Avatar Composed by James Horner
Atlantic Records (2009)
Rating: 7/10
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“AVATAR is truly a
breathtaking, cinematic achievement; one best enjoyed on the biggest
of the big screens. Beyond that, there isn't anything "gamechanging"
about the film and that extends down to JAMES HORNER's score.”
We Hear You.
Review By Christopher Coleman
Without question the movie-event of 2009 was James Cameron's AVATAR. There could
have hardly have been any more hype and subsequent expectation placed on this
film. Prospective-fans were ready to line up for midnight showings (among whom I
count myself) and hammerhead-critics (among whom some would count me) began to
circle as the blood of overhype began to fill the waters of the internet. Upon
release, new fans were won across the land, while critics returned from the
potential feeding-frenzy, quite full, but not in the way they expected. AVATAR
is a super-hit and most everyone seems to be happy with it and about it.
No doubt you've read and listened to enough online discussions and podcasts on
the film, so I am not going to go in-depth here. Of course, the storyline of
AVATAR really doesn't warrant going "in depth," because it is one that any
moderate moviegoer will already know quite well. AVATAR's great achievement is
in its stunning visuals and ability to deliver character performance-capture
like never before. On those items there is no argument; however, comparisons of
AVATAR to the impact of a STAR WARS or even THE MATRIX are wildly off course.
Cameron's latest visual feast just doesn't operate on the same meta-levels as
these predecessors. In the wake of viewing AVATAR, there aren't many deep
philosophical questions, posed by the film's plot, being discussed by exiting
audiences or kids pretending to wield their invisible weapon in play-battles.
Are there any lines we repeat once we've left the theater? Do we whistle or hum
any musical themes? No. AVATAR isn't THAT movie. Cameron's technical and
photographic achievements in AVATAR are certainly due all the praise, but it's
unlikely this film will make an equivalent impact on popular culture and I'm not
convinced Cameron had this as a goal to start with anyway.
If I can continue the STAR WARS and THE MATRIX comparison, I'd like to direct us
to the point of each film's music. JOHN WILLIAMS' score for STAR WARS can hardly
be overstated in terms of it's impact on the film...and later on the culture of
the day. A similar thing could be said about DON DAVIS' music for THE MATRIX,
albeit to a lesser degree. DAVIS' post-modern epic worked much more subtly, but,
make no mistake, when audiences hear those reflecting brass swells, there's no
question about what characters, scenes or images come flooding into mind. Both
films feature scores that monopolize the genre. Any movie (or game) that adopts
such a sound immediately draws comparisons to them. If AVATAR is going to be
rightly compared with these classics, then it's score will have to approach such
status. For AVATAR, James Cameron hired long-time collaborator, JAMES HORNER, to
provide the musical character for his new sci-fi/fantasy. But does the resulting
score help the film to become an icon of pop culture or is it transcendent in
its own right?
The fact that JAMES HORNER labored for over a year on AVATAR has certainly been
well publicized and the expectations of some film music fans rose accordingly.
Horner has well proven himself in the realms of sci-fi/fantasy with efforts
like: STAR TREK II: THE WRATH OF KAHN, KRULL, BATTLE BEYOND THE STARS, and ALIENS,
but that was many Pandorian-moons ago. It has been quite some time since the
prolific composer has ventured into the vastness of space and visited alien
worlds. So for other film music fans, there was reasonable trepidation towards
what the musical outcome might be in AVATAR. In the end, both film music camps
probably got a bit of what they expected or feared.
