King Kong
James Newton Howard
" Howard replaced the Shore, Howard didn't kill the Score "Written by Thomas Glorieux - Review of the regular release
When it was announced that Peter Jackson would recreate the famous king of them all (namely Kong), people immediately realized that this movie could become another classic. Because Peter Jackson has grown from a fanbase director of Braindead and The Frighteners to an all time favorite of many for doing the impossible, namely recreating Tolkien's vision from book to video, and succeeding in it to do it right.
Now with King Kong it was long decided that the wonderful Naomi Watts would play the title role of Ann, and that composer Howard Shore would try to equal Max Steiner's legendary score, whilst elevating his own success and magic of LOTR. The people were, like Jackson falling in love with Howard Shore after LOTR, and for good reason too. So it was for many a complete shock that due to creative differences, composer and director separated mere months before the premiere. Consider it a Gabriel Yared spoof without the angry retaliation from both parties at the end. Here, Howard Shore never struck back at Peter Jackson and the 2 remain friends no matter what. Meaning Shore continued to remain in the movie as a conductor in a cameo appearance, but faithfully they decided that he would not be the one that would be squashed by Kong's hands when he about to break free.
Anyway now with Howard Shore gone, composer numero 1 became James Newton Howard, who was long working on the picture after the word was spread around. But the question was still the following: what could James Newton Howard deliver in mere weeks to months and what would Shore's ultimate effort have sounded like? I guess for the second question we will never know the full answer.
Now back to reality. That the score of James Newton Howard lacks a strong big main theme for some is not entirely true, because the score has various other themes instead, so perhaps a big main theme wasn't needed at all. So, James Newton Howard's simple yet effective 4 note Kong fanfare already deploys its strength from the beginning on. Besides the departure theme (which is more a mystery theme per se), the Kong fanfare is heard over the letters in "King Kong" and feels like something Max Steiner would have composed (which he did, only it was a 3 note fanfare).
After that moody opening we have "A Fateful Meeting", which presents us gentle strings with piano, by that bringing us the gentle theme for Ann. After that, rushing scherzo's intermingle with "It's in the Subtext" and its use of the departure theme, recreating the long character development of the film with ease in the film, whilst a little harder on disc. "The Venture Departs" continues with the departure, that is until we arrive on Skull Island.
Meaning it's not until we reach "Last Blank Space on the Map" that we finally reach the more thrilling part of the score, meaning the second part of the movie and CD. Here loud percussion and whispering ethic flutes lead us to a brass and choir eruption signaling briefly a much welcomed action moment, before fading out quietly and eerie again. This thrill continues in "It's Deserted", bringing forward the Kong fanfare (as it is his island), a rising Abyss choral moment and an attacking brass and string ambush that leads to this disc's first heroic outing. And from here on (like the film), there's no stopping the director and composer.
"Something Monstrous ... Neither Man nor Beast" delivers both the Kong fanfare as the departure theme before "Head toward the Animals" becomes a ferocious rhythmic attack on the senses. It's powerful, rhythmic and moves forward to another racing departure theme with heroic flavors. But if something becomes thrilling in the whole sense of the word, then it is "Tooth and Claw", underscoring one of the most visually astounding scenes ever created, namely the battle with the 3 T-Rex's. The opening brass statement is Kong's own variation fanfare, but when the departure theme is thrown in the battle alongside choral outbursts, brass attacks and Kong's own heroic motif, then you know you're receiving the finest track this album has to offer. Luckily "Captured" isn't bad either, bringing forth a powerful Kong fanfare as his heroic musical struggle to rescue Ann.
In between the rumble, we receive the beautiful love theme for Kong and Ann, first lovely in "Beautiful" and absolutely breathtaking in "Central Park", bringing you another spine tingling moment for sure. That means that Kong has already been introduced to the big apple, and that means it is up to man to react in only one way possible, by defeating the menace that strolls through their city.
All of the tracks of "Beauty Killed the Beast" thereby create a climax, whether its through action in I, II and III (recreating music based on the departure theme and Kong's attacking music), or through more emotional music for the doomed finale. In that category, "Beauty Killed the Beast IV" is the most noteworthy, with emotional choir and a solo vocal to heighten an already powerful scene
Together this will be enough for some, not even close for others. I honestly don't know how much time James Newton Howard received, but regarding he had to compose music for a 3 hour movie (meaning 2h to 2h 30 minutes of music), it still comes as a testament it's this bloody good. If you consider that Troy of James Horner is nothing like its rejected score of Gabriel Yared, then I'm at least glad to report that King Kong is neither the failure nor the disappointment. No on the contrary, it's bloody fantastic. Because I know deep down that James Newton Howard at least brought us the thrills, the excitement and the emotion for an epic 3 hour movie, and that in a time limit most composers would have choked over. Meaning, who's the King now?
