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Review of How to Train Your Dragon 2 (John Powell)
FILMTRACKS RECOMMENDS:
Buy it... even if you adore the prior film's score and have fears
about the quality of the sequel, for John Powell prevailed with an
entertaining, well-rounded thematic romp in the same mould for the
second entry.
Avoid it... if you still cannot tolerate Powell's overtly bombastic style of exuberant, rowdy orchestral music for the animation genre despite its undeniably high quality.
FILMTRACKS EDITORIAL REVIEW:
How to Train Your Dragon 2: (John Powell) While
studios always aim to be pleasantly surprised by a new animated concept,
few have experienced the outright phenomenal success that Dreamworks
stumbled upon with How to Train Your Dragon in 2010. So
remarkable was its critical and popular appeal across all age groups
that the studio and filmmakers toiled laboriously for four years to
perfect a sequel, fearful of the decline in quality that many animation
franchises suffer. Now that peace has been made between Vikings and
dragons after the prior film, the story of How to Train Your Dragon
2 seeks to accomplish two goals, first telling a "coming of age"
chapter about young Viking, Hiccup, son of the chief of his village, and
his family, and secondly introducing new human and dragon antagonists
who threaten everyone within reach. Complications and heartbreaks await
Hiccup on this journey, the tale remaining decidedly darker than the
kind of material you usually see in animation, and some concept purists
clinging to Cressida Cowell's books that inspired this franchise may be
deterred. That issue apparently repelled few viewers, however, with
reaction to the sequel as glowingly bright as that for the predecessor,
and the franchise's third installment was immediately planned to join
other, related spinoff ventures on smaller screens. The animated realm
somewhat consumed the career of composer John Powell in the early
2010's, and for good reason. After spending much of the 2000's
redefining the common industry conception of a modern thriller score, he
admittedly became tired of writing endless variations on his 2002 music
for The Bourne Identity, choosing instead to explore the
expressive freedom afforded to him in the children's genre. Between his
Oscar-nominated triumph for How to Train Your Dragon in 2010 and
this 2014 sequel, he did not return to live action, taking some time off
in 2013 to be with family and write concert work outside of the stresses
of Hollywood.
Powell's work in 2014 for Rio 2 and How to Train Your Dragon 2 was not surprising given his affinity for both franchises and their music, especially the Brazilian flair in the case of the former. While his score for Rio 2 was workmanlike as always, the task at hand for How to Train Your Dragon 2 was significantly more challenging. In his first answer during one interview about the score, his exclaimed that his sentiment about the sequel was, "Hopefully I haven't fucked it up," a phrase he reiterated later in the same interview. Powell had ample time ensure that he didn't disappoint viewers and listeners with How to Train Your Dragon 2, tinkering with ideas for the movie as early as 18 months prior to the score's recording. His collaboration with Icelandic composer and performer Jon Thor ("Jonsi") Birgisson continued from the prior film, and they produced one song ("Courting Song") early that needed to be incorporated into a scene in which characters sing to the tune on screen. They also paired more closely to overlap melodic material for "Where No One Goes," the more standard dance song that bookends the film. While popular, this song's highlights are the outward instrumentals containing the prior score's main themes. On Powell's part, the need to address the first film's magnificent score and supply an evolution of that sound required a set of choices that yielded some predictable and some not-so-predictable results. Easy to foresee was a continuation of the composer's outstanding orchestral, choral, and specialty instrument blend, utilizing a 120-piece orchestra, 100-member choir, and accents such as uilleann pipes, tin whistle, celtic harp, dulcimer, bodhran, and bagpipes. Prominent solos for woodwinds and piano are notable, and occasional electric guitar accents in the bass are appreciated. The bagpipes in particular are a point of pride for Powell in this work, though detractors of the instrument will be pleased to know that their usage is actually quite restrained. They had been derived from samples in the prior score, whereas here Powell commissioned a group that could perform beyond the normal