War of the Worlds
John Williams
" This is John Williams' space. He owns this! "Written by Thomas Glorieux - Review of the regular release
Despite the mediocre acclaim it received from critics and fans, Steven Spielberg's adaptation of War of the Worlds was a gigantic box office success. The combination of Spielberg and Cruise had worked before with Minority Report (a movie that did receive universal acclaim), and special effects wise, War of the Worlds did everything right to ensure the viewers that they were imagining a real live invasion. Personally, I think War of the Worlds is awesome. You can literally sense the doom and terror the people are facing on screen. Plus the film is full of Spielberg shots for you to enjoy. From the freeway scene with the amazing camera shot to the suspenseful basement moment with the alien probe. Meaning everything was on board to make the experience worth it, the only thing we needed to hear for ourselves was John Williams' supportive score.
Say what you will about John Williams and his development over time, but War of the Worlds is a brilliant motion picture score. It's not a brilliant listening experience, but it sure is a demanding one, one that will be (dis)liked by a lot of people for all the wrong/right reasons. But despite its gloomy sinister edgy tone, War of the Worlds still remains classic John Williams. The only difference is that today the thematic voice has altered to a more rhythmic propulsive attitude, one that is easily discovered during your 60 minute listening experience.
Morgan Freeman's narration in "Prologue" and "The Reunion" aside, John Williams' album sequence is not (as usual) in film order. In fact it's far from film order considering we immediately jump towards the perilous danger of "The Ferry Scene", a track that immediately plunges ourselves into real fear, aided by the rhythmic dark blasts of the never ending trumpets and percussion attacks. The only redeeming moment comes during a captain's wondering look towards the light that raises from the water (3.30). This is supported by an eerie mysterious vocal that always elevates this cue to the next level.
Those vocals return in "Reaching the Country", elevating here the desolate tranquility of the open country, and sadly for Rachel revealing a river full of bodies. The threat however continues to remain inside the listening experience, as we see tripods closing "The Intersection Scene" (once again brought forward by relentless trumpet blasts, eerie screaming vocals and never ending percussion thumps). And expect the same concerning rhythmic trumpet blasts and percussion thumps during "Escape from the City", during the unnerving rhythm of "The Attack on the Car", during the Khachaturian atonality of strings and trumpets in "The Confrontation with Ogilvy", during the fantastic eruption of heroic trumpet blasts in "The Return to Boston" or during the end of "Escape from the Basket" in which Tom Cruise's bravery is supported by the same never ending trumpet blasts.
The few moments of respite come in the shape and form of "Ray and Rachel", the touching interlude between father and daughter. Furthermore we have "Refugee Status", the dramatic soaring acceptance of their faith (reminding me often of Angela's Ashes), the cold AI piano tones in "The Separation of the Family", the relieving trumpet and piano moments of "Reunion" or the dramatic conclusion in "Epilogue", Williams' dramatic music never fails to inspire (despite the lack of a recognizable theme).
In general, War of the Worlds is downright brilliant stuff. Because if you see it from the technical point of view, little if nothing bad can be said about War of the Worlds. But to listen to War of the Worlds requires a different point of view. Because you will not enjoy listening to it. This is not a soundtrack you put up to entertain yourself for a couple of hours, nor is this an experience you'll gladly want to revisit if you're feeling somewhat depressed. But I think you have to see War of the Worlds both ways here, and not see it from just a listening point of view. Because that would make one diminish the unbelievable qualities War of the Worlds definitely possesses. So I put myself in the middle of all this. It is brilliant stuff from a technical point of view, and I can happily return to a couple of cues that truly enlighten this demanding listening experience.
