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“THE CHRONICLES OF
NARNIA: PRINCE CASPIAN is a score that has, like the Pevensie's,
grown up a bit. While there remains an underlying sense of wonder,
the music this time out is much more aggressive...and more engaging. ”
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Nothing Happens the Same Way Twice
Review by Christopher Coleman
In 2005, with the film and film-music world still slightly abuzz over
director Peter Jackson and composer Howard Shore's masterwork for the LORD
OF THE RINGS trilogy, came THE LION, THE WITCH, AND THE WARDROBE.
Between Jackson's epic trilogy and the HARRY POTTER franchise, the
fantasy-genre was big-bucks again. However, with the well documented
friendship between authors, J.R.R. Tolkien and C.S. Lewis, specific
comparisons between the two author's eventual film-adaptations were
inevitable. Director Andrew Adamson's vision of C.S. Lewis' story was as
different from Jackson's work as Tolkien's tale is from Lewis'. One of the
key differences was reflected in the film's score by composer HARRY
GREGSON-WILLIAMS. The unexpected modern-edge for THE LION, THE WITCH, AND
THE WARDROBE, especially in light of Shore's more operatic work, perhaps
brought undue criticism from the soundtrack community upon the score
(myself included). In the years since; however, as the Lord the Rings
energies have simmered down, the first film from the land of Narnia, as
well as it's score has become, for some, appreciated on its own merits
rather than merely as a contrast to Howard Shore's work... again, myself
included.
Three years later, we finally have the second installment from THE
CHRONICLES OF NARNIA - PRINCE CASPIAN. Returning for the sequel is
director Adamson, the four main "child-stars," and composer HARRY GREGSON-WILLIAMS.
In THE LION, THE WITCH, AND THE WARDROBE, we clearly heard Gregson-Williams
establish a distinct style for the Narnia franchise - an intriguing,
albeit surprising, mix of classical and contemporary styles and
instrumentation. It was certainly a bold move back in 2005 given the
success of the Lord of the Rings and the Harry Potter franchises, which
were both complete with more traditional, symphonic scores. The 2005 film
was slower than some anticipated, especially at it's onset, hence the
score was considered to lack a little intensity as well. Still, well
established were themes and motifs representing the world of Narnia, the
Pevensie children, and Aslan. Having done this, Harry Gregson-Williams,
like the four youngsters who have returned to Narnia, is able to more
fully explore his musical-landscape. In the end, PRINCE CASPIAN delivers a
richer listening experience.
Following the characteristics of the new film, HARRY GREGSON-WILLIAMS'
score features a darker, more intense, and more fully developed
personality... as well a greater number of action/suspense pieces. With
the Pevensie's return to Narnia, some 1300 years later, they find the land
is quite a different place than the paradisiacal kingdom they
inadvertently abandoned. Since that time, another race of man, called
Telmarines, has taken power (apparently Spanish conquistadors found their
way to Narnia and made it their business to exterminate all of the beings
and races there.) With the good Prince Caspian on the run from his evil
uncle and momentary king, Miraz, the four kings and queens of old being
transported back to Narnia, the platter for a different movie experience
is served.
Harry Gregson-Williams makes significant use of his original themes
throughout. Very early on, he musically connects the the two films by
following a subtle, french horn statement of Prince Caspian's theme with,
first the Narnia theme, and then the Pevensie theme in "The Kings and
Queens of Old" (2). He goes on to deliver a number of permutations of the
Pevensie theme in "Arrival at the How" (4), "Raid on the Castle" (5) and
the finale "The Door in the Air" (12). The Narnia motif, which help
establish the overall tone of "wonder" in the previous film, does show up
a number of times as well. In "The Kings and Queens of Old (2), we hear an
expansive quotation, but is also occasionally employed in intriguing
fashion in action sequences like "Raid on the Castle" (5) and "The Duel"
(8). Outdoing even the Prince Caspian's theme, the composer makes the most
use of Aslan's triumphantly strong motif. It is found in one form or
another in just about every track that isn't directly representing one of
the evil-doers of the film. It, too, makes strong appearances in each of
the action sequences, but there are a few other noteworthy inclusions as
well. We hear it played exotically on the electric-violin in "Journey to
the How" (3), most majestically in "Arrival at Aslan's How" (4), and the
most powerful performance of the theme in either film can be found in
"Return of the Lion" (11).
