King Arthur

Review by Thomas Glorieux:

Telling the story of King Arthur is always a project I look forward to, but the moment I saw the trailer I knew I was not going to like this film. Simply because it looked so gray, dark and without some kind of adventure licks to it, it moved further like a bleak surrounding and I was just hoping that Jerry Bruckheimer's involvement would do the trick of making the film better, but I guess it didn't happen. Anyway, something still got me hooked to it and that was naturally Hans Zimmer writing the score for it, and that of course could all make the difference in the end. And the fact of the matter is, whether Zimmer satisfied the fans of the movie or not, it is also tricky to say if he satisfied the fans of the film music with this album. Hollywood Records was generous enough to release a 57 minute release with 6 long score tracks of Zimmer and one song, which functions as the lead song but also presents the theme, something Horner likes doing with his scores to and also the fact is, Horner also composes mini suites. So, perhaps the 2 go down as the favorites by most but also by those who get the least side of respite. I personally will stay a Zimmer fan for life but I too have to say that King Arthur doesn't fully exceed my expectations and the fact is not, that it doesn't contain spectacular music but its basically not complex enough for many, not even for me. This score could have rivaled many five star scores if only if he could have given the score a more difficult look. I hate to compare it with LOTR but I have to say that the complexity rose above Shore's effort, and if Zimmer had the time or wanted to put the time into it, King Arthur could have given this powerful orchestral, synthetic and choral effort a run for its money for sure. Now, it stands as a pleasing listen but one without much meaning behind it.

The comparison with LOTR has also got to do with the song, with Moya Brennan bringing exactly what Enya brought to the music of Shore, and her voice is equally mystifying. The song on itself is good and it uses the main theme well of Zimmer but again, something lacks the spark that could have made of it a classic. And then the mini symphony of Zimmer starts to unveil, and time by time it seems to do it better because its basically a score that has the characteristics of an epic score, meaning powerful, with lots of choir and the themes big, grand and thick. 'Woad to Ruin' uses that to its fullest potential already with the song theme being performed with choir and it actually sounds really cool when Zimmer unleashes it with this choir (the outstanding Metro Voices choir) and after about 5 minutes of toying with this theme, it moves to ethnic flutes and growling action music that does take more then a few licks of Pirates of the Caribbean, something of course that can also work good as bad. Anyway, its extremely powerful and fast and lets the theme rip once more with great choir. As epic, loud and bold it may sound, something still misses from the music to make it rise to the highest peak. The next 'Do you Think I'm Saxon?' has the thumping suspension music, also with choir but moves to more classically influenced tones, as thick it may sound and reminding you of Hannibal and especially Invincible. There are some small moments to remember in the following track 'Hold the Ice' like the trumpet version of the main theme that sounds good, but also the best and biggest version of the main theme with excellent choir to match that. It makes the soft beginning of this track and its solo vocal version seem like it didn't exist.

'Another Brick in Hadrian's Wall' has the main theme with its action statements and some brief Gladiator tones too, but it moves to calmer and more sad music with cello and whispering solo vocals to give it some respite. However no rest for the wicked with the biggest action track 'Budget Meeting' which is constant choral action music with big variations on the theme, some Pirates of the Caribbean sounding at times but its more epic then the rest of the music here, and sounds great with Zimmer's constant big music. The big music by then stays a bit in the realm of the quietness in 'All of Them!', but it brings back the ethnic instruments and the vocal to finally end with the main theme in a hopeful even majestic manner, and a thick ending with big Zimmer chords. Together, this all sounds very lustful and in the end also is, but this score is basically not bringing the potential out of it, because it lacks the more sophisticated touch. I know, most people don't expect this of Zimmer but The Prince of Egypt is a mature and complex soundtrack that proves that Zimmer has got what it takes to bring grown up music. King Arthur lacks that, despite its big sounding attractiveness. At first I hated this of the score, now you listen and accept this. As a listen it grows more and more, solely because Zimmer keeps it going with themes we can all listen to, but to get this to the next level, you need a better more adventurous film (and not the dark bleak battles we have now) and also a Zimmer who has got the time to expand on his creations. He's a busy guy and the reason why Nick Glennie - Smith is on board is because of that busy schedule, but we all expected something bigger in scope, despite the fact it matches Crimson Tide, Gladiator, Backdraft and Pirates of the Caribbean in its pure loud surround recording. And as for me, I'm giving King Arthur the benefit of the doubt, but this has got to do with the fact Zimmer didn't score something like this of genre before.

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Tracks

Single Disc

1. Tell Me Now (What You See): Moya Brennan (4.31)

2. Woad To Ruin (11.31) Excellent Track

3. Do You Think I'm Saxon? (8.41)

4. Hold The Ice (5.41)

5. Another Brick In Hadrian's Wall (7.11)

6. Budget Meeting (9.42) Excellent Track

7. All Of Them! (10.24) Excellent Track

Total Length: 57.50

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=== Link to Composer Site: Hans Zimmer ===