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| Music,
Jerry Carpenter,
20 January 1999 |
Rating: F3
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The first Star Wars score was probably one of the first LP’s I got to put the stylus on myself – I went bonkers for it, every track had something going on. Empire introduced the awesome ‘Imperial March’, and the ‘Asteroid chase’ which most buffs reckon to be the pinnacle of William’s Star Wars work. Jedi was generally lighter on the thematic material and so less interesting as separate listening experience. Ten years on and the soundtrack to a new Star Wars movies in the top ten, so does mean it’s as good ?
Viewed as part of the film the music only really makes itself felt during the big Jedi/sith dukeroo at the climax and the following funeral scenes. Sitting down with tea and muffins with this cranking out the stereo it strikes me that ten years hasn’t changed Williams cue stylings, it’s strange how distinctive his confident luxurious orchestral scoring is. He still knows better than anyone how convey those big scenes of wonder that Lucas’s films are full of – and there are some great atmospheric cues here, but with the visuals removed many of these pieces don’t demand a second listen.
Longer cuts like ‘sith speeder’ are dynamic only into the first minute or so, and even embellished with a few choral grumbles and ethnic noises become dull for the full experience. The ‘March of the Battle Droids’ sounds like a clunky robotic version of the imperal music from the previous films and lacks the menace of that classic. Things bow out on an insane note that feels like a reprise of that irritating ewok party music from Jedi - except this piece seems to go on forever). I detect the hand of Lucas here, the same unpredictable mind that green lighted the extra music scene in that same film.
On the plus side ‘Anakin’s Theme’ comes into it’s own when separated from the film. There’s subtle use of the ‘Imperial March’ here but within a quite thoughtful piece that doesn’t quite descend to sentimentality. The ‘Duel of the Fates’ still sounds great, especially when not cut up by the other lesser action finales during the film and although it’s ridiculous to hum it remains to the best most memorable piece on an otherwise patchy album.
SME
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