Customer Reviews

Gladiator

5 star:		(309)
4 star:		(44)
3 star:		(9)
2 star:		(10)
1 star:		(12)

 

 

I rushed out to order a copy of the Gladiator soundtrack online as soon as I saw the movie. I only regret that they didn't sell this CD at the movie theatre because I would have bought it immediately after watching the movie. The music in this soundtrack is utterly amazing, inspirational and beautiful. As I was listening to it, I could vividly see the images of the movie, floating around my head. "The Battle" and the "Barbarian Horde" scores are exhilarating and very herculean- as much as I really didn't want to relive the bloody battle scene- I could see General Maximus swooping down on his horse to create mayhem in the battle field. Or the beautiful music in "The Wheat" and others such as "Elysium" where I can see Maximus walking in the field of wheat, reminiscing of his home and his family...which is simply soul-wrenching.

Hans Zimmer and Lisa Gerrard work together (composed by and arranged by these two) in this soundtrack to bring a myriad of heart-pumping brass and percussion and ethereal ancient (or old-style) sounding music. The contrasting music of these two work magnificiently in the score, weaving the two types together fluidly into one another... I was most impressed with the four scores (The Wheat, Sorrow, Reunion and Elysium) written and sung by Gerrard, which sets the mood for the movie from the very beginning to the final scene. These scores deeply reflect the sorrow and loss of life and the earning for something one can't have. Her dreamy and woeful voice captures just that. Heitor Pereira on the solo Spanish guitar in "The Battle" adds to the old-style. Zimmer's orchestral and dramatic scores sincerely tell the heart of the movie, which is vastly memorable. "The Might of Rome", which is very reminiscent of the movie, is also one of my favorites.

This 61 minutes of Gladiator soundtrack is heartfelt and majestic, very equal to the epic masterpiece of the movie itself. And very very Oscar worthy.

Hans Zimmer and Lisa Garrard so skillfully integrated their music into Ridley Scott's epic Gladiator that it might be underappreciated if not played separately. Two moods are masterfully created by this soundtrack: Zimmer's powerful martial orchestration, so stirring it will send you in search of your samurai sword in the attic trunk; and Lisa Garrard's emotional themes that sweep you with an unforgettable after-battle melancholy and sense of loss. This is certainly a soundtrack in the tradition of Miklos Rozsa (Ben-Hur, El Cid), Nino Rota (War and Peace), and Dimitri Tiomkin (The Fall of the Roman Empire). But it perhaps owes more to James Horner's recent Titanic. In his battle music, Zimmer employs a sustained bombast, at times punctuated with piercing bell strikes that remind us of Horner's rivet-popping, and Garrard employs the human voice as a musical instrument in much the way Horner so masterfully loaded his Titanic soundtrack with emotion. Fans of Zimmer may recall that he has something of a reputation for orchestral bombast. In The Whole Wide World, for example, writer Robert E. Howard is at his typewriter pounding out a Conan the Barbarian story, when Zimmer steps in with his stirring soundtrack to deliver the audience to the world of sword and sorcery. And who could forget Zimmer's burst of music as the nuclear submarine takes to sea in Crimson Tide? The Gladiator soundtrack is Zimmer's best, and stands with or without the film.

The movie Gladiator is a truly excellent film, with an involving storyline, beautiful locations, intense drama, full-blooded action and a rousing score from Hans Zimmer and Lisa Gerrard.

As soon as the movie starts, one is surprised by the subdued tone that the musical score seems to be taking. Knowing that Hans Zimmer was the composer, I was expecting his usual rousing, booming and very pleasant music, as seen (or rather, heard) in other movies like 'Crimson Tide', 'The Peacemaker', and 'Backdraft'. However, what we get, as a friend of mine remarked, is something like a cross between Vangelis and 'The Rock' (which also includes participation by Zimmer). Which is fine.

While not as melodic as, for example, a James Horner score like Braveheart, Hans Zimmer's score, with Lisa Gerrard's participation, perfectly complements the action on screen. When battle music is required, the score returns to a classic, if somewhat more mature, Zimmer feel; totally classical in style and paying homage to Gustav Holst's Masterpiece - The Planets, particularly 'Mars - Bringer of War'. Very appropriate, given that Mars was the Roman god of War!

This, added to Zimmer's trademark rousing passages, and Lisa Gerrard's moving, lyrical contributions, makes Gladiator a memorable score. Gerrard's participation, in particular was a very pleasant addition, because it adds an ethereal element which is necessary for such concepts as Elysium (the Afterlife) and Freedom. Throughout the movie, the Hero, Maximus, constantly weaves between the 'here and now' scheming and battles, and a longing to join his family, in the afterlife. The score reflects these concepts with an excellent treatment of both dimensions.

Which leaves us listeners with a score that is not exactly easy to listen to. It is not too melodic and pleasing to the ears, but is contains a lot of wonderful, mature music. It is something like an acquired taste: after listening to the CD for a couple of times (or watching the movie itself more than once) one becomes pleasantly hooked.