range of the instrument. The scope and romanticism of the sequel score's constructs are a key connection to How to Train Your Dragon, Powell's enthusiasm for unashamed expression of lyricism remaining on full display. The recording itself is once again resounding, if not improved in its handling of layering and reverb. The composer's best works for large ensembles, ranging from these How to Train Your Dragon scores to Solo: A Star Wars Story and The Call of the Wild, feature outstanding balances in their mix, and that of How to Train Your Dragon 2 is a marvel to behold, especially on its expanded 2022 album. The trademark Powell mannerisms that constitute his best romantic work are certainly prevalent in the composition, especially in the use of anticipatory chord movements that reliably hang in suggestive limbo to reflect mourning, an emotion not lacking in this story. The composer's handling of flute lines in counterpoint and ascendant application of trumpets atop the ensemble to punctuate heroism are equally up to the task. Collectors of the composer's music will be immersed in another experience that is purely Powell's in its personality, retaining traits still from his early entries of Antz and Chicken Run. In many ways, both Rio 2 and How to Train Your Dragon 2 are entertaining if only because they are exhibits of a composer who is extremely comfortable in this genre and, more importantly, having fun. Fortunately, with the musical production values of the latter meeting the high expectations set for this sequel score, attention can be turned to the thematic development, where the interesting discussion lies. Powell tends to write themes for concepts rather than individual characters, which causes musical identities to sometimes shift unexpectedly between those characters. The end result of this strategic choice still works, however. Powell was so careful not to cement the countless themes from the prior score to certain plot points here that he requested the filmmakers not temp the second film's early cuts with music from the first movie. (They did anyway without telling Powell, humorously providing him with a separate edit largely devoid of his music.) There was clearly a concerted effort by Powell to freely reprise any and all motific devices from How to Train Your Dragon in its successor. From the main themes for friendship, flying, and the village of Berk to the slew of secondary motifs, the melodies from the 2010 classic are supplied in excess here. The composer specifically threw many of the returning themes and their secondary devices into one rollicking overture for the "Dragon Racing" cue that opens How to Train Your Dragon 2, a remarkably condensed and satisfying tribute to nearly everything you heard in the prior score. Thereafter, these identities continue to appear at regular intervals, Powell seemingly certain to ensure that each theme is given its fair amount of airtime. The descending friendship motif representing Toothless in the first film and destined to become the franchise's primary feel-good fanfare by the end of How to Train Your Dragon: The Hidden World is not quite as dominant in this middle entry, only briefly participating in "Dragon Racing." Still, several performances in "Hiccup's Gonna Be Chief" include lovely ones near the start of that cue, and the idea returns on harp at the end of "Eret Educates Hiccup," quietly plucked in "Courting Song Instrumental," and pinpointed in the middle of "Battle of the Bewilderbeast." This friendship motif becomes massively melodramatic at 3:35 into "Hiccup Confronts Drago" and urgent late in "Toothless Comes Back," and it figures into both versions of the "Where No One Goes" song. Also considered the franchise's main identity is the pair of flying themes, the primary phrase for Hiccup and Toothless and the secondary one the popular anthem often serving as an interlude during those flying sequences. The first flying theme bookends this score, opening the movie with distinction in two recorded variations in "Dragon Racing." It's softly ominous at 1:42 into "Hiccup & Valka Bond," is reduced to piano solo in the middle of "Can We Start Over?," and becomes inspirational at 2:22 in "Battle of the Bewilderbeast." The flying theme offers one quiet phrase at 1:08 into "Alpha Comes to Berk," momentary victory at the end of "Toothless Comes Back," and closes out the score with magnificence in "The Chief Has Come Home." It only appears in the reprise of "Where No One Goes." Arguably the best identity in the How to Train Your Dragon franchise is the flying theme's anthem section, and while it does figure into the score, most causal