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30 of 31 people found the following review helpful:
4.0 out of 5 stars
Howard's Touching Score for Kong and Ann Darrow, December 13, 2005
Fair or not, James Newton Howard's score for Peter Jackson's "King Kong" will quickly be the focus of quite a discussion in the film score world. Howard's music is the third musical treatment for "King Kong," the others being Max Steiner's monumental score for Merian C. Cooper's classic of 1933, and John Barry's underappreciated music for the simply awful 1976 film. Howard enters this fray at a great disadvantage; whatever he produces will be immediately compared with two other scores, and one of them is quite simply the definitive "Kong" score. In many ways Steiner is the father of the true classical film score, and it can be said that all of this began with his music for "King Kong." Indeed, Jackson pays a lengthy tribute to Steiner by using much of his music in the film during the New York, "Eighth Wonder of the World," stage presentation of Kong played by an orchestra in the pit (by the way, is that Howard Shore conducting?). Beyond that grand accolade is the simple fact that his score was one of the greatest of all time. Indeed many consider Stiener's work to be the quintessential classical film score. And to make matters far worse, Howard was an eleventh hour draftee after Howard Shore's score had been rejected, leaving about four weeks to come up with an adequate score for a gargantuan film. There are already rumors that Shore's music, which was five months in the making, was better than what was finally chosen for the film.
With all of that said we turn to James Newton Howard's music for Jackson's film. This is a very good score, as one would expect from a composer of Howard's caliber. And it is all the more remarkable given the constraints of time imposed by the dismissal of Howard Shore and his music. There is one very big surprise here though. One might have anticipated a mammoth action score for "King Kong," and Howard's action cues are more than adequate throughout. What really comes through, however, is his music for Ann Darrow, and in turn for Ann and Kong (not unlike Barry) which imparts emotional ties that were not fully realized in the earlier versions of "King Kong." Here Howard makes sure that this development is clearly understood and felt by his touching music. There are a number of minor themes and motifs for the various characters, Kong included, and even one for Skull Island, but they are not the keys to this score. The vital keys are found in Ann's music, and very evocative it is especially in three cues: "Beautiful," "Central Park," and "The Empire State Building". James Newton Howard's score for Peter Jackson's "King Kong" may not approach the historic importance of Steiner's music, but it is a solid production that works extremely well on the screen and the soundtrack album. And who knows what Howard might have created with a bit more time? Beautifully produced, and nicely packaged by Decca.
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24 of 25 people found the following review helpful:
5.0 out of 5 stars
Just like a giant gorrila- incredibly powerful, yet graceful and gentle, January 28, 2006
Note: This review reveals the plot to (and thus spoils) the movie, so be sure to see the movie first before reading this review!
Mr. Howard must have dreaded this assignment. Getting the job to write a full fledged score to a movie in less then a month. Could he possibly pull it off?
You bet.
King Kong is another James Howard masterpiece that pulls at our heartstrings, gets the blood flowing, and ultimitly leaves one satisfied and rushing to hear the tracks again. But there's a suprise with this soundtrack. While there is plenty of action to listen to, the best moments on this score are the quiet moments between Kong and Ann. While the action is there, it's the quiet moments that really sells this score. For once, the love music easily overcomes the action music. If this score doesn't get at least nominated for an academy award, then there really is no justice in the world.
Now, let's go through the tracks one by one, examining which part of the movie the track covers, and what it's like...
***
1. King Kong: The title piece of the movie, which perfectly sets the mood for the movie and introduces the kong/adventure theme. A distant horn, a slight mix of chanting, and the feeling of "Gee wiz!" followed by a strong beat as the movie opens to the zoo in New York city.
2. A fateful meeting: This quiet and soothing track covers a variety of spots from the opening parts of the movie, including:
1.Ann and the old man at the theater,
2.The theater closing
3.Carl seeing Ann outside the vaudville house
4. Filming Ann against the sunset on board the Venture.
The piano is used heavily in this track, along with harp and precusion. The quiet and elegant mood set here is very, very effective at conveying the quiet dignity in Ann, and the romance between her and Jack.
