Spectre film reunion
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This being a Newman score the soundscape is remarkably rich and compelling, enveloping the listener in a near-constant tapestry of exotic-sounding instruments, percussion and shimmering electronic embellishments. What Newman does brilliantly is avoid using the theme as a glib, predictable signifier of something heroic: instead he deploys it very carefully, looking to see how it can extend the emotional impact of a given track in the most memorable way possible. Surely its biggest crowd-pleasing moment comes in the hugely dramatic "Westminster Bridge" whose squealing horns recall John Barry at his finest. When it comes to Spectre itself, the Bond theme first makes a forceful, brassy appearance in the opening "Los Muertos Vivos Estan", subsequent applications ranging from the slyly knowing bass flute intonations in the opening moments of "The Eternal City" to the spine-tingling choral interpretation midway through "Backfire", the steady build-up of "Safe House" and the relentlessly exciting statement in "Snow Plane".
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Instead, it's best to see both scores as two sides of the same Bondian coin: a musical depiction of the past, present and future.
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In fact, it's surprising to hear how much of Skyfall's material is referenced in Spectre at the same time, Newman is far too accomplished a composer to use said ideas as a crutch. Nevertheless the criticisms over his use of the Bond theme are somewhat nonsensical: the theme was all over the Skyfall score, not always overtly but certainly creatively, and that approach very much applies to Spectre, which in-keeping with the movie's central notion of the past catching up is closely tied into Skyfall's musical ideas.
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As a celebrated composer of somewhat quirkier and more emotional material (other notable examples include The Shawshank Redemption, Angels in America and Finding Nemo), Newman still remains a controversial appointment for the franchise, many fans continuing to deride his apparent lack of fidelity to the classic Bond theme in the Skyfall score.Ĭertainly when compared David Arnold's bolder energy on the preceding Daniel Craig and Pierce Brosnan movies, and also the lushly romantic approach of series father John Barry, Newman's work is perhaps less overt than many fans will have expected. Including the aforementioned score, Spectre is Newman's sixth collaboration with director Mendes following American Beauty, Road to Perdition, Jarhead and Revolutionary Road.
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Thankfully, one area where the movie isn't lacking is the music by Thomas Newman, who returns to Bond duties following the Oscar-nominated Skyfall.
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Even so, with a tonally confused story that veers haphazardly between jokes and seriousness, plus a series of climactic reveals that fail to resonate as effectively as they should, there is a distinct sense of it lacking both the visceral danger and emotional heft of Skyfall and Casino Royale. With a starry cast also including Monica Bellucci, Dave Bautista, Ben Whishaw, Naomie Harris and Rory Kinnear, plus luxurious cinematography from Interstellar's Hoyte Van Hoytema, there's no denying Spectre is worth every penny of its enormous $300m budget. On his quest, Bond will come into contact with Madeleine Swann (Lea Seydoux) who may ultimately help redeem his life of violence. Butting heads with the new M (Ralph Fiennes), whose '00' program is on the verge of being closed down by supercilious new security chief C (Andrew Scott), Bond goes rogue on a global search for the mysterious Franz Oberhauser (Christoph Waltz), with whom he shares a deep-seated personal connection.
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With esteemed American Beauty director Sam Mendes back at the helm, the story kicks off with a spectacular sequence set during Mexico's Day of the Dead festival in which Bond trails and ultimately executes a notorious figure in the employ of the eponymous criminal organisation. Undeniably overshadowed by its superior predecessor Skyfall, which expertly mixed humour, action and a thrillingly emotional look at the world's most famous secret agent, Spectre takes a somewhat more frivolous, flippant approach to Daniel Craig's Bond, throwing back to the tongue-in-cheek campery of Roger Moore and Pierce Brosnan. Proving once again the 007 franchise's ability to endure across the generations, 24th Bond movie Spectre has shattered box office records in spite of somewhat middling reviews.