A favorite moment comes in "The Door in the Air" (12) where HARRY GREGSON-WILLIAMS
again teases portions of Imogen Heap's "Can't Take it In," which, itself
remains one of the best pop-track inclusions on a score album to date.
Also of note is "Sorcery and Sudden Vengeance" (7), which may be the
darkest piece of either film. In it, we here similar, gutteral vocals (a
la Buddhist chant) as we did in "The Stone Table" from the last film,
before it erupts into the White-witch-battle-theme also established The
Lion, The Witch, and the Wardrobe. While the detail of this scene
was not included in the book, it's both visually and musically
invigorating. Further, the throne-ursurping Miraz is provided his
own 8-note theme first heard "Raid on the Castle", but most clearly in "Miraz
Crowned" (6). Of course, the most significant thematic addition is
that of Prince Caspian. Rather than rival the heroic nobility of
Aslan, the young prince's musical moniker is inherently more uncertain.
By the conclusion of the score, however; Gregson-Williams is able to
convey the growing boldness and strength of the young prince.
A sad note on this release is that the three included pop-tracks don't
come near to those from the previous soundtrack. "Can't Take it In" and
"Wunderkind" from The Lion, The Witch, and The Wardrobe, went on to be
well-recognized and huge hits in their own rights, but I'm not so sure any
of these will do likewise. Apparently, Imogen Heap did again submit
a song for soundtrack, but it was rejected because it was said to be "too
dark." In regards to these pop-tracks, the overall rating of this
soundtrack suffers only marginally, as the producers have wisely relegated
them to the end. Your propensity to enjoy this score is going to be
directly connected to your reaction to first film's score. PRINCE CASPIAN
is, on some level, more of the same. If the electronic elements didn't
work for you in THE LION, THE WITCH, AND THE WARDROBE, then they likely
won't work for you here. However, if you have come to appreciate HARRY
GREGSON-WILLIAMS unique and surprisingly detailed approach to this fantasy
film, as I eventually have come to, then you'll likely find this score
even more enjoyable than the first. THE CHRONICLES OF NARNIA: PRINCE
CASPIAN is a score that has, like the Pevensie's, grown up a bit. While
there remains an underlying sense of wonder, the music this time out is
much more aggressive...and more engaging. Prince Caspian is, without
question, similar to its predecessor, but it is far from being the same
thing twice.
Rating:
8/10
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Track |
Track Title |
Track Time |
Rating |
|
1 |
Prince Caspian
Flees |
4:33 |
**** |
|
2 |
The Kings
and Queens
of Old |
3:26 |
**** |
|
3 |
Journey
to the
How |
4:39 |
**** |
|
4 |
Arrival
at
Aslan's
How |
2:53 |
**** |
|
5 |
Raid
on
the
Castle |
7:00 |
***** |
| 6 |
Miraz
Crowned |
4:42 |
**** |
| 7 |
Sorcery and Sudden Vengeance |
6:15 |
**** |
| 8 |
The Duel |
5:51 |
**** |
| 9 |
The Armies Assemble |
2:17 |
**** |
| 10 |
Battle at Aslan's How |
5:14 |
**** |
| 11 |
Return of the Lion |
4:10 |
***** |
| 12 |
The Door in the Air |
7:50 |
***** |
| 13 |
The Call (Regina Spektor) |
3:07 |
*** |
| 14 |
A Dance "Round the Memory Tree" (Oren Lavie) |
3:38 |
** |
| 15 |
This is Home (Switchfoot) |
3:58 |
*** |
| 16 |
Lucy (Hanne Hukkleberg) |
4:31 |
** |
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Total Running Time (approx) |
75 minutes |
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