Tracklisting
1. King Kong (1.09)
2. A Fateful Meeting (4.16)
3. Defeat is Always Momentary (2.48)
4. It's in the Subtext (3.19)
5. Two Grand (2.34)
6. The Venture Departs (4.03)
7. Last Blank Space on the Map (4.43)
8. It's Deserted (7.08) Excellent track
9. Something Monstrous ... Neither Man nor Beast (2.38)
10. Head Towards the Animals (2.48) Excellent track
11. Beautiful (4.08) Excellent track
12. Tooth and Claw (6.17) Excellent track
13. That's all There Is (3.26)
14. Captured (2.25) Excellent track
15. Central Park (4.35) Excellent track
16. The Empire State Building (2.36)
17. Beauty Killed the Beast I (1.59) Excellent track
18. Beauty Killed the Beast II (2.22)
19. Beauty Killed the Beast III (2.14) Excellent track
20. Beauty Killed the Beast VI (4.45) Excellent track
21. Beauty Killed the Beast V (4.13) Excellent track
Total Length: 74.40
Now with King Kong it was long decided that the wonderful Naomi Watts would play the title role of Ann, and that composer Howard Shore would try to equal Max Steiner's legendary score, whilst elevating his own success and magic of LOTR. The people were, like Jackson falling in love with Howard Shore after LOTR, and for good reason too. So it was for many a complete shock that due to creative differences, composer and director separated mere months before the premiere. Consider it a Gabriel Yared spoof without the angry retaliation from both parties at the end. Here, Howard Shore never struck back at Peter Jackson and the 2 remain friends no matter what. Meaning Shore continued to remain in the movie as a conductor in a cameo appearance, but faithfully they decided that he would not be the one that would be squashed by Kong's hands when he about to break free.
Anyway now with Howard Shore gone, composer numero 1 became James Newton Howard, who was long working on the picture after the word was spread around. But the question was still the following: what could James Newton Howard deliver in mere weeks to months and what would Shore's ultimate effort have sounded like? I guess for the second question we will never know the full answer.
Now back to reality. That the score of James Newton Howard lacks a strong big main theme for some is not entirely true, because the score has various other themes instead, so perhaps a big main theme wasn't needed at all. So, James Newton Howard's simple yet effective 4 note Kong fanfare already deploys its strength from the beginning on. Besides the departure theme (which is more a mystery theme per se), the Kong fanfare is heard over the letters in "King Kong" and feels like something Max Steiner would have composed (which he did, only it was a 3 note fanfare).
After that moody opening we have "A Fateful Meeting", which presents us gentle strings with piano, by that bringing us the gentle theme for Ann. After that, rushing scherzo's intermingle with "It's in the Subtext" and its use of the departure theme, recreating the long character development of the film with ease in the film, whilst a little harder on disc. "The Venture Departs" continues with the departure, that is until we arrive on Skull Island.
Meaning it's not until we reach "Last Blank Space on the Map" that we finally reach the more thrilling part of the score, meaning the second part of the movie and CD. Here loud percussion and whispering ethic flutes lead us to a brass and choir eruption signaling briefly a much welcomed action moment, before fading out quietly and eerie again. This thrill continues in "It's Deserted", bringing forward the Kong fanfare (as it is his island), a rising Abyss choral moment and an attacking brass and string ambush that leads to this disc's first heroic outing. And from here on (like the film), there's no stopping the director and composer.
"Something Monstrous ... Neither Man nor Beast" delivers both the Kong fanfare as the departure theme before "Head toward the Animals" becomes a ferocious rhythmic attack on the senses. It's powerful, rhythmic and moves forward to another racing departure theme with heroic flavors. But if something becomes thrilling in the whole sense of the word, then it is "Tooth and Claw", underscoring one of the most visually astounding scenes ever created, namely the battle with the 3 T-Rex's. The opening brass statement is Kong's own variation fanfare, but when the departure theme is thrown in the battle alongside choral outbursts, brass attacks and Kong's own heroic motif, then you know you're receiving the finest track this album has to offer. Luckily "Captured" isn't bad either, bringing forth a powerful Kong fanfare as his heroic musical struggle to rescue Ann.
In between the rumble, we receive the beautiful love theme for Kong and Ann, first lovely in "Beautiful" and absolutely breathtaking in "Central Park", bringing you another spine tingling moment for sure. That means that Kong has already been introduced to the big apple, and that means it is up to man to react in only one way possible, by defeating the menace that strolls through their city.
All of the tracks of "Beauty Killed the Beast" thereby create a climax, whether its through action in I, II and III (recreating music based on the departure theme and Kong's attacking music), or through more emotional music for the doomed finale. In that category, "Beauty Killed the Beast IV" is the most noteworthy, with emotional choir and a solo vocal to heighten an already powerful scene
Together this will be enough for some, not even close for others. I honestly don't know how much time James Newton Howard received, but regarding he had to compose music for a 3 hour movie (meaning 2h to 2h 30 minutes of music), it still comes as a testament it's this bloody good. If you consider that Troy of James Horner is nothing like its rejected score of Gabriel Yared, then I'm at least glad to report that King Kong is neither the failure nor the disappointment. No on the contrary, it's bloody fantastic. Because I know deep down that James Newton Howard at least brought us the thrills, the excitement and the emotion for an epic 3 hour movie, and that in a time limit most composers would have choked over. Meaning, who's the King now?
Tracklisting
1. King Kong (1.09)
2. A Fateful Meeting (4.16)
3. Defeat is Always Momentary (2.48)
4. It's in the Subtext (3.19)
5. Two Grand (2.34)
6. The Venture Departs (4.03)
7. Last Blank Space on the Map (4.43)
8. It's Deserted (7.08) Excellent track
9. Something Monstrous ... Neither Man nor Beast (2.38)
10. Head Towards the Animals (2.48) Excellent track
11. Beautiful (4.08) Excellent track
12. Tooth and Claw (6.17) Excellent track
13. That's all There Is (3.26)
14. Captured (2.25) Excellent track
15. Central Park (4.35) Excellent track
16. The Empire State Building (2.36)
17. Beauty Killed the Beast I (1.59) Excellent track
18. Beauty Killed the Beast II (2.22)
19. Beauty Killed the Beast III (2.14) Excellent track
20. Beauty Killed the Beast VI (4.45) Excellent track
21. Beauty Killed the Beast V (4.13) Excellent track
Total Length: 74.40