专辑中文名: 地心历险记
专辑英文名: Journey To The Center Of The Earth
艺术家: Andrew Lockington
资源格式: MP3
发行时间: 2008年
地区: 美国
语言: 英语
简介:
专辑介绍:
特雷弗(布兰登·弗莱瑟饰演)是大学的自然科学教授，却提出了一套与现有科学体系完全对立的理论认为凡尔纳的小说并非只是科幻而是确有其事。结果此事被学院传为笑料，几乎将特雷弗的学术名声毁于一旦。后来，特雷弗和侄子肖恩(乔什·哈切森 饰演)以及美女汉娜(安妮塔·布里姆饰演)在冰岛旅行时，意外的发现了一个洞穴。三个人沿着洞穴往里走，踏破了地上的薄冰跌入了无底的深渊，好在底下的大湖救了他们的命。三个人游出湖面后，发现自己进入了一个神秘的地心世界。在那里生存着各种稀奇古怪的生物，有着各种光怪陆离的景象。原来凡尔纳的著述竟真的确有其事。特雷弗也终于可以扬眉吐气了。不过，首先要解决的问题是，如何像凡尔纳当年一样找到另外一条出路，逃出生天……
原声大碟英语原文介绍:
The last time a major movie was made of Jules Verne’s Journey to the Center of the Earth was 1959, and the composer was Bernard Herrmann. It’s a big pair of shoes for composer Andrew Lockington to step into, but step into them he has, and although his score for the 2008 version certainly does not emulate or surpass Herrmann’s excellent work, the young Canadian has nevertheless created a fun, exciting, enjoyably old-fashioned score which stands as an unexpected highlight in what has otherwise been a largely lackluster summer.
2008’s Journey is the directorial debut of special effects whiz Eric Brevig, whose previous films include Total Recall, Hook, Men in Black and Pearl Harbor. Brendan Fraser, taking a break from battling mummies, stars as adventurer/professor Trevor Anderson who, in the company of his nephew Sean (Josh Hutcherson) and mountain guide Hannah (Anita Briem), travels to a fantastical world located at the center of the earth in an attempt to find his missing brother. The film’s gimmick is that it is filmed in 3D – the latest to resurrect the long-dormant 80s technology. Basically, it’s an excuse for the filmmakers to play around and impress audiences with flashy special effects and innovative production design, and on that basis the film works well; one review of it describes the film as “big, dumb, summer fun”, which I have no doubt is pretty accurate.
Andrew Lockington began his career working as an orchestrator for his fellow Canuck, Mychael Danna, before branching out on his own. He impressed greatly with his 2007 horror score Skinwalkers (which was released on the Moviescore Media label), and also wrote music for the popular step dance movie How She Move prior to taking on this assignment. Journey to the Center of the Earth is certainly his most high profile score to date and, if his work here is anything to go by, I foresee a bright future in Hollywood.
The score is anchored by the bold, positive-sounding “Journey Theme”, a prototypical adventure piece with brassy fanfares and cooing choirs; not the most original thing you’ve ever heard, but certainly what one would expect from a light-hearted escapade such as this. The theme appears with pleasing regularity, underpinning Professor Anderson’s exploits with a refreshingly un-cynical air, and even managed to crop up in some unexpected places; it visits in a faux-amusing scherzo “Max’s Things”, is used as a darkly-hued base for “The Generator”, and, of course, has a sense of ooh-aah awe and wonder in the title track, “The Center of the Earth”.
The action music is big and brave, sort of John Williams-ish, sort of John Debney-ish, and with energy to spare. Cues such as “Mine Car Adventure”, the outstanding “Building the Raft”, the thunderous “Storm” and the rampaging “Dinosaur!” are tremendously energetic and entertaining, all flashy brass fanfares, crackerjack string runs, and heroic choral work. “Rope Descent” and “Water Drop” are slightly darker and more tense, making use of slightly more sinister-sounding writing, especially in the string section, and well-integrated electronics, while the occasional blasts of dissonance add a little welcome depth to the counteract the otherwise relentless optimism. Elsewhere, the expansive, noble “Climbing Sneffels” reminds me of some of Jerry Goldsmith’s ‘spectacle of nature’ music, which is a good thing indeed, while the truly gorgeous “Goodbye Max” highlights Lockington’s talent for warm, emotional orchestral writing.
Lockington hasn’t yet been able to develop a personal style, or adopt any trademarks, so this is a voyage of discovery into his musical personality. I can see how some would dismiss his efforts here as being somewhat generic – big orchestral themes seem to attract this criticism regularly – but it’s all done with such unselfconsciousness that it’s hard to dislike it. With this score, and Skinwalkers, and his work with Mychael Danna, Andrew Lockington is certainly a name to watch in future.
The score is available as digital download from New Line Records in the United States, or as an actual physical CD from Silva Screen in Europe. Whichever media you choose, I heartily recommend you pick up a copy – it’s a fun ride!
