The Bourne Identity
John Powell
" A new action style is Bourne "Written by Thomas Glorieux - Review of the regular release
Jason Charles Bourne, born David Webb, is a fictional character in the novels of Robert Ludlum and the subsequent film adaptations. He first appeared in the novel The Bourne Identity (1980). This novel was first adapted for television in 1988, and then adapted on film in 2002 under a title of the same name. It's of course due to this version that people got to know Jason Bourne, and the actor who played him so convincingly, namely Matt Damon. The Bourne Identity was a huge hit, but it was not until director Paul Greengrass directed the second and the third film that the Bourne craziness truly began. Composer John Powell took the whole saga under his wings and created what was considered to be at first an abysmal score.
I remember that moment vividly, that specific moment I had just finished listening to The Bourne Identity. I was blown away (negatively however) that such a rhythmic, pounding assault came from the same man who gave us so much joy during Shrek, Evolution, Rat Race, Chicken Run and Antz. This was not the score people wanted, nor were ready for. It was only after Supremacy and definitely Ultimatum that people understood where Powell was going for. A Bourne sound.
That Bourne sound is discovered first and for all through the theme of the character itself. Calm and moody in "Main Titles", it is still unconsciously dormant, waiting to erupt as the main character has no idea who he really is. This theme is repeated in "Bourne Gets Well", briefly in "At the Bank" and in "The Bourne Identity".
The first time this dormant side appears to shatter is when we hear the cool "Treadstone Assassins". It tries to beat the dormant side of your consciousness, and the second time it succeeds when we receive what Bourne stands for. Drum loops, rhythmic pounds, string interaction which all together forms "At the Bank". This continues but with more attention to electronics in "Escape From Embassy".
At one point the percussion receives more attention (like in "The Apartment" and "At the Farmhouse"), in the other occasion it is the Bourne string maneuver that will appear most frequently throughout the score. In fact, it is the one theme or motif that people will connect the most with Bourne himself, as it represents him in action, on the move, being chased. Considering this happens all the time, it is John Powell' most reoccurring maneuver or motif.
For instance it is lovely heard in "Bourne on Land" (intertwined with the still growing love theme), or heard more prominently in "Main Titles", "At the Bank", "Taxi Ride", "At the Farmhouse" and spiced up in "Drum and Bass Remix". The love theme itself returns in "Taxi Ride", faintly yet desirable nonetheless.
The Bourne Identity is a modern action score for a modern audience. Back then, most wouldn't have accepted this, but now it stands for the sound of Jason Bourne throughout all his manic chase scenes. John Powell may not have constructed the most original score the world has ever known, but he soon established his sound as the one and only sound for the movies nonetheless, a style most started copying right after the movies turned out to become such hits. That's why I call this the moment when the Jason Bourne sound was born firmly and effectively.
Tracklisting
1. Main Titles (4.19)
2. Bourne Gets Well (1.21)
3. Treadstone Assassins (2.12)
4. At the Bank (4.07)
5. Bourne on Land (1.42)
6. Escape From Embassy (3.13)
7. The Drive to Paris (1.30)
8. The Apartment (3.27)
9. At the Hairdressers (1.31)
10. Hotel Regina (2.12)
11. The Investigation (1.40)
12. Taxi Ride (3.43)
13. At the Farmhouse (2.54)
14. Jason Phones It In (3.04)
15. On Bridge Number 9 (3.45)
16. Jason's Theme (2.20)
17. Mood Build (3.36)
18. The Bourne Identity (5.58)
19. Drum and Bass Remix (2.16)
Total Length: 55.01
I remember that moment vividly, that specific moment I had just finished listening to The Bourne Identity. I was blown away (negatively however) that such a rhythmic, pounding assault came from the same man who gave us so much joy during Shrek, Evolution, Rat Race, Chicken Run and Antz. This was not the score people wanted, nor were ready for. It was only after Supremacy and definitely Ultimatum that people understood where Powell was going for. A Bourne sound.
That Bourne sound is discovered first and for all through the theme of the character itself. Calm and moody in "Main Titles", it is still unconsciously dormant, waiting to erupt as the main character has no idea who he really is. This theme is repeated in "Bourne Gets Well", briefly in "At the Bank" and in "The Bourne Identity".
The first time this dormant side appears to shatter is when we hear the cool "Treadstone Assassins". It tries to beat the dormant side of your consciousness, and the second time it succeeds when we receive what Bourne stands for. Drum loops, rhythmic pounds, string interaction which all together forms "At the Bank". This continues but with more attention to electronics in "Escape From Embassy".
At one point the percussion receives more attention (like in "The Apartment" and "At the Farmhouse"), in the other occasion it is the Bourne string maneuver that will appear most frequently throughout the score. In fact, it is the one theme or motif that people will connect the most with Bourne himself, as it represents him in action, on the move, being chased. Considering this happens all the time, it is John Powell' most reoccurring maneuver or motif.
For instance it is lovely heard in "Bourne on Land" (intertwined with the still growing love theme), or heard more prominently in "Main Titles", "At the Bank", "Taxi Ride", "At the Farmhouse" and spiced up in "Drum and Bass Remix". The love theme itself returns in "Taxi Ride", faintly yet desirable nonetheless.
The Bourne Identity is a modern action score for a modern audience. Back then, most wouldn't have accepted this, but now it stands for the sound of Jason Bourne throughout all his manic chase scenes. John Powell may not have constructed the most original score the world has ever known, but he soon established his sound as the one and only sound for the movies nonetheless, a style most started copying right after the movies turned out to become such hits. That's why I call this the moment when the Jason Bourne sound was born firmly and effectively.
Tracklisting
1. Main Titles (4.19)
2. Bourne Gets Well (1.21)
3. Treadstone Assassins (2.12)
4. At the Bank (4.07)
5. Bourne on Land (1.42)
6. Escape From Embassy (3.13)
7. The Drive to Paris (1.30)
8. The Apartment (3.27)
9. At the Hairdressers (1.31)
10. Hotel Regina (2.12)
11. The Investigation (1.40)
12. Taxi Ride (3.43)
13. At the Farmhouse (2.54)
14. Jason Phones It In (3.04)
15. On Bridge Number 9 (3.45)
16. Jason's Theme (2.20)
17. Mood Build (3.36)
18. The Bourne Identity (5.58)
19. Drum and Bass Remix (2.16)
Total Length: 55.01