When I listen to the music flowing beneath a film, I search for tributaries. Could this music tell more than one story, or is its course reinforced with concrete, impossible to divert? Some scores are simply too entrenched to draw elsewhere, such as John Williams’ work for Superman and Jaws. Other scores tell the narrative their own way with music, and in that narrative arc flow many streams of story. One need only pick the flow to follow.
John Powell is one such composer, whom I’ve written of before, as well as Daft Punk. I still remember the excitement in me when I heard they were composing for Tron: Legacy, and knew that, if nothing else, the music would be amazing.
But the less said about that film, the better. No, I wanted to touch on Daft Punk because this year I felt that same excitement in discovering a composer previously unknown to me, one whose work I’m most assuredly going to dig through in the coming months:
So I’m a sucker for a good fantasy film. King Arthur: Legend of the Sword has its flaws with pacing and use of characters for plot propulsion, but there’s amazing aural storytelling to be found in this “175m music video.”*
In the first moments, you already feel a knowledge of old brilliance:
That lone violin pays homage to another master composer, Ennio Morricone, and his use of a music box to elicit feelings of love lost and revenge throughout the film For a Few Dollars More.
That connection sparked in my first viewing, and brought a smile to my face. I knew I was about to listen to someone who knew the power music has in cinematic narrative.
And I was right.
This theme blends period strings and electric guitar with such a gutteral heaviness that you can feel the weight of chains upon you. You’re being marched into a bleak land of little hope. Had Pemberton amped up the pacing here, he’d have something rather steampunky (rather like Hans Zimmer’s Sherlock Holmes, I’d say), but he didn’t, and I’m glad. The rhythm of trudgery emphasizes the setting into which Arthur is born and raised.
“Gutteral” is a term I use as a compliment because it’s so bloody perfect with Arthur’s character. Guy Ritchie’s film has Arthur orphaned and raised by prostitutes in a brothel. He’s a boy of the streets, doing anything and everything to make a little money and protect those who didn’t have to raise him, but did. Just listen to how the bows scrape along the strings to create almost-notes. The plucking and drums evoke a sense of dim lights, warm beer, and sly talk.
The human body itself is even an instrument in Pemberton’s score.
Breathing plays a role in a number of tracks, and for good reason: Arthur is a fighter, then literally on the run for his life. The breathing carries a determination to survive, but a desperation, too. He hasn’t the magical knowledge of the sage (the less said about her, the better), nor has he the confidence of his father’s knights. Pulling Excalibur out of the stone pulled him out of his own element, and he’s constantly catching up to understand just what the hell is going on. And as “Run Londinium” climaxes, Pemberton shows that all that frustration, desperation, and confusion is going to explode in the height of the fight to survive.
Okay, last one, I promise. I just had to show how, like Morricone, Pemberton uses the lone violin in the climax to bring this story full circle: from murder to vengeance. From child to hero.
Give Pemberton a listen. Watch your characters toddle, play, saunter, run. Fight. Survive. Thrive.
Click here for more on Pemberton’s Score.
*A reference in Daniel Pemberton’s Twitter feed that made me laugh.