Jumping to Conclusions
Review by Christopher Coleman
JOHN POWELL's score for JUMPER treads along the lines of his music from The Bourne series, but is more aggressive in spots and has a bit more "personality" to it. Admittedly, while watching the film I found myself mostly conscious of the numerous electronic elements and occasional blast of electric guitar. But in-between and down-below all of the in-yo-face-material, is the truly interesting stuff. JOHN POWELL's score includes a variety of Eastern and/or Middle-eastern string instruments including the cimbalom and something akin to a sitar. It's difficult to tell just what instruments are being used due to, what sounds like, electronic processing of these instruments. He uses them with fair effectiveness for at least two of the score's main themes: David's theme and Millie's/Love Theme. The use of these eastern instruments play in stark contrast to the number of electronics employed and seem to hint at the ancient existence of both the Jumpers and Paladins, who are dedicated to eradicating them. For the character of David, Powell delivers a two themes. Within the theme is a frequently employed, pensive 8-note motif usually played in a mandolin-like manner. This is first heard in "First Jumps" (3), but can be found all throughout the score. David's second and more musical representation is a simple 6-note motif played on something akin to a harp or sitar (check tracks 4, 7, 11). Powell's theme for Millie (or the love theme) is strummed on guitar and echoed by the string section and rather than convey joyous, romantic love, the theme is tinged with sadness (tracks 9, 14). At almost the end of the film and soundtrack we hear another understated theme as we get a glimpse of a budding, complicated relationship between David and his mother - one that is begging to be explored in a possible sequel.
Read the full review
Review by Christopher Coleman
JOHN POWELL's score for JUMPER treads along the lines of his music from The Bourne series, but is more aggressive in spots and has a bit more "personality" to it. Admittedly, while watching the film I found myself mostly conscious of the numerous electronic elements and occasional blast of electric guitar. But in-between and down-below all of the in-yo-face-material, is the truly interesting stuff. JOHN POWELL's score includes a variety of Eastern and/or Middle-eastern string instruments including the cimbalom and something akin to a sitar. It's difficult to tell just what instruments are being used due to, what sounds like, electronic processing of these instruments. He uses them with fair effectiveness for at least two of the score's main themes: David's theme and Millie's/Love Theme. The use of these eastern instruments play in stark contrast to the number of electronics employed and seem to hint at the ancient existence of both the Jumpers and Paladins, who are dedicated to eradicating them. For the character of David, Powell delivers a two themes. Within the theme is a frequently employed, pensive 8-note motif usually played in a mandolin-like manner. This is first heard in "First Jumps" (3), but can be found all throughout the score. David's second and more musical representation is a simple 6-note motif played on something akin to a harp or sitar (check tracks 4, 7, 11). Powell's theme for Millie (or the love theme) is strummed on guitar and echoed by the string section and rather than convey joyous, romantic love, the theme is tinged with sadness (tracks 9, 14). At almost the end of the film and soundtrack we hear another understated theme as we get a glimpse of a budding, complicated relationship between David and his mother - one that is begging to be explored in a possible sequel.
Read the full review
No comments:
Post a Comment
Thank you for posting your comment! As soon as we verify that it is suitable for publishing, it will be published.