Customer Reviews

Hulk (Original Motion Picture Soundtrack)

5 star:		(9)
4 star:		(8)
3 star:		(5)
2 star:		(0)
1 star:		(0)

 

 

My only problem with the Hulk score is that there doesn't seem to be enough of it. That isn't Danny Elfman's fault, but the movie didn't leave a great many opportunities for him to flesh out the score. That said, what's here is amazing.

The main theme is suprising. One would expect something loud and clamoring with brass for a character like the Hulk, and while the music does get that way at times, the Hulk's melody is actually a steady, soft melody that resonates with wonder. It almost feels like what you'd hear when looking at DNA, molecules, and whatever else would need to be involved in the Hulk's origin. In the background there is a low, appropriately grand brass.

The score uses this theme to different heights throughout, along with fast-paced drums and occasional synth instruments. The most memorable tune outside of the main theme is a Middle Eastern choral section in the second half of the score, emoting the desolation of a solitary creature like the Hulk (and used for the desert backdrop seen in the movie.)

The finale varies the theme, making it granduer, because in it's simple 12 notes, a score for a movie about science fiction makes it seem like a score for a movie about magic. It peaks curiosity, majesty, and even innocence, and then turns into the backdrop for what the movie entails as a climactic battle.

Danny Elfman has been given a large responsibility among composers. He's had to tackle the objective of composing unique themes for three different well-loved super-heroes: Batman, Spider-man, and now the Incredible Hulk. And because he is such an excellent composer, the Hulk can join these other fine scores, and I can only hope Elfman is brought back for the sequel.

No stranger to superheroes and comic books, Danny launched the the most fertile period of his career with Batman, through to the early '90s with Darkman, Dick Tracy, Batman Returns and the theme for the television series The Flash. He would later collaborate with Darkman director Sam Raimi for 2002's biggest financial success, Spider-Man, making everyone at Marvel notice. The Hulk proves the Elfman formula is still viable, as his score is brilliant, matching the scope and tone of the picture, proving to be progressive, often exhilirating and touched with Elfman's unique brand of tragedy.

The score is anchored by an often-repeated theme that is stated quickly in the magnificent "Main Titles" "Main Titles", first as a scientific-sounding 6-note descending motif for woodwinds and then later developed in the brass and strings ("Hulk Out!", "A Man Again"). Like Spider-Man, it's not an immediately obvious main theme, but it is there if you want to find it. This main "Science" theme is then put through it's paces in "Prologue", an extension of ideas from the "Main Titles", and the first appearance of the female vocals performed by Natacha Atlas. They do the work intended, adding an emotional gravitas to an otherwise loud and rambunctious summer movie blockbuster score, which is something increasingly rare.

Action elements are surprisingly rare here, "Captured" introduces a bevy of percussion rythms overtop vocals and an Eastern-like string rythm. This might be the first time that Danny Elfman has written anything remotely resembling a Hans Zimmer-like action cue(!). "Hulk Out!" features the first real, balls-to-the-wall action scoring, with towering brass grunts overtop urgent strings coupled with frenetic percussion, concluding with a full-scale rendition of the main theme.

Despite the fact that Elfman scores more mainstream films then ever before he still imbues his scores with flashes of his twisted sensibility, particularly in The Hulk, which features many dark passages, particularly for Bruce Banner's father in "Dad's Visit" and "Father Knows Best" (two of my favorite tracks), which churn with menacing synth effects. Additional highlights include the duduk-laced and tragic "The Truth Revealed", which features a heartbreaking statement of the "Betty and Bruce" theme. The track concludes with a gorgeous and warm reprise of Atlas' vocals. B-e-a-utiful! "Hulk's Freedom" brings back the vocals and percussion for a victorious and thundering fanfare.

This album has a lot of challenges, it's short on hardcore action scoring, heavy on pathos, it's dark and not always pleasant. It's probably doomed to immediate criticism from the crowd of vanilla taste film music fans who populate message boards. There's something here though, something distinctly Elfman, that means a rewarding listening experience will develop. With each listen, this album opens up, reveals a new idea, and ties together two others. If you found that to be true while listening to Elfman's Planet Of The Apes or Spider-Man, you'll find it in The Hulk too. Expectations can kill a film score before anyone even hears a note. The Hulk strikes a balance between what you'd expect: percussive thunder and brass lightning, and what you don't: female vocals and Eastern influences. In short, it's typical Danny Elfman -- never the easy route!

Come on it's a wonderful sound track but no one even talks about Natacha Atlas's great vocals on much of the sound track!
Wake up!