A truly memorable score, for a memorable movie.

After seeing THE GLADIATOR, I ordered the CD with the Zimmer/Gerrard soundtrack. This definitely is a soundtrack in the grand tradition of Rosza, Tiomkin, Goldsmith, and John Williams -- although its darkness, and a definitely Spanish/North African feel remind me more of Rosza's EL CID and BEN HUR.

I identified the quotations from Holst's "Mars, Bringer of War," Wagner's DAS RHEINGOLD (I'd add Siegfried's funeral march), and some of the rest. Perhaps it's simply the way the film's narrative moved, but I'd add Berlioz' HAMLET, and some hints of orchestral requiem masses for solemnity.

One of the things I listen for in a score like this is sheer sweep, and Zimmer can handle not just grandeur, but a dark, martial music suitable for Rome's legions in their decline. I liked the counterpoint of Lisa Gerrard's vocals and woodwinds, playing up Maximus' longing for the fields of home, with the horns and drums of Rome never far from the listener's consciousness.

The music works as music, as part of a tradition, and as the background for a powerful and unsettling film that I plan to see again.

I must admit, I thought Hans Zimmer and his crew at Media Ventures were a rather strange choice for an epic about ancient Rome. Zimmer's pop-influenced, synthensizer-driven style of scoring just didn't seem like it would fit, at least not in my mind. Well, I have to admit I was blindsided by this one. Zimmer's two huge action cues on this album are riveting, and his brief, punctuating heroic themes are impressively forceful. While I'm not sure, I'd say there are more orchestral elements than usual thrown in with the synths, and the overall sound is nothing less than epic. Lisa Gerrard's sections of the score are much quieter, but her soothing vocal contributions (particularly in "Elysium") are gorgeous and no less moving. Kudos to Zimmer, Gerrard, and company for crafting a score that is appropriate for the film, yet sounds vastly different from the traditional score for a Roman epic.

This is an epic score that perfectly fit the movie. In fact, I think it adds immensely to the movie, especially in the sweeping battle sequence and in establishing mood in later scenes. The score balances extremely powerful orchestral pieces by Zimmer with Lisa Gerrard's quieter and deeply affecting passages. With respect to orchestral film music, Zimmer reminds me of John Williams, Elmer Bernstein, and James Horner at their best.

I suggest that one should not be bothered by Zimmer's borrowing from Holst and Wagner -- Williams is notoriously guilty of it as well, although in a sneakier way (he hides his thematic borrowing while Zimmer makes no attempt to cover his tracks.) I have come to view this technique in film music more as an homage to great classical music from the past. In fact many great composers from the past borrowed thematic elements from each other.

In the end one should judge a musical score not as an original music composition, rather for its ability to establish the mood and enhance the dramatic tension of what is happening on screen. In this regard, this music is supremely successful. Trust me that this movie would be much weaker without this musical score. This is one of the finer musical scores to come along in years.

It's nice that period movies are still made, because it gives oft over looked classical composers jobs instead of farming the music out to obnoxious (noxious) present day pop music bands. It is also nice that such music would be completely out of place in a film like Gladiator, which is Hans Zimmer and Lisa Gerrard come in. Both composers, along with Klaus Badelt and Djivan Gasparyan have produced a sonic epic that accompanies and compliments Scott's film wonderfully. When I first saw Gladiator I was very impressed with the music, but always wonder how it will sound on its own. Unlike Basil Poledouris' score for Starship Troopers, which works great in the film, it falls completely flat on its own. The Gladiator Soundtrack does not.

While I highly doubt Ridley Scott is a fan of Xena, I suspect Lisa Gerrard has at least a passing knowledge of Joseph LoDuca's work scoring the series, because some of Gladiator's pieces share much with his work. However, where the music really shines is Zimmer's powerful and resonant recreation of Holst's Mars for tracks 3 and 10, `The Battle' and `Strength and Honor', which were used for the beginning battle against the Germanic tribes and later in the gladiator blood sports. While Holst's original Mars is potent, Zimmer's is more forceful, evocative of the power of the Roman Empire and her legions and of Maximus himself. This music could have easily been used for some great science fiction epic with massive capital ships squaring off against one and other in the vastness of space. Mars becomes less of a march than dirge like battle music.

Gerrard's pieces are more quiet and less energetic, but no less important. Hers are the more somber and introspective pieces like the portentous `The Wheat' (track 2), that is used both at the beginning to foretell of Maximus' eventual demise, and at the end of the film at he is solemnly carried out of the arena by fellow gladiators. Her pieces are more like soliloquies spoken with instruments and carry the listener into focusing on Maximus, his importance, and his achievements, both as a general and as a gladiator.

