A well-versed, extremely nuanced composer indeed, Patrick Doyle has lent his talents to numerous orchestral works, both inside and out of the movie industry. My first experience with him was listening to the haunting and at times terrifying score of the film Needful Things (1993), which was a movie adaptation of the Stephen King novel. The movie itself was only decent in my opinion, but it was, however, greatly surpassed by Doyle's score. It was through the disparity of the tracks of this album that I was to appreciate the scope of score beyond just epic fanfare. If John Williams initiated me into this genre of music, Patrick Doyle made me fall in love with it. A combination of epic, choir rich selections reminiscent of Daemon Irrepit Callidus and sweet, fanciful tracks that highlight the ambiance of the film, Doyle made a serious impression on me.
But since then [1993], I haven't heard too much from him that caught my attention. Mind you, I didn't go far out of my way to check up on what he'd been composing. I'd notice a movie or two that he'd work on, but nothing that really impressed me like Needful Things. That is, until recently.
Rise of the Planet of the Apes was a exciting and interesting film for many reasons, its score among them. Though it did not incorporate the vast array of instruments that Needful Things utilized, RPTA did captivate me with its balance of fast paced, epic sound and deeply emotional, even sentimental ambiance. The film loosely dealt with the concept of adaptation and evolution and the music actually reflected this. This score was especially significant to me as one of my all time favorite composers, the late, great Jerry Goldsmith, composed for the original Planet of the Apes (1968).
At times the album produces a vocal chant that can bring goosebumps to your skin and haunts you into a sense of wonder, but this is tempered with quick, but intense bouts of loud string and brass sequences that give you the sense that something is being hunted, a definite theme in the Planet of the Apes series. Other tracks, such as "Lofty Swing", have a bouncy, playful tone to them, so much so that you don't even think you're necessarily listening to the same album (or watching the same film). As the plot progresses and the plight of the main characters become more serious, so does the score and its darkness is apparent in the tracks "The Primate Facility" and "Ceasing The Knife".
Scenes of conflict or alliance between different apes had tracks of a very organic, tribal nature such as heard in "Rocket Attacks Caesar" and "Buck Is Released", and one can certainly identify with why this style was used for such a movie. But more than just relying on drums and "primitive" sounding percussion, Doyle creates tension and build up that so closely mirrors the narrative that it is extraordinary. In the track entitled "Cookies", he fuses prior tribal elements with a heavier string and brass that gives the impression that these apes are gaining something. As they get smarter and cognitively more aware, it is represented in the music by the tempo of the tracks increasing and becoming ever more complex.
"Caesar's Stand" is a track that represents a pivotal moment in the film, but still manages to support this moving scene without overwhelming it. It takes on a more rebellious sound than the previous tracks which were either enhancing moods of sorrow, excitement or fear. The track conveys a feeling of revolt and sounds like a rallying call in its cadence and tenor. It definitely sets the tone for the remainder of the film.
One of my favorite songs from the album is "Zoo Breakout", which is a fast, riveting piece that produces the musical sounds of a action and sci-fi movies alike. The entire track sounds so dire in its severity and speed, that the listener keeps expecting it to tire out, but yet it doesn't. It continually builds upon itself forming a song that, as fast as it is, keeps increasing in complexity and intensity to the point where you wonder how much further Doyle can take it. Another phenomenal composition is "The Apes Attack". It is amazing how Doyle can have so many things go on in one single track without having it sound like some sort of random cacophony or at the very least like a superfluous over-extension. This reminds me of David Arnold's masterpiece of Casino Royale and tracks like "Miami International" that have such a degree of momentum that they get you caught up in them to the point you feel like you're part of the chase.
The album terminates with the track "Caesar's Home" which brings full circle the emotion that is at the heart of this film. It starts off slow and quiet with strings calmly and sweetly easing in. It then progresses into a hopeful and triumphant tone that boldly impacts the listener to the last note, leaving a sense of awe and anticipation of what is to come for the future. It is the perfect culmination of both the soundtrack itself and what Patrick Doyle does best. It is clear that he is a versatile and articulate composer by the dynamism between instrument sections and his ability to evoke such powerful and disparate emotions across the human spectrum, no matter what genre his movies are a part of.
http://www.youtube.com/watch?v=_wjw94XUf94
Have you heard this album? What are your thoughts, feelings, criticisms? Please post!
No comments:
Post a Comment
Please remember to be respectful when commenting. Thank you for your contribution!