listeners will find its most robust presence to be in both versions of the "Where No One Goes" song. In the How to Train Your Dragon 2 score, this idea is offered as a pretty interlude to the Berk theme in the choral and woodwind opening of "Dragon Racing," offers allusions in the middle of "Should I Know You?," and joins the piano solo in the middle of "Can We Start Over?" It enjoys two short, muscular renditions on brass during "Battle of the Bewilderbeast" and a solo trumpet presence at 3:15 into "Off to Valhalla," leading to a redemptive crescendo, and fantastic, full, guitar-aided performance at 1:36 into "Alpha Comes to Berk" with a great introduction sequence. All the various Viking-related themes return as well, the primary one representing Berk and a second aimed at their heroics. The Berk theme is somewhat marginalized after dominating "Dragon Racing," where it is gorgeous on choir and woodwinds early and ambitiously hyperactive later in the cue. A militarized version follows at 0:20 into "Drago's Coming," while the idea becomes playful in the middle of "Should I Know You?" and develops to full exuberance at that cue's end. A fragment of the Berk theme also leads into the flying anthem in "Alpha Comes to Berk." By comparison, the Vikings' hero theme is well exercised in How to Train Your Dragon 2, debuting at 3:08 into "Dragon Racing" with ensemble zeal. It shifts to soft strings for one phrase in the middle of "War is What He Wants," supplies allusions in the middle of "Dragon's Lair," and is brief at the end of "Hiccup & Valka Bond." The Viking theme interrupts Drago's material late in "Meet Drago," offers one phrase on low strings at 0:36 into "Get 'Em You Son of Eret," litters the latter half of "Battle of the Bewilderbeast" in force, unsuccessfully attempts to battle Drago's theme in the middle of "Hiccup Confronts Drago," and is fragmented late in "Alpha Comes to Berk." The idea is treated to a victorious culmination at the end of "Challenging the Alpha," however. Listeners enchanted by Powell's theme for fate in the prior score are only given one notable performance of it here, at 2:20 into "Dragon Racing" in a fantastic rendition followed by the tail testing jig from the first score, too. Listeners still in love with the Astrid love theme from How to Train Your Dragon will receive several renditions in the sequel, though Powell adapts the idea so that it represents romance more generally for Hiccup's friends and not just Astrid. That said, it does soar for Astrid's victory at 4:05 into "Dragon Racing" and accompanies her with a few affable statements starting at 2:08 into "Together, We Map the World." It follows on lovely harp and strings 0:44 into "Hiccup's Gonna Be Chief," is given a subtle reference near the start of "Eret Educates Hiccup," and expands to swooning, choral romantic comedy at 0:31 into "Me Likey" for broader purposes. The love theme is translated to brass heroics at 0:40 into "I Grew Facial Hair For You" and disappears for much of the remainder of the film, returning at 2:15 into "The Chief Has Come Home" on solo viola and piccolo. Powell's somewhat elusive theme for the dragons in the first score is provided ample attention in How to Train Your Dragon 2, starting on playful oboe in the middle of "Together, We Map the World," referenced in part in the middle of "Should I Know You?," and finally returning to its original stomping form to open "Valka's Flash - Good Alpha." The dragon theme carries a humorous variation early in "I Grew Facial Hair For You," struggles briefly during the capture in "Meet Drago," and is alluded to in bright shades at the outset of "Stoick Finds Beauty." The theme figures into several of the conflict sequences, with one ensemble highlight in the latter half of "Battle of the Bewilderbeast," a nicely layered reference under the hypnosis material in "Hiccup Confronts Drago," and a send-off with glory at 2:12 into "Challenging the Alpha." Meanwhile, the composer's theme for Hiccup and his friends together is surprisingly well developed here. This comedic idea features prominently at 2:03 into "Dragon Racing" in humorous marching form, provides a brief fanfare to close out "Me Likey," fights the Drago material in darker shades at 2:46 into "Meet Drago," and heralds the gang's arrival in "Battle of the Bewilderbeast." The theme returns to its naturally upbeat demeanor with glee in "Riding to Drago's," including its full interlude sequence, making this cue something of a mini-suite for this lighter Viking friendship material. It achieves peace at 1:11 into "The Chief Has Come Home" with appropriate bounce and pleasing, softer