3. Defeat is always momentary: This quick paced piece covers Carl as he leaves the meeting with his bosses and plots how to wiggle his way onto finding a leading lady and keeping one step ahead of his bosses, and ends upon Carl heading off to the vaudvile house.
The overall theme of this track is "Fast, sly, and scheming." It's tone is serious and quick, yet light and scheming, perfectly fitting Carl's charachter. The classic Kong theme from the 1930's movie also makes a quick apperance here. This is the lightest track on the CD in terms of mood. The sample played on Amazon gives an excellent view of what the track is like.
4. It's in the subtext: This is when things start getting serious. As the Venture heads towards Skull island, tensions are starting to rise between some members of the crew. The captain and first mate are wondering where they are going, people are wondering just what they are going to encounter on skull island (though most of them don't know about it yet). Yet the romance between Jack and Ann begins to grow. But then captain Englehorn decides to turn the ship around, and things turn gloomy indeed for Carl.
This is a very moody track that's dark and forbodding. It conveys the idea of "what are we going into?" very well. The main kong/adventure theme of the movie (from track 1) is woven into the romance between Jack and Ann, creating a darkly romantic theme. Again, the amazon sample of the CD gives a very good idea of what this track is like.
5. Two Grand: As the Venture preapares to depart, Carl tries to stall Jack by writting faulty check after faulty check.
This track perfectly fits Carl's charachter. Scheming, clever, and willing to do whatever it takes to win. It has a lighthearted mood to it, yet is also "Oh no!" as Jack frantically tries to get off the ship before it departs. Again, the amazon sample gives a very good idea of what this track is like.
6. The venture departs: With everyone onboard, the Venture sails out of New York harbor into the open sea. Jack finds his quarters (and a suprise) in the cargo bay of the ship. Bruce Baxter sets up his quarters and admires himself in his posters. Jimmy's background is explained by Hayes and the relationship between them begins to grow.
There are a variety of themes used in this track. The main kong/adventure theme covers the departure of the Venture, followed by a quiet "what's going on?" when Jack discovers the Chlorofoam in the cargo bay. Bruce Baxter's theme is introduced here and plays perfectly to his charachter as a high strung hollywood actor. His theme is a light jazzy, hollywood tune that perfectly matches a hollywood actor. Jimmy and Haye's theme is also introduced as well. It's quiet and elegant, conveying the mood that Hayes has been through many adventures and knows what he's talking about when he speaks. The light, slightly peppy music that plays between Haye's and Jimmy's talking is light and mischivioius, yet has Haye's quiet elegance at the same time.
7. Last space on the ship (note: the title of the track does not match the music played): The Venture sails through the fog around skull island, trying to figure out just where they are going. As they head deeper into the fog, the tension builds and builds as a huge wall of rock appears before the ship. And things only get worse as towering pillars of rock appear all around the ship.
This track is all about atmosphere. It's heavey on tribal drum beats and a single, quick flute. Immediatly after the opening is a lot of very quiet "what's out there?" music that keeps building and building as something enormous comes out of the fog. Then the music quickly changes to an "Uh oh!" tune as there are quick beats and a feeling of hoplessness (perfectly matching the idea of trying to stear a boat blind) as the Venture desperatly tries not to smash into the rocks. A mild chorus comes in as things only get worse, giving us some hope that we just might make it, followed by a haunting island echo (that's the best way to describe it). When things get really bad, the music builds in pitch and "ahh!" as the ship tries to avoid a giant rock, only to fail, before quietly fading to silence, but not before one more haunting island echo and a quiet string of atmospheric noises.