I like this soundtrack for a number of reasons. It's never boring, because it is so variable between the various tracks that the listener's ear never gets tired. It adds verve and emotion to the film, accentuating the key scenes in which the music is showcased extremely well. Plus I am glad that Scott chose less well known composers to score his film. While composers like John Williams, Gerry Goldsmith, and James Horner at wonderful at their craft, they do tend to repeat themselves, Goldsmith and Horner especially. All one has to do is listen to Goldsmith's `Total Recall' and `The Mummy' soundtracks to see the similarities, especially during the chase sequences. Same with Horner between, say his score for `Star Trek II' and `Aliens'.

If you like classical soundtracks, especially unusual ones like the Xena scores, I highly recommend this. It works very well at high volumes so that it captures that power of the film. This is an excellent piece of work, highly musical. and worthy addition to anyone's soundtrack collection.

Each year, the number of quality orchestral soundtracks diminishes, and the soundtrack to Gladiator is so far the only excellent work in this genre I've heard this year. Lisa Gerrard receives co-credit with Zimmer, but her material on the album is only a fraction of the whole. Still, her work provides a memorable, spiritual depth to this fascinating musical journey, and it contrasts perfectly with Zimmer's music, which switches between robust glory, ethnic flavored themes, and violent pounding action rhythms. (I agree with the Amazon reviewer, "Mars the Bringer of War" must have been the temp music for the battle scenes.)

The album makes for a unified experience, especially with most of tracks blending into the following track. The two ten minute action tracks (Battle; Barbarian Horde) are exhilirating and incredibly suspenseful as they build up to their frenzy. The last three tracks provide a moving coda where Gerrard and Zimmer weave in and out of each other to send our hero to his final reward.

A worthwhile dramatic listening experience, even if you haven't seen the film (and you should).

First of all, I'd like to state that Gladiator's soundtrack CD is the third one I've cautiously bought in my life (the others were Matrix and X-files: Fight the Future, I'd rate them 3 of 10: 3 good themes, rest - garbage).

Second, English is not my native language, that's why it's beyond my linguistic capabilities to express the whirlwind of emotions sweeping over you while listening to this majestic symphony. It's Music for All Times from a Movie for All Times: it lets your imagination roam and your pulse race, scenes and images from the movie (that you've all, hopefully, seen, except only if you're blind or from Mars) flickering in the subconscious.

Although my personal favorites are wall-shattering breath-taking "The Battle" and "Barbarian Horde" (much heard in the movie), slower, macabre and ominous "The Might of Rome" and "Am I Not Merciful", as well as hymns to human honor and valor "Progeny" and "Honor Him" are gems of this album.

To spare more talks (for music must be heard, and only afterwards discussed) I'd advise you not to listen to the CD without seeing the movie: it'd mean to deprive oneself of double pleasure - these two go together. I think it'll take a while for such a harmonious movie/soundtrack combination to appear that can equal Gladiator's. This CD proves again that music is the highest art to move a human heart. Mine has been shattered...

Alfred Newman ("The Robe"), Franz Waxman ("Demetrius and the Gladiators"), Miklos Rozsa ("Ben Hur"), Alex North ("Spartacus"), Dimitri Tiomkin ("The Fall of the Roman Empire"), and Jerry Goldsmith ("Masada") have all had a hand at musical interpretations of the Roman Empire. Add to this illustrious list Hans Zimmer and his score for Ridley Scott's "Gladiator." Actually, the score is by Zimmer, and Lisa Gerrard, with additional music by Klaus Badelt (who also co-produced the soundtrack album with Zimmer), and some music by Djivan Gasparyan. The unusual occasion of a score by committee should not raise an eyebrow in this instance, after all, how many Ridley Scott films have involved some incident over the musical soundtrack? Jerry Goldsmith saw part of his music for "Alien" replaced by classical pieces, and his entire score was dumped from the American release of "Legend" in favor of music by Tangerine Dream. Most of the score for "Gladiator" is by Zimmer, especially the main thematic material, and it all works quite well as a soundtrack album. Indeed, it may be Zimmer's most impressive piece, albeit there are some reminders of other works here: "Mars, the Bringer of War" from Gustav Holst's "The Planets, Richard Wagner's "Das Rheingold," Joseph LoDuca's music for television's "Xena: Warrior Princess," and Tiomkin's "Fall of the Roman Empire" (besides the music, "Gladiator," shares other similarities with this 1964 film). "Gladiator" surprises in a number of ways. Given the use of Basil Poledouris' music from "Conan the Barbarian" in one of the film's trailers, something a little different might have been expected. Much of the score is, in fact, quite somber for a Roman epic. But of course "Gladiator" also has dramatic punch, and stirring moments, particularly in "The Battle," "The Might of Rome," "Slaves to Rome," and "Barbarian Horde" (all by Zimmer). Lisa Gerrard's talents are showcased in an unexpected choral and vocal finale, "Now We Are Free." This is a complex and engaging musical package that comes together in a very enjoyable manner.