Terminal Original Motion Pict [Soundtrack]

 

 

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John Williams is in the prime of his compositional life. His scores are more richly melodic, more sophisticated and more resourceful than they've ever been. He's writing with such maturity and such a clean, seemingly effortless understanding of both the text and the sub-text of a scene. THE TERMINAL score is another fine example. Grandly romantic while intimate, evocative of the Mancini scores of the 60s, Williams' music for THE TERMINAL is sensitive, sophisticated, and warm. "Buckbeak's Flight" in the 'Azkaban' score is rightly restrained, somehow denying Harry the triumph he should otherwise be entitled to. And what a brilliant choice -- acknowledging Harry's tragic inner life at a moment that should be uncluttered and fun. Maybe it's easy for some to say that we've seen the best of John Williams. I think they're wrong. We're in a new golden age.

I love John Williams. I own a huge collection of his work. But his scores of late have been quite disappointing in my opinion. "The Terminal" is another mediocre effort. Williams' greatest period came, I'm sure many would agree, in the 80s. There was something quite inventive about his work in those days. It probably doesn't help that the films he is scoring these days are positively wretched--"Hook," "The Patriot," "Harry Potter," and now "The Terminal." Pure Hollywood cliche. Not one original concept in the entire movie. Spielberg makes an attempt (a very timid one) to create the first mainstream anti-Bush/Ashcroft/Homeland Security movie (maybe in a rush before Michael Moore's film gets released later this summer) but his critiques are so watered down by a string of silly Hollywood "feel good" formulas that in the end the film has no sense of direction and nothing meaningful to say. It's hard to believe Spielberg was friends with Stanley Kubrick. This movie is no "Dr. Strangelove," that's for sure. Hanks is wonderful, this much is true, but the only other redeeming quality of this film is the so-so soundtrack release, but Spielberg only makes use of portions of it in the actual film. Williams does create some memorable stuff here (the love theme is interesting because, as Spielberg comments in the liner notes, it's not too terribly sentimental), but there is a lot of the typical standby Williams rhythmic stuff. A lot of giddy Disney-sounding gibberish as well. Williams, in my view, does much better with quiet, contemplative scores. His work for solo harp in "Angela's Ashes", for instance, far exceeds the clarinet solos in "The Terminal." The meditative violin solos of "Tree Song" are an absolute miracle compared to the themes found here. The second cue borrows heavily from "Sabrina" (also a more accomplished score compared to this one). Well, what can you do? I hope that Williams decides to turn his back on Hollywood schlock before he dies (the man is in his 70s after all!) and composes a few simple and elegant scores using a smaller orchestra just like in the old days (see "Missouri Breaks" or even "Stanley and Iris").

The score to "The Terminal" is masterful! This is one of John Williams' best scores. The feel of the score is comfortable and peaceful. All of the tracks on here are brilliant. It starts off with "The Tale Of Viktor Navorski". "Dinner With Amelia" is next, followed by "A Legend Is Born". Next, "Viktor And His Friends", after that "The Fountain Scene". Then we have "The Wedding Of Officer Torres" and "Jazz Autographs". Later, "Refusing To Escape", "Krakozhia National Anthem And Homesickness". The last tracks are "Looking For Work", "Gupta's Deliverance", "Finding Coins And Learning To Read", "Destiny"... "Canneloni"... and The Tale Of Viktor Navorski Reprise, and "A Happy Navorski Ending!" This soundtrack is masterful well made and well organized, thanks to the brilliance and grace of John Williams.

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5.0 out of 5 stars yep, another Williams goldmine
Man, is this a good CD. I'll be more specific. Here are a few of the album's standouts:

Track 1: The Tale of Viktor Navorski -- A sprightly theme played primarily by a... Read more

Published on Jun 17 2004 by Bryant Burnette

5.0 out of 5 stars A New Williams Classic
In the liner notes of the album, Spielberg describes this score as the perfect "feel good" John Williams album and he is absolutely right. Read more

Published on Jun 15 2004

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