renditions. While listeners will be attracted to these performances of the prior score's themes in How to Train Your Dragon 2, including all the minor dragon and Viking-related sub-motifs that swirl around them, Powell's new themes are of equally high quality. It takes a while for the score to really develop some of them, however, so patience is required. The first new theme is what the composer calls the "lost and found" theme, one for Hiccup's maturation that became necessary because of all the serious sequences involving family and loss in this story. While this idea develops in part out of the thematic base of the existing material, its choral lamentation is quite unique in this soundscape, experiencing its own evolution from a tool for denoting sadness early in the score to one of reverence and transcendence by its performances in later final cues. The theme is malleable enough to represent Hiccup's strained relationship with Toothless, the newfound discovery in his mother, and the ultimate fate of his father, and Powell isn't afraid to allow this identity a fair amount of space in its lengthy sequences at the forefront. The performances of this theme are typically defined by the light cooing of the choir, during which times James Horner and Danny Elfman sadness is recalled, but the aid of accent instruments in places, as in "Flying With Mother," forces the idea into variations that interact with the franchise's other themes. The theme is smartly previewed in the middle of "Hiccup and Toothless Attached" (while the 2022 album uses the word "Attached" for this track title, it has also been shown as "Attacked"), ranging from action to ethereal choir, and defines its true spirit at 1:12 into "Valka's Flash - Good Alpha" on redemptive choir and ensemble and later solo piano. The prancing choral version in "Flying With Mother" with responsibility theme interludes is a highlight of the score, and the "lost and found" theme continues on solo piano and strings late in "Can We Start Over?" and in two pretty renditions late in "Stoick Finds Beauty," led by fiddle. It opens "Stoick Saves Hiccup" in sadness, highlights the middle of "Toothless Comes Back" on major choir, joining the previous film's themes late in the cue, and is slow and massive with crashing cymbals in "Challenging the Alpha," several huge moments for the theme bringing it to a close. This theme sometimes features an interlude sequence that it actually an entirely separate theme, and while the responsibility/longing theme may not have been totally necessary in this score, it is arguably the best new protagonist identity. The responsibility/longing theme by Powell in How to Train Your Dragon 2 defines much of "Together, We Map the World" in beautiful sincerity and is shifted to anxious fright in the latter half of "Hiccup's Gonna Be Chief." Heroic variants of the theme erupt at 1:13 into "Eret Educates Hiccup" and blasts in comedic irreverence at 0:05 into "Eret Has Visitors." It occupies the first 80 seconds "Hiccup & Valka Bond" with glistening tones, serves as an upbeat and lovely interlude to the "lost and found" theme throughout "Flying With Mother," and returns to it comedic action form at the outset of "Get 'Em You Son of Eret." The responsibility/longing theme also informs the gorgeous solo female vocals later in that last cue, perhaps defining itself as representing Eret directly as well. The theme returns to "lost and found" interlude duties on strings at 0:50 into "Stoick Saves Hiccup" but sadly disappears in the last scenes of the score. These likeable new themes in How to Train Your Dragon 2 struggle to compete with the identity for the dragon-hunting villain, Drago Bludvist, in terms of singular, memorable passages. Heard first in allusion during "Drago's Coming," the theme opens "War is What He Wants" on oboe when the character is introduced via flashback and interjects softly on flute at 1:22 into "Hiccup & Valka Bond" before receiving its fullest, concert-like performance in "Meet Drago." The formal announcement on deep choir and clanging percussion opening "Meet Drago" is extremely imposing, massively elegant and powerful after an extended villain introductory sequence at 3:38. A three-note stinger version at 4:11 into "Battle of the Bewilderbeast" precedes the full idea, and it whimsically gloats in the middle of "Hiccup Confronts Drago" and mingles with the character's secondary commanding motif early in "Alpha Comes to Berk." Generally, deep choir and overbearing brass are understandable instrumental choices for this theme, but highly curious is Powell's decision to portray the character as having some kind of needless