry Potter. Just think – we NEARLY got John Williams again (if there wasn’t a schedule clash)! I have such tremendous admiration for Desplat that it’s probably borderline obsessive – he treats music as a serious craft, he’s modest about his own work, he’s open to any creative possibility, he respects his peers in the field and as a bonus he has read and loves Harry Potter. What’s not to love about the man? I wish I could be just as dedicated and talented. It’s not a surprise that most of my favourite films have incidentally been composed by Desplat.

Although Part One had some great moments and wasn’t nearly as memorable, Part Two holds us captive from its tenuous beginning to its victorious end. While there is no doubt John Williams’ “Hedwig’s Theme” will ineffably define the Harry Potter franchise for years to come, Desplat has proved to be a formidable force in the success of the Deathly Hallows films, seamlessly blending emotional nuance with action-packed grandeur. He has, in short, created a satisfying and richly layered aural landscape that I will always love coming back to.

In a word: epic
Key tracks: Lily’s Theme, Courtyard Apocalypse, The Resurrection Stone, Showdown
Rating: 4.5 out of 5 stars

Next up will be my thoughts on the Harry Potter and the Deathly Hallows, Part Two film. I’ll end this post with something for you to feel nostalgic over – Alexandre Desplat conducting “A New Beginning”:

Click here to view the embedded video.

You can also listen to an interview with him here. And there is FilmTracks’ more technical and stylistic review – I agree with much of the consensus; it’s worth a read!

Tracklist

1. Lily’s Theme 2:29
2. The Tunnel 1:10
3. Underworld 5:26
4. Gringotts 2:24
5. Dragon Flight 1:45
6. Neville 1:41
7. A New Headmaster 3:26
8. Panic Inside Hogwarts 1:54
9. Statues 2:24
10. The Grey Lady 5:51
11. In the Chamber of Secrets 1:38
12. Battlefield 2:14
13. The Diadem 3:08
14. Broomsticks and Fire 1:24
15. Courtyard Apocalypse 2:00
16. Snape’s Demise 2:52
17. Severus and Lily 6:08
18. Harry’s Sacrifice 1:58
19. The Resurrection Stone 4:33
20. Harry Surrenders 1:31
21. Procession 2:08
22. Neville the Hero 2:17
23. Showdown 3:38
24. Voldemort’s End 2:44
25. A New Beginning 1:39

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).

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 ...]]> (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 or will not make, will haunt him forever. Yes, it’s that much fun. I was interested to know more about what WWII!Charles was up to. Surely that was not the point of the film!

Rating: 3 out of 5 stars

WALL-E

Pixar (or should I say Disney Pixar) has long established itself as a superlative animation studio. Lately I’ve found their works to push the boundaries of not just the technology and art of animation but also in their unique story-telling. The narrative concepts are ambitious but intelligent, but Wall-E is somewhat different in the way there is little dialogue to ease the narrative along. The first half hour involves a lone robot, Wall-E (Waste Allocation Load Lifter Earth-class) processing endless bales of trash on a frightfully abandoned Earth, and coming “home” to a tip filled with trinkets discovered in trash. Wall-E is not entirely alone as he has a chirpy cockroach buddy who follows Wall-E around. The drama really comes with the arrival of a high-tech robot called EVE, sent to Earth on a mission for the Axiom, an enormous ship housing the Earth’s population for the duration of its clean-up.

Some may argue that this is of little relevance to a child, but come on, credit kids these days with a bit of intelligence here. Yes, it is a cautionery tale of the woes of waste and technology that screams Orwellian preachiness, but the universal elements of self-awareness, friendship and love are never far from the surface. As with all Pixar films the attention to detail is impeccable and meticulous; a true visual delight that warrants multiple viewings.

Rating: 4.5 out of 5 stars

Hellboy II: The Golden Army

I desperately want to watch this again after actually meeting Doug Jones (who played Abe Sapien in both Hellboy I and II, but voiced only the latter) last week. I enjoyed this a lot more than the first film, possibly because there is no exposition, or very little of it, at least. My favourite character out of the first film was indeed Abe Sapien, and I was delighted to see that his character had a plot going for him, including a love interest. Would be keen to see a third film in the works, but that does not seem likely, given that Guillermo del Toro’s got plenty on his plate right now (The Hobbit, anyone?).

Rating: 3.5 out of 5 stars

Persepolis

A whirlwind narrative detailing the life of a young Iranian girl adapting to the political and social transformation of the world around her. All dialogue is in French, but the content is very much in the heart of Iranian culture and its deviations through the eyes of Marjane. Indeed I’m no expert on Iranian history or culture so I can only take on what’s being said at face value. Nevertheless, it’s a confronting exploration of the coming of age of a young woman—the opportunities that she’s been given, and the choices she’s made in coming to terms with her identity and herself. The animation is whimsical—the stills are almost exact replicas to that of the graphic novels, upon which the film is based—but simple with a loose flowing style. I loved it.