The soundtrack for the Hulk is a magnificent, inspired piece of art that fits the film perfectly. I've seen people compare it to (Elfman's other soundtrack) Spiderman, which I find odd since Hulk the film is nothing like Spiderman. It's not a superhero story as much as a unique drama injected with something more (in this case science fiction).
The soundtrack therefore isn't a standard 'superhero' soundtrack (like Spidey, Batman, and The Flash: all Elfman creation).
From the slow-paced music to the mid-eastern touch, this package is a superb showcase for Danny Elfman's talent

Yes, there is alot of percussion which is a staple of Elfman, but in writing the music for a their super-hero franchise, Elfman breaks new ground. Rather than the dark flourishes of Batman & the high flying theme of Spider-Man, The Hulk is a dark score filled witth exotic sounds that actually capture the filmakers vision and provide an interesting listening experience for the listener. I gave this score 3 stars not because its bad, but because its not to my personal taste, and I would not necessarily recommend it. However, if you a collector of Danny Elfman music or super-hero scores, then feel no guilt when you purchase this unique score.

I just bought the Hulk score, and it's your typically awesome Danny Elfman style with some majorly green muscle behind it. The score is breathtaking and captures the savage beast, mixed with a touch of human essence, only to break through with some smashing beats when you think it's safe to stop for air.
A must for any movie score collector, or Hulk fan!!!

Elfman constantly runs a balancing act of continuing the "Elfmanisms" that have made him famous, but also reinventing himself, often at the expense of his own ego.
i think Hulk is a case in point...
the majority of the score is very subtle for a comic book movie -it's primary function is to support the film, but it also takes risks.
and, in my opinion, those risks are handled effectively and pay off.
> he retains some of the ethnic / middle-eastern leanings that the original composer (Mychael Danna) had intended (and he HAS recieved criticism for this- at least as far as film music nerds are concerned) and he avoids a catchy hero theme, ala what he did for Batman or Dick Tracy
- seems like this is what gets him in trouble the most with reviewers -
instead of heralding fanfares, and broad melodic gestures, Elfman weaves in and around the action, he doesn't try and steal the show.
However, there IS thematic material - and it's strong... it's woven delicately, and it grows on me with each listen...
Elfman has integrity, in spite of the pressures and sell-out potential of the money-making movie machine.

The Truth Revealed is probably my favorite cue>> a bittersweet tone, at once sad and beautiful... very effective in the film.

also, Hulk's Freedom - as the Hulk leaps over mountains the vocals (performed by Natacha Atlas) soar with him, accompanied by strong brass and thundering percussion (ala Planet of the Apes and Proof of Life). the effect is inspiring... Danny Elfman is one of the finest film composers in the industry, and he's on top-form with The Hulk.
I'm looking forward to his next Burton project, Big Fish.

~devin

Danny Elfman has been the musical voice of many superheroes. While this is neither "Batman" nor "Spider-man", "Hulk" does have some interesting moments in the middle of that Oriental style that most composers want to use in their music these days.
I'm kind of upset that there is no discernible theme for "Hulk", execpt for a six-note motif that is heard all over the CD. There is the music for Bruce Banner and his father, mostly played by, I think, the duduk. Then there is Natacha Atlas who does the odious moaning on this CD. Thank God Elfman isn't at all influenced by the Oriental music style because he uses electronics and percussion to maintain the right balance between the artistic and the classic Hollywood compositions. The action music heard in 'Hulk Out', 'Hounds Of Hell', and 'The Lake Battle' is fantastic and very propulsive, good Elfman compositions. The rock song 'Set Me Free' is the last track of the CD, and deservedly so because it feels like out of context with all the rest of the album.
But not all the Middle-East influence is bad, and neither is Natacha Atlas. Because there is the track called 'Captured', which is the best musical cue of the CD. I don't know why, but when I first heard it in the movie theater, I sorta started dancing to it. It's too cool. I really love that theme, and when I got the CD and listened to it for the first time, I turned up the speakers because it's such a fine piece of music.
"Hulk" is a good composition by Danny Elfman, but I'd say 'Captured' is the real deal on this album, and if you don't like rock, then skip the last track.

Yo, this cd is one of the best musical scores i think i have ever heard. It is of course NOWHERE near as good as the 'SIGNS' soundtrack, but none the less this is an awsome cd. And also the last song performed by the originall Guns n Roses with Scott Weiland of Stone Temple Pilots is an awsome song. so if you enjoy good musical scores i suggest you get this album, WORD UP!! and buy the SIGNS soundtrack too, youll appreciate it.

All I have to say is, Guns'N'Roses are back and better than ever!!!! Their song "Set Me Free" launches their new band [Velvet Revolver] into the new generation of music. What music needs right now is SLASH!!!!!!