The Bourne Legacy
James Newton Howard
" The Bourne sound no longer enthralls "Written by Thomas Glorieux - Review of the regular release
The Bourne Legacy is the 4th installment in the Bourne film series, bringing for the first time a new agent to replace Jason Bourne as lead character (which makes the name Bourne pretty ridiculous). Starring Jeremy Renner, Rachel Weisz and Edward Norton and directed by Tony Gilroy (screenwriter of the first three films), The Bourne Legacy is loosely based on The Bourne Legacy, a later Bourne novel written by Eric Van Lustbader. Now considering Paul Greengrass, Matt Damon and composer John Powell were no longer on board, a new tone and sound could be delivered. But what do you consider new if a composer doesn't follow his own distinct sound anymore? And just replaces that with a sound that follows the tone of the previous three?
In that case, it makes James Newton Howard's choice all the more awkward, because if you want to ape a sound, at least make it memorable. And while I don't see John Powell's style working with James Newton Howard's one, at least it could have been a lot more interesting. Effective is at least the nudge towards John Powell's sound, especially once it opens "Legacy" with Bourne's main theme of John Powell. Sadly it continues the track with less inspired Salt like suspense and moodiness, a sound that wasn't that widely appreciated in Salt at all. And what's definitely not appreciated is JNH's less than interesting action sound, delivering suspense, beats and moody underscore to create a constant on the run feeling that might feel at home in the picture, but not on disc. The first cue ("Drone") is like listening to Salt again, but without the more stylish action motif that we thought to be the saving grace of that score.
Occasionally, JNH pays tribute to John Powell's work, especially once we hear him using Jason Bourne's solemn theme ("You Fell in Love"). Or to his own work, once he resurrects the cool electric guitar sound of The Green Lantern in "Program Shutdown" (including ethnic music that brings back memories of Blood Diamond). But mostly we get substance and not style, delivering sound and not melody, effective and hardly memorable music that doesn't entertain me at all, not without a hook to grab on to. So the action of "Doctor of What? " flies by, the sound design of "Aaron in Chicago" doesn't excite me, the moody suspense of "Flight 167" doesn't win me over and an eerie experience like "Cognitive Degrade" complete passes me by without you ever knowing it.
Only "Wolf Attack" and "Aaron Run" does inject some memorable coolness to the experience, mostly because of the Salt like motif and the brass at the end. And the same can be said about "Magsaysay Suite", a cue that mixes the beats with the Salt like orchestral suspense to create something that will surely enthrall in the picture.
But mostly we hear flashes of those styles (the rough sound of Blood Diamond, the rhythmic pace of Salt) but without the thematic elements that made them entertaining. Here they lack that specific element, that hook, that interesting melody that elevates the cue to something unique. This feels like supportive music without any specific element that James Newton Howard was always able to put in his music. Is it now truly the demand of the people working on the picture, or simply the composer's choice? Either way, for me it feels like wanting to recreate the sound that made the previous movies work, without putting your own voice in it. Where's the style we James Newton Howard fans grew up with? I don't want nor can not expect a Waterworld sound in each score, but I feel a main theme or specific motif is absolutely vital in each score. That's how a soundtrack suddenly becomes something meaningful, specifically for the picture it supports. Here I feel it's there to support the imagery, without the unique hook that will create a lasting impression.
I miss you James, because you were one of the few great composers left who was able to write something meaningful. But this style and sound doesn't suite you. So here's hoping you continue your orchestral magical style for the projects that truly demand a difference. Starting with After Earth.
Good luck!