Arabian connection, both in the progressions of the melody and in the occasional rhythmic accompaniment by metallic percussion. The progressions may be especially distracting for some listeners, though at the very least they make the villain sound exotic enough to truly stand apart from the rest of the themes. The highlight of this theme's menacing performances in "Meet Drago" is the kind of glorious, conquering Arabic bombast that wouldn't sound too terribly out of place in an Islamic State propaganda video. Powell does offer the Drago character a less awkward musical device in How to Train Your Dragon 2, however, to represent his ability to command dragons. This annoying, stabbing motif, however, is this score's one true detriment, obnoxious in its major performances to the point of requiring some forwarding in the tracks on album. The commanding motif pounds away at 0:53 into "War is What He Wants" and 1:41 into "Meet Drago," shifting to background menace later in the latter cue. It supplies a few stingers in "Battle of the Bewilderbeast" and meanders in the background early in "Hiccup Confronts Drago," eventually exploding on bagpipes later in that cue for the single most painful moment of the score. Listeners who prefer an eerie take on the command theme's purpose can seek Powell's separate uncertainty theme, which translates the command theme into a hypnotic string-pulsing and high-voice range appropriate for the mind-controlling capabilities of the alpha dragons. This uncertainty theme opens "Eret Educates Hiccup" and "Hiccup and Toothless Attacked," merges with Drago's theme at the start of "Alpha Comes to Berk," and reprises that role in "Toothless Comes Back." Four other major secondary themes debut in How to Train Your Dragon 2, including one for dragon leadership that increases in purpose as Toothless becomes more prominent in his population. It is foreshadowed smartly on choir at 1:47 into "Hiccup and Toothless Attacked," extends its choral fantasy mode late in "Dragon's Lair," and is formally introduced at 1:51 into "Valka's Flash - Good Alpha," continuing later in that cue on softer, more regal choral tones. The dragon leadership theme opens "Battle of the Bewilderbeast" in brassy battle mode, recurring multiple times in full form later in that cue, becomes a dramatic variant for choir, strings, and snare in latter half of "Stoick Saves Hiccup," and opens "The Chief Has Come Home" with slower, full ensemble redemption. Also in need of a maturation theme of sorts is Hiccup himself, and his chiefdom theme serves that purpose despite being redundant with the responsibility/longing theme. (One destiny theme could have served both purposes.) This chiefdom theme debuts pleasantly but anonymously at the start of "Hiccup's Gonna Be Chief," adapts to some light, plucky humor at 0:28 into "Eret Has Visitors," and opens "Me Likey" for a few whimsical seconds. It is reduced to fragments on brass that occupy the latter half of "War is What He Wants" and disappears from the score's whole middle until it takes its necessary, serious stance at 2:36 into "The Chief Has Come Home." The final pair of important new themes in How to Train Your Dragon 2 belongs to Hiccup's parents, including their courtship theme and a separate, somewhat underplayed identity for Hiccup's mother, Valka. The on-screen courtship song for Stoick and Valka ("Courting Song") extends its melody to "Courting Song Instrumental" but is adapted well by Powell into the action realm. Its brief action fanfare at 5:00 into "Battle of the Bewilderbeast" is continued at the outset of "Hiccup Confronts Drago" with greater development. It occupies the funeral scene in the first half of "Off to Valhalla," with a new interlude sequence for bagpipes added, and has a brief cameo in the middle of "The Chief Has Come Home" for Valka's reintroduction to Berk. The "Courting Song" is likeable and offers funny lyrics, but it is comparatively weak and does break up the flow of the score on album. She has her own theme of sorts in the score, debuting on choir to open "Should I Know You?" and extensively explored throughout "Valka's Dragon Sanctuary" with majesty. The Valka theme doesn't really figure much in the remainder of the score, though, opening "Can We Start Over?" on friendly woodwinds and strings (a fragment also closes out the cue) and supplanting the courtship theme early in "Hiccup Confronts Drago." Ultimately, there are few moments in How to Train Your Dragon 2 during which Powell isn't tackling at least one of these identities. The "Alpha Comes to Berk" cue is a solid example of Powell's ability to shift between the new and