Archive
MEMOIRS OF A GEISHA – John Williams
Original Review by Jonathan Broxton
One of 2005’s most prestigious film projects, Memoirs of a Geisha is a lavish cinematic version of Arthur Golden’s popular novel of the same name. Originally slated to be directed by Steven Spielberg, the film was eventually taken over by Chicago director Rob Marshall, but not before Spielberg had secured the services of his long-time collaborator John Williams to write the film’s score. As regular readers of this site will know, scores which combine oriental sensibilities with western orchestras often receive high ratings and glowing plaudits. Unsurprisingly, Memoirs of a Geisha is not going to buck that trend. Read more…
WAR OF THE WORLDS – John Williams
Original Review by Jonathan Broxton
British author Herbert George Wells first published his alien invasion novel The War of the Worlds in 1898, and in so doing probably invented an entire genre of science fiction storytelling. When Orson Welles performed a live radio adaptation of the story on Halloween night in 1938, he famously scared half of the American public into thinking an actual alien invasion was taking place, such was the believability and sincerity in Welles’s performance. Director George Pal brought the story to life in 1953 in what is now regarded a landmark entry into cinematic science fiction. Composer Jeff Wayne wrote a popular and successful musical concept album in 1978, which featured a young George Fenton playing a variety of instruments. Now, director Steven Spielberg has brought the classic tale to the big screen once more in what promises to be the definitive cinematic retelling, with a starry cast and a budget to match. Read more…
STAR WARS: REVENGE OF THE SITH – John Williams
Original Review by Jonathan Broxton
After 28 years, six movies, and almost $2 billion in combined grosses, the Star Wars saga has finally come full circle with the release of the third installment of director George Lucas’s “prequel” trilogy, Revenge of the Sith. Essentially acting as a bridge between the last film, Attack of the Clones, and the events of the original 1977 classic Star Wars, Revenge of the Sith tells the story of the Empire’s rise to power: how the Imperial Senate becomes the sole domain of Chancellor Palpatine (Ian McDiarmid), how the last of the old Jedi Knights are driven from power and vanquished in battle, how Anakin Skywalker (Hayden Christensen) betrays his former master Obi-Wan Kenobi (Ewan McGregor) and is turned to the dark side of the force by Darth Sidious, eventually becoming the evil and feared Darth Vader; and how Padme (Natalie Portman), Anakin’s wife, secretly gives birth to twin children – named Luke and Leia – who will ultimately become the only hope for a galaxy in the iron grip of its new, ruthless rulers. Read more…
CATCH ME IF YOU CAN – John Williams
Original Review by Jonathan Broxton
Steven Spielberg and John Williams have been working together since 1974, when the then-young director hired Williams to score The Sugarland Express. Their subsequent creative collaboration has become near-legendary, spanning almost 20 movies in as many years. Catch Me If You Can, their latest offering, is something of a departure for both of them: a) because Spielberg has made his first “light hearted” movie since the lamentable 1941, and b) because John Williams has given it a jazz score. The film is based on the true life story of Frank Abagnale Jr, who in the 1960s became the youngest person to be placed on the FBI’s most wanted list after committing a series of elaborate confidence tricks. Leonardo Di Caprio stars as the eponymous Abagnale, oozing bravado and charisma, while all the while being shadowed but never quite outwitted by FBI Agent Carl Hanratty (Tom Hanks, in an unusually low-key and monochrome role). Christopher Walken co-stars as Abagnale’s father, with Martin Sheen and Jennifer “Alias” Garner in extended cameos. Read more…
HARRY POTTER AND THE CHAMBER OF SECRETS – John Williams, William Ross
Original Review by Jonathan Broxton
It’s funny how John Williams always manages to get himself attached to supremely successful movie franchises: whether through skill and good judgement, or simply because of his vast reputation, the man still regarded as Hollywood’s premier composer has lucked out in being involved with the Star Wars movies, Indiana Jones and now Harry Potter, the series of movies based on J.K. Rowling’s enormously popular tales of witchcraft and wizardry. The Chamber of Secrets is the second in the series of films, following Harry Potter and the Philosopher’s Stone and is, in every conceivable way, both in terms of movie AND music, a more pleasing experience. Read more…
