Final Fantasy: The Spirits Within

Review by Thomas Glorieux:

Lets drop the name and get it over with, Elliot Goldenthal. I believe a lot of people soon discover their worst nightmares when they associate any of Goldenthal' musical instincts with a scientific breakthrough movie. Well forget that and everything you knew and expect something different, different being in the more approachable style. But don't think his style has changed, don't think you will listen to Goldsmith music or something like that (the mistake I made when first listening to the soundtrack). In every respect Elliot remains his true self, his own musical voice leads the thrill and power but it all sounds somewhat half chaotic and in a way more acceptable. Final Fantasy: The Spirits Within becomes one soundtrack a non Goldenthal fan can actually listen to, and enjoy what he's hearing but take two things in mind. This is powerful gripping music and you will have to listen to it more then once. Then only you receive the magic of a fantasy where music really grabs you and amazes in a dark but powerful way. As said before there isn't much mayhem, dissonance, Goldenthal's usual ruckus found in his scores, only the track 'Toccata and Dreamscapes' falls completely under this category, and sadly it is the longest track on the album. Here we discover really Goldenthal abusing every person of the orchestra but on the other hand creates mayhem, total chaos, sounds that will strengthen the movie only more. This is of course not something to grab and treasure but it will have its reason, and gladly this is the only dissonant track on the album.

The other moments feature really strong music. In a way this has always been the case with Goldenthal but here it really secures the impact and visuals of the movie, it creates this dimension never felt before in his composition. It feels and grabs the attention, it makes a strong impression towards the listener and probably the viewer also. There are too many tracks that do this. In a way the following 'The Spirits Within', 'The Phantom Plains' and 'Code Red', just from the first four tracks. The only dissonance that follows it, 'Toccata and Dreamscapes' is perhaps nothing to treasure but The London Symphony Orchestra creates an impressive sound nonetheless, those percussion players really strike and pound like their lives depend on it, certifies the feeling the characters are facing on screen. And the track has Sphere's ruckus in common among other less slighter references. But where this score really dominates in is creating a musical atmosphere beyond you wildest dreams. Only the power of the orchestra and the choral depth in 'Winged Serpent' and 'Zeus Cannon' leaves you breathless, play these sections loud and you will discover why choral cues are the most treasured pieces of film music in many cases. Goldenthal's score in these portions is equally impressive, mysterious but slaps you with dark awe when the choral presence is heard for the first time. Film music can really impress the hell out of you, and even if beauty has nothing to do with it, 'Winged Serpent' probably becomes one of the best score tracks on album of 2001.

Goldenthal's action music, which I thought would be found a bit more is entertaining to a degree where it more rocks then simply thrusts. A neat comparison can be made in 'Zeus Cannon' to John Williams' darker music of Raiders of the Lost Ark, you really feel the horror and witness the pure sensation of the orchestra's powerful sound. As a side note, the two tracks at the end 'Dead Rain' and 'Blue Light' really portray Goldenthal's powerful sound and the composer's incredible orchestrations along with his buddy Robert Elhai. The emotional side isn't forgotten, its in there and 'The Kiss', 'A Child Recalled' and in much more robust ways the finale 'Adagio and Transfiguration', the piano solo that accompanies this music is a touch we haven't discovered much of Goldenthal, and while the theme isn't difficult, it surely impresses the hell out of you, and I enjoyed it also as the song version in 'The Dream Within'. This is sort of a common fact with Final Fantasy products, the main theme song and Lara Fabien's singing (known of A.I.) is equally impressive. The other song really disappoints more then ever and will not lift much spirits and hopes. In the end Final Fantasy isn't a walk in the park, I believe this will never be the case with Goldenthal's music but what the soundtrack does ample is create this environment, this dark awe beyond imagination, this sound too powerful not to stun you. Fans have equally been enthralled with the score as much as I have, and trust me I really was disappointed the first time I heard it. But as with a good soundtrack the impressions grow with each listen. I feel that Goldenthal will not always become my easy listening hour of fun, but what he creates here is powerful gripping music, the one that blows you out of your seat. In a way this comes highly recommendable and proves my theory I had about movie composers. No matter if you like or hate them all, there will always be a score that you will like and Final Fantasy: The Spirits Within has the honor of being the first of Elliot Goldenthal.

Score: ****
Songs: ***

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Tracks

Single Disc

1. The Spirit Within (2.05)

2. Race To Old New York (1.20)

3. The Phantom Plains (1.42)

4. Code Red (2.05)

5. The Kiss (4.14)

6. Entrada (0.54)

7. Toccata And Dreamscapes (8.29)

8. Music For Dialogues (2.18)

9. Winged Serpent (1.35) Excellent Track

10. Zeus Cannon (3.24) Excellent Track

11. Flight To The Wasteland (5.56)

12. A Child Recalled (2.25)

13. The Eighth Spirit (0.50)

14. Dead Rain (1.50)

15. Blue Light (3.29)

16. Adagio And Transfiguration (5.23) Excellent Track

17. The Dream Within: Lara Fabian (4.41)

18. Spirit Dreams Inside: L'Arc-en-Ciel (3.42)

Total Length: 56.38

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=== Link to Composer Site: Elliot Goldenthal ===