old identities with ease, including an inspiring, battle-ready performance of the Berk and flying material introduced by patriotic flute in ways reminiscent of his prior calls to summons for ants and chickens. True to Powell's ability to use any instrument at any time, the subtle application of electric guitar here is outstanding as well. Subsequently, "Toothless Comes Back" allows the propulsive, militaristic element of Powell's writing, once again with tasteful electronic aids in the bass, to shine through various themes with snare, trumpets, flutes, and choir. The narrative of the score, on the whole, is easy to follow because of Powell's extremely transparent application of emotional shifts, adhering to one of the basic rules of cartoon music writing. There may be some listeners who seek a greater dose of subtle performances of intertwined themes, but while there's some that on display here, that's not the main goal with How to Train Your Dragon 2. Even the brazen finale at the conclusion of "The Chief Has Come Home" doesn't hold back on its intentions; few happy endings are as bombastic in their tempo-slowing proclamations of awesomeness. The entire package of How to Train Your Dragon 2 is a triumphant return to the glory of the preceding work, confirming Powell a place in animation history that rivals what James Horner accomplished in the late 1980's and early 1990's, both men dominating the field with clearly superior work. But this score is not without a few curious aspects. Some dissatisfaction with the ordering of the cues on the initial album existed, though that's a relatively minor quibble. Of more importance are the somewhat odd insertion points for the various identities of the prior score, the themes not always placed intuitively given their prior usage. Powell's tendency to adapt themes to different purposes suits him well for convenient positioning, but it doesn't always make sense intellectually. The orchestral performances of the score, while mostly fantastic, are not without fault; the most distracting performance error comes on trumpets at 2:30 into "Battle of the Bewilderbeast," unfortunately during an important moment in that cue. Some listeners will balk at the three songs, too. Jonsi's "Where No One Goes" is likely to appeal to the target audience; its mix is a highly obnoxious blend of trance and new age trash that may reduce Powell's material to a drug-induced hallucinatory stupor for some. Thankfully, the score remains immune to this collaborative mishap, Powell's own orchestral, choral, and Celtic combinations free of punishment from overtly contemporary tones. The original 2014 album was eventually followed by a limited "Deluxe Edition" from Varèse Sarabande in 2022 that added both film variations of the Jonsi song and nearly the complete score, including the "Dragon's Lair" cue that had not been featured on a promotional release of the score that fans had relied upon for years. The length of the expanded presentation is supported by the quality of the score, the new cues and old ones without micro-editing illuminating themes better and appreciable in nearly all cases. The product also includes a handful of demo recordings by Powell and the film version of the opening cue. The 2022 2-CD set is magnificent, its mix more vibrant and the full presentation confirming this score's designation as the best of the trilogy. At some point, though, when the music reaches this level of accomplishment, it is neither necessary nor useful to try to determine which of the How to Train Your Dragon scores is superior. The first one has nostalgic appeal and competed in a historically extraordinary year for film music. The second is better rounded in its themes and presents an immensely mature density of construct. In the end, what matters most about the sequel is that Powell definitely did not fuck it up. *****
TRACK LISTINGS:
2014 Relativity Album:
Total Time: 68:16
* written and performed by Jonsi ** performed by Gerard Butler, Mary Jane Wells & Craig Ferguson (international edition includes an additional pop song at the end) 2022 Varèse Album: Total Time: 108:28
* written and performed by Jonsi ** performed by Gerard Butler, Mary Jane Wells & Craig Ferguson (Cue numbers are included with each track)
NOTES & QUOTES:
The 2014 Relativity album's pictorial booklet contains no extra
information about the score or film, but a free-floating, one-page
insert sheet also included in the product features a long note from the
director about both. The insert of the 2022 Varèse album contains
extensive notation about the score and film.
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