Rating: 4 out of 5 stars

Old Reviews:
The Dark Knight

Um, it seems pointless to review this now. But hey, it’s my declaration to the world, among countless others, that this is a film to be reckoned with. Yes, a FILM, not just a BLOCKBUSTER POPCORN MOVIE. It’s been loved, cherished, and crafted with a no-nonsense attitude, intelligent writing, unforgettable characters and stunning photography and direction. To me, it’s the ultimate superhero film. (Curiously it channels the darkness and narratives of such graphic novels as Alan Moore’s The Killing Joke and Jeph Loeb’s The Long Halloween and Dark Victory. So read up on those if you want more Dark Knight goodness) I thought Batman Begins couldn’t be more gritty or real in the sense that it could happen to any metropolis. I was delightfully corrected. Like its predecessor, there is nothing camp about it, nothing “comic-like” (just a guy in a bat costume, and a psychopath in make-up), just a real exploration and reflection of moral anarchy and if one looks deeper: the lost American Dream. It gave me a truly good kick of adrenaline, and I was pretty much on the edge of my seat for most of the ride. It is that good.  Heath Ledger was truly breathtaking in a way that we’ve never seen him before, and never will again. It’s one hell of an epitaph. But let’s not give the late actor all the credit for the film’s success; this film wouldn’t have been if not for the superlative performances from Christian Bale, Aaron Eckhart, Gary Oldman, Morgan Freeman and Michael Caine. This is after all the story of the Dark Knight, and all that he’s created, gained, lost and found. I’ve seen it 3 times in the cinema (including IMAX, which was just, WOW, really. WOW. Six sequences were shot with IMAX cameras—the highest quality resolution yet) and no doubt when the DVD is released on December 10, 2008, it’ll be looping non-stop on my player.

Rating: 5 out of 5 stars

Kung Fu Panda

Apart from making me feel a tad hungry, as looking at good Chinese food always does to me, and apart from my occasional scoffs at the inevitable Americanisation of Chinese culture (well, this does star Jack Black; you’re going to have to expect a lot of “awesomeness” and on-the-spot word inventories that go beyond the usual KAPOW and HYYAAAH!) this feature film does hold my attention with its usual moral tale, and its homage to martial arts and wushu. Basically, a fat, lazy panda who idolises the Furious Five (legendary Chinese warriors) ends up becoming the greatest legend of them all: the Dragon Warrior. Of course, that won’t do, and the rest of the Furious Five set out to prove it. We all know what happens next, I think. It’s wonderfully animated, with a perfect toned palette of pastels and contrasts, and the jokes come fast and heavy like dumplings. The marriage between Hollywood blockbustery-ness and Chinese sensibilities is well done, and this is perfectly reflected through the score by Hans Zimmer and John Powell. It’s one of my faves this year. A lot of Chinese themed work popping up in Hollywood this year—no coincidence with the Beijing Olympics? Probably one of the better creations to come out of Dreamworks since the original Shrek.

Rating: 3.5 out of 5 stars

Speed Racer

Pooh, so people are complaining how this film lacks any plot, and if attempts to create one it’s done haphazardly and with a bombardment of colours and visual effects so as to hypnotise the viewer into conveniently forgetting about it. I thoroughly enjoyed the ride, so to speak. I was never that great a fan of the original Speed Racer series, probably because I was about 3 decades away from being born, but I’m pretty sure I watched quite a few episodes in my day as a kid, and who can forget the unforgettably catchy theme song? With the Wachowski brothers, you know you can expect some spectacular visual effects and stunts, and this film certainly doesn’t disappoint in that respect. In fact, it explodes with all colours of the spectrum like a sea of Willy Wonka gobstoppers in a game arcade. The wooden acting should be forgiven, given that most of the time the actors were performing in front of blank green screens. Don’t go watching this if you’re expecting a brain-teaser, this is for numb skulls only. ;]

Rating: 3.5 out of 5 stars

The Band’s Visit

I saw this on one of Nova’s cheap Monday sessions. I’m glad I went ’cause that time I really needed a breather from the wangst that is university life. The Band’s Visit is a beautiful, wry and amusing story of an Egyptian band of musicians who, by mistake, bureaucracy, or miscommunication, end up stranded in a tiny, inconsequential town in Israel. There are plenty of awkward (but priceless) silences, loneliness in all its bittersweet and sad forms and budding relationships between people who are making the most out of their circumstances.

Rating: 4.5 out of 5 stars

Upcoming Highlights:
- Quantum of Solace
- Australia
- Twilight
- Defiance
- Valkyrie
- Changeling
- The Curious Case of Benjamin Button
- Ghosttown
- Dragonball
- The Soloist
- X-MEN Origins: Wolverine

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.