专辑中文名: 守望者
专辑英文名: Watchmen
艺术家: Tyler Bates
资源格式: WV
发行时间: 2009年
地区: 美国
语言: 英语
简介:
专辑介绍:
整个故事开始于1985年，在那个并不遥远的年代，美国各地爆发了大规模的骚乱，而一群身怀异能的超级英雄则协助政府镇压了叛乱，这群超级英雄平时都有着各自的普通人身份，并不以其真面目示人，而他们都有着各自的代号。为首的则是被称为“罗夏”的沃尔特·科瓦奇（杰基·厄尔·哈利饰），旗下则有“曼哈顿博士”乔·奥斯特曼（比利·克鲁德普饰）、“幽灵”萨利·朱庇特（卡拉·古奇诺饰）、“法老王”阿德里安·维迪特（马修·古迪饰）、“猫头鹰”丹·德尔伯格（帕特里克·威尔森饰）、“喜剧演员”爱德华·布莱克（杰弗里·迪恩·摩根饰）等人。这群超级英雄曾经帮助美国政府在数十年里处理了许多难以解决的大大小小事件，而他们在连年征战中，也都萌生了退意。
在成功协助成功解决了这起波及美国政府的叛乱危机之后，这群超级英雄决定退隐江湖，而美国政府也答应了他们的请求。不过好景不长，没过多久，“喜剧演员”莫名其妙地从高楼坠下，不治身亡。超级英雄们对这件事大为震惊，而首当其冲的则是罗夏。在他与政府交涉之后，官方将这件事判定为意外，然后草草结案。对于这个结果，甚至超级英雄内部也有不少人也认为是没什么问题的，但罗夏对这起看似是一件普通意外的案件充满了怀疑，因此罗夏决定查清这起案件的真相。
在追查真相的过程中，一名蒙面杀手的出现令罗夏一行人差点丧命，而这名蒙面杀手的真实身份神秘莫测，但极有可能是一名曾经参加过越战的退伍老兵，随着调查的深入，罗夏发现他也是一名超级英雄，而且这些超级英雄也是当年曾经效力于美国政府，只不过却被美国政府最后抛弃的“废物”。一个幕后操纵者重新聚集起了这群有着上天入地身手的退役超人，而他的目的则是最终颠覆整个世界……罗夏与他的朋友们，开始为拯救世界而努力。
原声碟介绍:
Of all the superheroes that have leapt, flown, blasted, and punched their way to the big screen in the last twenty years, perhaps no adaptation of an existing concept was as tricky as Alan Moore's 1986 graphic novels involving the Watchmen. It's easy to see why so many directors came and went on this project through the years; the narrative of this set of colorful characters is so unique and intermingled with real-life geopolitical events that an accurate translation into a sensible motion picture was a daunting task. As such, it's not surprising that Moore refused to associate himself with director Zack Snyder's 2009 film Watchmen, a promising, but ultimately muddled treatment of a subject that was simply too immense to tackle in one film. Sporting a cast of relative unknowns and dwelling upon painstaking loyalty to the look of the comics, Watchmen failed to reinvent the superhero genre on screen as it had on paper. Its premise is different that those of better known concepts, examining the role of a variety of flashy characters with special powers against the backdrop of nuclear war between the United States and the Soviet Union in the mid-1980's (with Richard Nixon serving a fifth term over a beleaguered American population). The production tried so hard to remain faithful to the novels that it lost sight of the larger picture, and with the finer portions of the story sacrificed, the nuances that made the concept so appealing were lost. Not serving Watchmen with the kind of intelligence that it deserves are Tyler Bates' score and the plethora of contemporary songs littered throughout the picture. Bates in particular had been a punching bag in the film music collecting community, and rightfully so. His borrowing of Elliot Goldenthal's Titus for Snyder's wildly popular 300 caused enough trouble for the studio to force disclaimers on copies of the DVDs and soundtracks for that film (crediting Goldenthal for inspiring the soundtrack). Bates' music for other mainstream films, lead by the poor remake of The Day the Earth Stood Still in late 2008, has often underachieved, failing to define the pictures with memorable sonic identities while only barely producing enough of an appropriate atmosphere to justify his paycheck. Of Bates' work for Watchmen, Snyder uses the words "iconic and beautiful." This description is truly baffling, for this music is deserving of neither word.
Instead, Bates once again writes bland, uninspiring music that functions in its basic duties without advancing the film with anything truly iconic or beautiful. There seems to be a working philosophy in some corners of the industry (and one could dare say that Hans Zimmer is partially to blame for this studio mentality) that the scores of modern blockbusters are best applied with a wall of impressive sound. Simply put, if you create a sonic wallpaper of symphonic, choral, and electronic tones of magnificent intent and creative recording techniques, you don't really require intelligence in subtle layers. Bates is riding this wave of aimless noise, writing music that generates terrific amounts of gothic power and contemporary coolness without yielding anything remotely memorable enough to recall ten minutes after the conclusion of the film or album. There are individual moments of significant potential in the music for Watchmen, and for sparse sequences spread throughout the work, you hear cues that would function as outstanding filler material. But there is no distinct thematic or instrumental direction to any of that music. Bates' motifs are haphazardly arranged and badly in need of consolidation, barely registering in even a close examination of the music when separated from the film. Sure, allowing each of the five main heroes a musical identity is perhaps too ambitious for any composer, but Watchmen has no overarching identity either. Its pleasant interludes of harmonic, slightly dramatic character development, as in "Just Look Around You," are lovely at best, anonymous at worst. The action material aims to exhilarate with its frantic pacing and ripping personality rather than any particular construct of note. Some of these cues try so hard to adopt hip, electronica spirit into their ranks (such as "Prison Fight") that they completely separate themselves from the remainder of the work. The juxtaposition of the extremes in Watchmen compounds the identity problems already existing because of a crumbling foundation. Overall, it's difficult to fathom how so much effort in the performances of over 100 players and singers can be wasted in a production with so much potential. At the very least, Bates avoids explicitly quoting other composers (with the possible exception of Trevor Rabin in "I Love You"). But his original constructs are so undemanding, unorganized, and devoid of convincing style that his continued assignment to major studio films should be questioned. A score-only album of 45 minutes of material meanders between genres indiscriminately, likely limiting its appeal to concept loyalists.