Let me first say that JAMES HORNER's score does it's job well within the context
of the film. It helps to create the appropriate moods, reflect character
disposition, and fuel the action; however, not in a genre-redefining way. It
isn't for lack of effort or creativity on Horner's part, but his creative
efforts struggle against his own, famed, audio signatures such as: the
four-note, villain motif, the shakuhachi accent and the familiarly constructed
love-theme. For those, like myself, who have listened to James Horner's works
for years, the appearance of these signatures can immediately distract, if not
detract, from the experience. The title motif, the "I See You" theme, is the
backbone of the score. The construction of the theme is in classic-Horner style,
which sadly reminds the listener of a number his previous efforts, rather than
carving out a unique identity of its own. Following his proven formula, this
theme is transformed into a pop-love-song, "I See You" (14) sung with
Celine-Dion-like-passion by Leona Lewis. Continuing to make extensive use of his
familiar palette, Horner calls on the infamous 4-note-menace-motif almost
immediately in track 1, albeit in an extended variation, but it's pure-form is
used many other times elsewhere. The effect of its inclusion is still the
same...I find myself thinking about hearing that motif yet again, rather than
being sucked into the moment onscreen or enjoying all of the other aspects of
the music. The same can be said about Horner's employment of shakuhachi accents
in the action sequences or the solemn and wordless, female, vocal solo. Yes. You
can go right through this soundtrack and find many pieces of well-used,
Hornerisms and come out feeling quite disappointed...if that is all you focus
on.
The fact is that JAMES HORNER is able to overcome the obstacles of his own
familiarity by introducing elements that are unique to this film. I'll start
with one of the most glaring elements and that is the tribal vocal accents. I
start there because I find a portion of these accents entirely off-putting and
distracting. There is something in the high-pitched vocals that are akin
to nails on the chalkboard for me. Going back to Goldsmith's THE GHOST AND THE
DARKNESS, Williams' AMISTAD, and even Horner's own MIGHTY JOE YOUNG, that
specific style of tribal-vocals has never resonated with me and is certainly a
sore spot. Somehow, through his brilliance elsewhere in the score, Horner
manages to overcome even this. Thankfully, he begins his path to redemption by
occasionally countering the semi-abrasiveness of these vocals with more, deep
and forceful accents.
Now, there are two areas where JAMES HORNER's score truly excels. First, his
subtler and exotic music representing the forest and certain aspects of the
Na'Vi are truly beautiful and engaging. Tracks such as "Pure spirits of the
Forest" (3), "The Bioluminescence of the Night" (4) and "Becoming One with the
People. Becoming One with Neytiri." (5) offer a special brand of magic, as the
various synths, bells, chimes, percussion and woodwinds combine to form a
mystical and enchanting environment; overcoming the Hornerisms I have previously
named. Second, as we reach the climactic moments of the film and soundtrack, we
hear Horner taking his action chops to an entirely new level. The concluding two
tracks "Gather All the Na'Vi Clans for Battle" (12) and "War" (13) are simply
the best two pieces of this release and feature a tour de force that should
thrill just about any fan of film music. It's clear here that Horner poured
himself fully into these pieces as we get a powerful dose of symphonic force
that we haven't heard from Horner in many years.
If I were to judge AVATAR simply on this soundtrack release, I could easily call
it "much too familiar" to qualify as an excellent score; however, having seen
the film, there clearly are a few significant pieces that didn't make their way
to this soundtrack. Even with nearly 79 minutes of score released, there are
cues left out that would make this soundtrack experience a more notable and
enjoyable one. It would come as little surprise to me if there is a "MORE MUSIC
FROM AVATAR" forthcoming. (If so, let's just pray it is devoid of dialogue from
the movie.) Still, given proper supervision, such a release could help elevate
the appreciation of JAMES HORNER's score even further. AVATAR is truly a
breathtaking, cinematic achievement; one best enjoyed on the biggest of the big
screens. Beyond that, there isn't anything "gamechanging" about the film and
that extends down to JAMES HORNER's score. But let's be honest, how many "gamechanging,"
film scores are there? Despite Horner's score not earning such a lofty label,
his score for AVATAR contains some stellar work and despite it being full of his
famous signatures there's enough creative pathos to satisfy even some of his
harsher critics...at least until the sequels arrive.
