As with any Gregson-Williams score, there will be
stylistic similarities that film score collectors will notice in
conjunction with the works of Zimmer and Powell (alas, more string chops
and ostinatos from the Bourne scores). That's typically more often the
case with Gregson-Williams' workmanlike and usually underachieving urban
thriller scores of a synthetic rendering, however, and when allowed to
explore ambitious orchestral avenues, as with
Sinbad: Legend of the
Seven Seas and
Kingdom of Heaven, his results tend to be as
original as they are exhilarating. That said, his music for
Prince of
Persia: The Sands of Time has more connections to his old Media
Ventures collaborators, both thematically and instrumentally, than
either of those two scores of half a decade prior. Perhaps it should
come as no surprise that Gregson-Williams infuses his otherwise mostly
authentic ensemble of orchestra, choir, and regional flair with an
occasionally obnoxious dose of electric strings and electric guitar,
along with his usual affinity for highly varied percussion use. After
all, this concept is adapted from a time-wasting killing game of
limited intelligence (let's keep some perspective here). The mix
of all the elements is well handled; the brass, for instance, maintain a
genuine tone while eluding the Zimmer technique of making them sound
synthetic in unison, and the soundscape is addressed as frequently in
the treble as it is in the bass. Gregson-Williams is quite adept at
creating rhythmic movement and inserting stutters for accent, and nearly
every cue in
Prince of Persia maintains either interesting
instrumental colors or multiple lines of activity to keep the listener
of the score on album interested. The application of looped electronic
rhythm-setters and the varied percussion will remind many of David
Arnold's techno-savvy James Bond scores, especially in the cues "Raid on
Alamut" and "Hassansin Attack" (among others). While some listeners may
be turned off by the hybrid approach in this context, Gregson-Williams
generally emphasizes the organic elements. Naturally, the weak portions
of
Prince of Persia, such as "Dastan and Tamina Escape" and
"Visions of Death," are those in which the electric guitars and slapping
percussion become obnoxious. Also, why these composers are obsessed with
electric violins and electric cellos remains a curiosity; their
admittedly unique tone is a stylistic reminder of yesterday's
blockbuster invention and at some point needs to be laid to rest.
Fortunately, Gregson-Williams applies them sparingly, supplying a side
dish of Bruckheimer expectations while staying loyal to organic tones
for the main course.
On the positive side of the ensemble's instrumental
style for
Prince of Persia is a handful of contributors that give
a touch of sophistication to the score's atmosphere. An oud and sitar
provide some of this color, along with an Arabian male vocal performance
in "Raid on Alamut" that will briefly remind of the highlights of James
Newton Howard's
Hidalgo (why couldn't these vocals be used more
frequently in either score?). The mixed choir offers the fantasy element
in a manner not much different from Howard's usual application. A few of
the crescendos of ensemble force in
Prince of Persia are
immensely impressive, sometimes competing favorably with the majesty of
Kingdom of Heaven. The choral passage at 1:40 into "The Prince of
Persia" will distinctly point to that 2005 score. Both an asset and a
misstep in this score, however, is its collection of themes. Although
Gregson-Williams does create a pair of strong ideas and integrates them
into
Prince of Persia, he doesn't reference them as frequently as
he could, reprising a style from
The Lion, the Witch, and the
Wardrobe (and its sequel) that leaves you seeking more statements
and adaptations of the primary identities. Instead, the composer
maintains superiority in the score by rarely allowing his filler
material, regardless of its absence of thematic cohesion, from becoming
mundane. There are secondary themes in
Prince of Persia that
seem, based on the album presentation, to be somewhat underutilized, a
significant disappointment given the quality of Gregson-Williams'
seemingly singular thematic statements and general harmonically pleasing
stance. Likely the most significant point of criticism awaiting the
score for
Prince of Persia is the familiarity of all the major
themes. The primary idea for the film is one drenched with the chord
progressions stereotypically associated with the Middle East in all its
grandeur. Heard immediately in "The Prince of Persia," this overarching
theme comes across as a blatant merging, though likely not intended, of
Maurice Jarre's
Lawrence of Arabia and John Debney's
The
Scorpion King (the attitude and progressions of the latter
significantly informing the secondary phrase of Gregson-Williams'
theme). Any fan of the Jarre classic of 1962 will roll his or her eyes
at about 1:00 into that opening cue, at which point Gregson-Williams
even hints at the Arab theme from
Lawrence of Arabia in the same
bass string counterpoint fashion. The theme defines the princess in
"Tamina Unveiled" and is stated in full at the end of "Ostrich Race,"
the beginning of "Hassansin Attack," and the end of "The Passages." It
is conveyed with ultra-bloated majesty and a slower pace in the majority
of the concluding "Destiny."
The other major theme of note in
Prince of
Persia is the standard heroic identification of either the prince or
the dagger. Introduced in the last minute of "Raid on Alamut," this idea
further develops at the start of "Hassansin Attack" before bursting with
full, massive statements early in "No Ordinary Dagger." It yields to the
primary theme after a soft rendition in "Destiny." Again, however, this
brassy theme is plagued by references to past ideas, seemingly
incorporating the Lisa Gerrard "Now We Are Free" theme from
Gladiator, the concluding structures of the title themes of
Zimmer's
Backdraft and Trevor Jones'
Last of the Mohicans,
and performance aspects from Gregson-Williams' own Aslan/God theme that
became more pronounced in
Prince Caspian. As if that isn't
enough, the only truly remarkable lesser theme in the score comes in the
form of a twisted, villainous idea that most likely represents Nizam and
contorts with peculiar progressions that match much of Danny Elfman's
theme for the Goblin in
Spider-Man. It's always heard meandering
in the bass region, starting at 4:40 in "Raid on Alamut" and extending
to variants in "Running from Sheikh Amar" and faint reminders late in
"Trusting Nizam." Other secondary themes, such as an intriguing one for
the royalty in "The King and His Sons," are thankfully devoid of such
difficulties. Overall, though,
Prince of Persia is, if you can
forgive the likely unintentional thematic references, a remarkably
enjoyable score that will probably exceed the expectations of many.
There are weaknesses that restrict the score's rating, however, led by
the electronic and/or industrial elements. Why, for instance, a grating
Paul Haslinger-like passage early in "So, You're Going to Help Me?,"
complete with audible distortion, was necessary in this score is a good
question. A lack of better thematic attribution to the characters and
incorporation in the major action cues (as accomplished in the middle of
"The Sands of Time") is a detriment, though it's hard to argue with the
individual merit of cues like "Ostrich Race," which conveys the score's
sense of humor. The Alanis Morissette song, "I Remain," which has no
structural connection to the score but does offer the same
pseudo-Arabian progressions, is surprisingly limp, absent a satisfying
bass region for much of its length. On the other hand, Gregson-Williams
has finally infused a fair amount of intelligence and robust orchestral
and choral magnificence into a Disney/Bruckheimer production. The first
four tracks of this score's hour on album, along with a handful spread
throughout the middle and "Destiny" at the end, will yield a fantastic
listening experience to match
Sinbad and
Kingdom of
Heaven, though nagging issues restrain
Prince of Persia from
the five-star rating those previous scores achieved.
**** @Amazon.com: CD or
Download
