If it isn’t clear enough, I’ve been on a particularly obsessive Alexandre Desplat bent lately, so I thought I would expand on what films I have already seen that feature Desplat as the music composer. His filmography has grown dramatically over the last five years, and I know there is much I’ve yet to discover of his range and creative process.

I have taken on an ambitious task of so watching nine films composed by Desplat that cover the gamut of genres in no particular order, and I will concurrently review the soundtracks along with the movie. It’s a chance to appreciate, enjoy and critique the broad scope of Desplat’s skill and niche. The reviews will be bite-sized but detailed – I am consciously trying to cut down on my word count as a test of discipline (!).

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 suppose it’s excellent timing to post this, as the first trailer for Harry Potter and the Deathly Hallows, Part 2 was released today. And oh my God how FANTASTIC does it look! But my excited squees will come later.

Put simply, Alexandre Desplat is my favourite film composer of all, followed by Dario Marianelli, Joe Hisaishi, Yann Tiersen and er, many others. But I know and love Desplat best; I’ve practically grown up with him. My first encounter with his music was in Girl with a Pearl Earring, the film adaptation of Tracy Chevalier’s novel starring Scarlett Johansson and Colin Firth (two people with whom I was pretty infatuated at the time). The movie had my tick of approval, but it was the music in particular that struck out to me. I had never heard anything so exquisite, so heart-wrenchingly gorgeous to my ears; I scrambled to know who the composer was and where I could get the soundtrack. Back then I wasn’t so knowledgable about online avenues, but eventually while I was on a bookstore tour with the school librarian and other classmates, I found a CD in stock at Readings.

And so began my unequivocal relationship with Desplat’s music—and …

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 …

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 …