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K-19: THE WIDOWMAKER – Klaus Badelt
Original Review by Jonathan Broxton
It may be a slightly early in a composer’s career to be making statements such as this, but I would be willing to bet that, within five years, Klaus Badelt is the most successful and respected Media Ventures graduate Hollywood has yet seen. This may seem like faint praise, forever lumping him in with the MV crew and making him guilty by association, but when you consider the career free-fall of composers such as Mark Mancina and Nick Glennie-Smith in recent years, the two 2002 scores by the young German promise excellent things. The second of his two scores, after The Time Machine, is K-19: The Widowmaker, a serious and somber submarine thriller starring Harrison Ford and Liam Neeson and directed by Kathryn Bigelow. The film is set in a tense 1961, the time at which the cold war between the USA the former Soviet Union was at its worst, on board the pride of the Soviet Navy’s submarine division: warship K-19. Hoping to nullify the American threat of nuclear attack, K-19 is placed strategically off the coast of America under a new commander, Alexi Vostrikov (Ford), who replaced the ship’s popular former captain Polenin (Neeson). However, when the K-19’s nuclear reactor malfunctions, tensions begin to surface – not just because of the threat of a meltdown onboard, but because crew members still loyal to Polenin threaten to mutiny. Read more…
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