Track Listing
1. Legacy (2.40)
2. Drone (4.15)
3. NRAG (0.59)
4. You Fell in Love (1.42)
5. Program Shutdown (3.00)
6. Over the Mountain (0.51)
7. High Powered Rifle (2.50)
8. They're All Dead (2.48)
9. Manila Lab (2.40)
10. Wolves and Sick Ric (2.19)
11. Doctor of What? (4.28)
12. Aaron in Chicago (1.32)
13. Wolf Attack (2.57)
14. Chem Talk (1.35)
15. Flight 167 (3.30)
16. Aaron Run! (1.08)
17. You Belong Here (1.17)
18. Cognitive Degrade (2.49)
19. 17 Hour Head Start (3.51)
20. Viralled Out (0.58)
21. You're Doing Fine (1.18)
22. Simon Ross (1.37)
23. LARX Tarmac (1.45)
24. Magsaysay Suite (3.04)
25. Aftermath (2.49)
26. Extreme Ways (Bourne's Legacy): Moby (4.51) Excellent track
Total Length: 63.33
In that case, it makes James Newton Howard's choice all the more awkward, because if you want to ape a sound, at least make it memorable. And while I don't see John Powell's style working with James Newton Howard's one, at least it could have been a lot more interesting. Effective is at least the nudge towards John Powell's sound, especially once it opens "Legacy" with Bourne's main theme of John Powell. Sadly it continues the track with less inspired Salt like suspense and moodiness, a sound that wasn't that widely appreciated in Salt at all. And what's definitely not appreciated is JNH's less than interesting action sound, delivering suspense, beats and moody underscore to create a constant on the run feeling that might feel at home in the picture, but not on disc. The first cue ("Drone") is like listening to Salt again, but without the more stylish action motif that we thought to be the saving grace of that score.
Occasionally, JNH pays tribute to John Powell's work, especially once we hear him using Jason Bourne's solemn theme ("You Fell in Love"). Or to his own work, once he resurrects the cool electric guitar sound of The Green Lantern in "Program Shutdown" (including ethnic music that brings back memories of Blood Diamond). But mostly we get substance and not style, delivering sound and not melody, effective and hardly memorable music that doesn't entertain me at all, not without a hook to grab on to. So the action of "Doctor of What? " flies by, the sound design of "Aaron in Chicago" doesn't excite me, the moody suspense of "Flight 167" doesn't win me over and an eerie experience like "Cognitive Degrade" complete passes me by without you ever knowing it.
Only "Wolf Attack" and "Aaron Run" does inject some memorable coolness to the experience, mostly because of the Salt like motif and the brass at the end. And the same can be said about "Magsaysay Suite", a cue that mixes the beats with the Salt like orchestral suspense to create something that will surely enthrall in the picture.
But mostly we hear flashes of those styles (the rough sound of Blood Diamond, the rhythmic pace of Salt) but without the thematic elements that made them entertaining. Here they lack that specific element, that hook, that interesting melody that elevates the cue to something unique. This feels like supportive music without any specific element that James Newton Howard was always able to put in his music. Is it now truly the demand of the people working on the picture, or simply the composer's choice? Either way, for me it feels like wanting to recreate the sound that made the previous movies work, without putting your own voice in it. Where's the style we James Newton Howard fans grew up with? I don't want nor can not expect a Waterworld sound in each score, but I feel a main theme or specific motif is absolutely vital in each score. That's how a soundtrack suddenly becomes something meaningful, specifically for the picture it supports. Here I feel it's there to support the imagery, without the unique hook that will create a lasting impression.
I miss you James, because you were one of the few great composers left who was able to write something meaningful. But this style and sound doesn't suite you. So here's hoping you continue your orchestral magical style for the projects that truly demand a difference. Starting with After Earth.
Good luck!
Track Listing
1. Legacy (2.40)
2. Drone (4.15)
3. NRAG (0.59)
4. You Fell in Love (1.42)
5. Program Shutdown (3.00)
6. Over the Mountain (0.51)
7. High Powered Rifle (2.50)
8. They're All Dead (2.48)
9. Manila Lab (2.40)
10. Wolves and Sick Ric (2.19)
11. Doctor of What? (4.28)
12. Aaron in Chicago (1.32)
13. Wolf Attack (2.57)
14. Chem Talk (1.35)
15. Flight 167 (3.30)
16. Aaron Run! (1.08)
17. You Belong Here (1.17)
18. Cognitive Degrade (2.49)
19. 17 Hour Head Start (3.51)
20. Viralled Out (0.58)
21. You're Doing Fine (1.18)
22. Simon Ross (1.37)
23. LARX Tarmac (1.45)
24. Magsaysay Suite (3.04)
25. Aftermath (2.49)
26. Extreme Ways (Bourne's Legacy): Moby (4.51) Excellent track
Total Length: 63.33