MINORITY REPORT – John Williams
Original Review by Jonathan Broxton
Is it sacrilege to say that a new John Williams score is a slight disappointment? The 70-year old composer has been at the top of his game for over 25 years now, and the list of near-legendary scores he has written is almost incomprehensible. His collaboration with director Steven Spielberg is also the stuff of fable – how can two men come up with so much brilliance and genius between them? Minority Report, as a movie, is a marvelous amalgam of science fiction and morality gone wrong. But whereas Spielberg seems to still be at the height of creative talents, Williams seems to be flagging just a tad. A.I., his last Spielberg film, was enjoyable but failed to tread any new ground. Minority Report, which covers similar thematic ground by tackling deep intellectual issues in a science fiction setting, seems to have had the a similar effect on Williams – without wanting to sound unkind, its almost as though “thinking” films don’t provide him with the same seeds of musical inspirational as the popcorn adventure flicks that seem to be more and more his forte. Read more…
STAR WARS: ATTACK OF THE CLONES – John Williams
Original Review by Jonathan Broxton
Talk about pressure. Could any composer other than John Williams ever write a Star Wars score successfully? After the mixed critical reception of The Phantom Menace, it would be difficult for Attack of the Clones NOT to be a better movie; but Williams’ score was roundly praised, and to improve upon the incredible choral power of Duel of the Fates would be a task indeed. As the second installment in the trilogy, speculation was rife about how the middle Star Wars movie is always the best, dramatically and musically, adding further expectation upon Williams’s talents. Fortunately, all the doubts and worries are groundless. Attack of the Clones is a monster, surpassing The Phantom Menace on almost all counts. Read more…
THE PATRIOT – John Williams
Original Review by Jonathan Broxton
When word leaked out that Roland Emmerich and Dean Devlin were less than satisfied with David Arnold’s demo score for The Patriot, it set off a chain of murmurings throughout the film music world. Who would be the man to replace Arnold, whose previous collaborations with Centropolis had resulted in the uniformly wonderful Stargate, Independence Day and Godzilla? Then came the announcement: John Williams. Collective gasp. John Williams scoring a civil war epic? This could be the chance for him to turn in the kind of score everyone wanted Saving Private Ryan to be, but wasn’t. A glorious celebration of honor, nobility, valor in battle, and belief in one’s comrades. You’ll be delighted to discover that The Patriot doesn’t disappoint. Read more…
ANGELA’S ASHES – John Williams
Original Review by Jonathan Broxton
With The Phantom Menace out of the way, John Williams has finally been able to write for a film which isn’t met with the same expectations as a cure for cancer or the second coming of Christ. With hindsight, it could be said that Williams tried a little too hard to please too many masters on Star Wars, and although enjoyable and well-written, the end result came out just a little muddled. His forceful follow up is Angela’s Ashes, a beautiful, if a little downbeat score which is totally and utterly wrecked on CD by a whole load of intrusive dialogue tracks. Read more…
STAR WARS: THE PHANTOM MENACE – John Williams
Original Review by Jonathan Broxton
At long, long last, the waiting is over. I don’t think I can ever remember a soundtrack being as highly anticipated as The Phantom Menace was – not even Titanic. Ever since George Lucas announced his intentions to make a second Star Wars trilogy, score fans the world over literally started drooling as they pondered the possibilities. Of course, John Williams would write the music, but what would he do? Would any of the familiar themes make an appearance? Would the full score be released? Would it be a 2-CD release? What would be the cue titles? Such has been the speculation and avid discussion, especially on the Internet, that with only a few weeks to go until its premiere, it has almost become a frenzy. As such, reviewing a score like this impartially and without bias is now virtually impossible – even I have been caught up in Phantom Menace fever, especially with the tantalizing glimpses of the trailer in my local multiplex. Read more…
Shop at the Movie Music UK Store
Member of the
MOVIE MUSIC UK 