Label: Composer Promo - none • Format: CDr Promo • Country: US • Genre: Stage & Screen • Style: Score
Buy it Avoid it BUY IT. Rowling had on the children's fantasy genre of novels. Indeed, the film was greeted with decent, but unenthusiastic responses from critics, and after a flourish at the box office to accompany its first weeks, it fizzled quickly.
The film still grossed well over its Hades - Christophe Beck - Percy Jackson & The Olympians: The Lightning Thiefhowever, perhaps encouraging a green light for a sequel that was always in mind when organizing the production of The Lightning Thief. The template Barstool Blues - Neil Young & Crazy Horse - Zuma which the soundtrack for the film would be shaped was obviously influenced by the Harry Potter films, and John Williams' sense of melodic mastery in Hades - Christophe Beck - Percy Jackson & The Olympians: The Lightning Thief.
With the titular character forced into incredible situations of marvelous wonder, as well as an impending battle between the Greek gods over Zeus' stolen lightening bolt, a score with several prominent themes was deemed necessary. It's easy to get the impression that Columbus would have pursued his friendship with Williams for this assignment had the maestro not gone into semi-retirement several years prior, but he instead hired his I Love You Beth Cooper collaborator, Christophe Beck, for what immediately became the Canadian-born composer's most significant career film project.
Awarded an Emmy for his extensive work for the "Buffy the Vampire Slayer" television series scores, Beck made the transition to the big screen and mostly became mired in a plethora of ridiculous comedies, a unheralded genre he claims to enjoy scoring. Read More Aside from a pair of fantasy-related scores earlier in the decade, Beck had not yet tackled this genre, nor had he ever assembled a minute feature score of this magnitude.
He recognized the immense career opportunity that The Lightning Thief represented think not only in terms of this one paycheck, but the possible sequels as well and, while consciously attempting to avoid emulating John Williams specifically, scoured through his personal favorite fantasy scores and likely some old influences from his mentor, Jerry Goldsmith to find an appropriate approach.
This survey had both positive and negative consequences. It ensured that Beck was equipped with the right instrumental and choral tone and basic structures to provide The Lightning Thief with a Bad To The Rhinestone - Wolfcow - Bad To The Rhinestone score.
But it also unintentionally caused the score to sound like a familiar blend of those sources of inspiration, leaving Nuit - Djamajal - Dernier Battement listener with a nagging feeling that originality is lacking in the work. To a novice film music collector, The Lightning Thief could be resoundingly magnificent if these influences are not a factor in distracting from the otherwise muscular and impressively organic texture of Beck's composition.
On top of that, the score's orchestration, performances, and mixing all yield a satisfying fantasy genre environment. Beck at the very least shows his talent in handling a full ensemble with the kind of force never necessary in the Get Back - The Beatles - Get Back majority of his scores.
Ultimately, however, The Lightning Thief is the sum of its influences, and although scores of this kind often produce "guilty pleasure" listening experiences, their success, especially on album, depends on how well the composer adapts, or at least Hades - Christophe Beck - Percy Jackson & The Olympians: The Lightning Thief , their references. Unfortunately, Beck's work here is almost a constant reminder of previous scores, truly a shame given the fact that the execution of his basic ideas is so well executed.
The main character is afforded two themes, one of broad mystery that usually resides in the lower registers and another of straight-laced action that accompanies his heroic deeds. You could replace the X-Men reference with Richard Harvey's Russian-styled theme from the television production of Animal Farm or, incidentally, a phrase from the interlude of Randy Newman's The Natural and the similarities can be extended even further.
Granted, some of those great scores are somewhat obscure, but if you're familiar with them, then good luck trying not to make the connections in The Lightning Thief. The series of four-note progressions that outline Jackson's wondrous mythology theme are conveyed by several sections of the ensemble in "Prelude" and extend to the boy's relationship with his father in "Son of Poseidon. A direct correlation in instrumentation also comes into play when discussing Beck's action theme for Jackson.
Heard in "Victory," "Hollywood," and "Homecoming," this rousing explosion of rhythmic force for noble shades Il Principe Del Deserto (#2) - Ennio Morricone - Il Principe Del Deserto brass, rip-snorting snare, perpetual timpani, and swirling or chopping strings is clearly fashioned after David Arnold's Independence Daya score that has influenced countless successors through the years including, ironically enough, Island of Lost Souls.
Even the theme's redemptive interlude for strings, gracing the latter two cues mentioned, mirrors the Arnold classic. Thankfully a bit more original in its final incarnation is Beck's third theme for The Lightning Thiefone representing the Greek gods specifically and likely tailored for Zeus.
The ominous, humbling pair of ascending and descending progressions forming this identity in "The Parthenon" and "Mount Olympus" is effectively fresh and is accompanied in the latter cue by an ultra-cool whipping sound in its rhythm. A few other motifs seem to weave through the score, including a meandering, villainous deep brass theme in "Lost Souls" and "Hades" that reflects Arnold's Quantum theme from Quantum of Solace.
Also of note is a nebulous choral identity in "Medusa" that addresses her creepy persona with an appropriately slithering blurring of pitch from the higher end of the singing group as well as strings. The "End Credits" arrangement takes many of these ideas though interestingly not the action theme until only faint hints at the end and presents them in a very attractive, seven-minute suite.
Overall, The Lightning Thief is no doubt an effective score in context. It may sound generic to even casual movie-goers, for its safely harmonic style and conservative instrumentation meet all expectations without exceeding them. But it still serves its purpose and helps you root for Beck, who is one of those composers who has toiled without due recognition for too long. The maximum rating is 5 stars. Mother's Theme? The insert includes no extra information about the score or film.
All rights reserved. The reviews and other textual content contained on the filmtracks. Avengers: Endgame. Shawshank Redemption 2CD 8. Star Wars: The Force Awakens Edward Scissorhands. Regular U. For Christophe Beck reviews at Filmtracks, the average editorial rating is 3 in 12 reviews and the average viewer rating is 3.
Average: 3. View results for all titles. Start New Thread. Search Comments. One of the themes in the beginning of the movie sounds like The Dark Knight X-Men theme. Hollywood The Parthenon End Credits