Tracklisting
1. Prologue * (2.52)
2. The Ferry Scene (5.49) Excellent track
3. Reaching the Country (3.24)
4. The Intersection Scene (4.13)
5. Ray and Rachel (2.41)
6. Escape from the City (3.49)
7. Probing the Basement (4.12)
8. Refugee Status (3.50) Excellent track
9. The Attack on the Car (02:44)
10. The Separation of the Family (2.36)
11. The Confrontation with Ogilvy (4.34)
12. The Return to Boston (4.29) Excellent track
13. Escape from the Basket (9.21)
14. The Reunion * (3.16)
15. Epilogue (3.11)
* narration by Morgan Freeman
Total Length: 61.01
Say what you will about John Williams and his development over time, but War of the Worlds is a brilliant motion picture score. It's not a brilliant listening experience, but it sure is a demanding one, one that will be (dis)liked by a lot of people for all the wrong/right reasons. But despite its gloomy sinister edgy tone, War of the Worlds still remains classic John Williams. The only difference is that today the thematic voice has altered to a more rhythmic propulsive attitude, one that is easily discovered during your 60 minute listening experience.
Morgan Freeman's narration in "Prologue" and "The Reunion" aside, John Williams' album sequence is not (as usual) in film order. In fact it's far from film order considering we immediately jump towards the perilous danger of "The Ferry Scene", a track that immediately plunges ourselves into real fear, aided by the rhythmic dark blasts of the never ending trumpets and percussion attacks. The only redeeming moment comes during a captain's wondering look towards the light that raises from the water (3.30). This is supported by an eerie mysterious vocal that always elevates this cue to the next level.
Those vocals return in "Reaching the Country", elevating here the desolate tranquility of the open country, and sadly for Rachel revealing a river full of bodies. The threat however continues to remain inside the listening experience, as we see tripods closing "The Intersection Scene" (once again brought forward by relentless trumpet blasts, eerie screaming vocals and never ending percussion thumps). And expect the same concerning rhythmic trumpet blasts and percussion thumps during "Escape from the City", during the unnerving rhythm of "The Attack on the Car", during the Khachaturian atonality of strings and trumpets in "The Confrontation with Ogilvy", during the fantastic eruption of heroic trumpet blasts in "The Return to Boston" or during the end of "Escape from the Basket" in which Tom Cruise's bravery is supported by the same never ending trumpet blasts.
The few moments of respite come in the shape and form of "Ray and Rachel", the touching interlude between father and daughter. Furthermore we have "Refugee Status", the dramatic soaring acceptance of their faith (reminding me often of Angela's Ashes), the cold AI piano tones in "The Separation of the Family", the relieving trumpet and piano moments of "Reunion" or the dramatic conclusion in "Epilogue", Williams' dramatic music never fails to inspire (despite the lack of a recognizable theme).
In general, War of the Worlds is downright brilliant stuff. Because if you see it from the technical point of view, little if nothing bad can be said about War of the Worlds. But to listen to War of the Worlds requires a different point of view. Because you will not enjoy listening to it. This is not a soundtrack you put up to entertain yourself for a couple of hours, nor is this an experience you'll gladly want to revisit if you're feeling somewhat depressed. But I think you have to see War of the Worlds both ways here, and not see it from just a listening point of view. Because that would make one diminish the unbelievable qualities War of the Worlds definitely possesses. So I put myself in the middle of all this. It is brilliant stuff from a technical point of view, and I can happily return to a couple of cues that truly enlighten this demanding listening experience.
Tracklisting
1. Prologue * (2.52)
2. The Ferry Scene (5.49) Excellent track
3. Reaching the Country (3.24)
4. The Intersection Scene (4.13)
5. Ray and Rachel (2.41)
6. Escape from the City (3.49)
7. Probing the Basement (4.12)
8. Refugee Status (3.50) Excellent track
9. The Attack on the Car (02:44)
10. The Separation of the Family (2.36)
11. The Confrontation with Ogilvy (4.34)
12. The Return to Boston (4.29) Excellent track
13. Escape from the Basket (9.21)
14. The Reunion * (3.16)
15. Epilogue (3.11)
* narration by Morgan Freeman
Total Length: 61.01