8. It's deserted: With the Venture stuck, Carl and several members of the crew head ashore to explore Skull island. The island amazes them with it's size and sheer power. Jimmy asks Mr. Hayes why they are going on, and Hayes explains that it's about following the heart. Everyone on the venture throws everything possible overboard to try and lighten the Venture enough to escape the bay while something ominous comes closer and closer. Finally, the ship gets off the rock, only to discover the horrible truth...Ann has been kidnapped.
This track starts out strong with the kong/adventure theme, perfectly setting up the situation of sailing to an uncharted island and gaping at it's sheer size and power. The noble and elegant adventure theme of Hayes comes in very strong halfway through, followed by a fairly quick action piece as the members of the ship throw everything overboard, tied in with the haunting island echo theme of the zombie like natives. The music gets very up and "hooray!" as the Venture gets underway, but quickly turns grim as Ann is discovered missing.
9. Something monstorous...neither beast nor man: Ann meets Kong as the crew of the Venture run into the native's villiage, firing thier weapons and frantically searching for her. Carl peers through the gate and sees Kong. Staggering back, Jack tries to get Carl to say what he saw through the wall gate.
This track starts off slow, building up to the first apperance of Kong himself, but when he appears the music goes full blown with a variation of the kong/adventure theme, followed by a frantic rush of enegry and urgency as Jack and others frantically searching for Ann, composed of beats, mild vocals, and another frantic version of the kong/adventure theme. Finally, after several seconds of beats, the music turns it down to a low whineing noise (that's the best way I can describe it).
10. Head towards the animals: The crew of the Venture and our heros run from the stampede of giant dinosaurs and raptors.
What's to say here? This track is pure action, composing of beats, "Ahhh"s and all sorts of fast paced musical tracks. If you want fast paced music that varies ever so slightly in terms of speed and intensity, this is the place to go.
11. Beautiful: Kong carries Ann to his lair overlooking the sea. Ann juggles, tells Kong that the sunset is beautiful, and sits in Kong's hand.
This is the second most beautiful track on the CD (only behind track number 15), introducing the love theme between Kong and Ann, which is composed of harps, flutes, and piano. Words cannot truely describe it's elegance, but i'll try. It's an elegant mix that starts out with a single jungle like flute followed by another high flute mixed with harp strings, finally followed by the theme itself. The piano is done beautifully, flowing effortlessly with the harp and flutes. This track has a tropical feeling, making it easy to visualize this taking place on a tropical island. The overall tone is of two beings being together, slowly opening up to each other and beginning to trust one another.
12. Tooth and claw: Just as Ann is about to become tyrannosaur food, Kong shows up to save her from not one, not two, but from three tyrannosaurs. A hectic battle ensures between the titans, with poor Ann stuck in the middle.
This is another large action piece with the distinct battle theme (big brass beats) that appears again later on in the score. It's big...
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9 of 9 people found the following review helpful:
4.0 out of 5 stars
An Incredibly Good Score..., December 13, 2005
Especially given with the time constraints James Newton Howard had, this score is amazing. If Max Stiener had to do a contemporary re-do of his original score, this is how I would want it to sound like. There are several themes littered throughout the score, but of course the best is for Kong himself. There are many dramatic cues, some quiet and peaceful ones here and there, and the action tracks are ones that you will want to put on repeat. My only complaint is that even though the CD boasts 75 minutes of music, which is pretty much the maximum on a CD, I feel as if there is a lot missing that didn't make it. And there is. Apparently 2 hours and 30 minutes (give or take) of score was recorded for the film, and we only have 1 hour and 15 minutes here. While I am certainly not complaining with the amount we got (which could have been less), there is still so much that will now only be heard in the film. Although I haven't seen the film yet, I can assume that a lot of the tracks not on here are from the treks through Skull Island and the other various dinosaur encounters. And perhaps some more action music in New York. I am not sure about all of this, but obviously there is more to this score. Until then, I am reserving 5 stars for that. But this seems like it is a rather good representation of it. Bravo.
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~ James Newton Howard
~ John Williams (Composer)
~ John Williams
~ James Horner
~ Joshua Bell
by James Newton Howard 
