Captain America: The Winter Soldier

Henry Jackman

 
" Welcome to the future of film music! :facepalm: "

Written by Thomas Glorieux - Review of the regular release

For a reviewer, there's nothing worse than having to judge something ... ordinary. I mean, what's there to tell? It's not bad, it's not good, it's just plain average. We don't like that. So, we always want to review the things that are special. The ones that define themselves out of the dozens of other efforts that came before it. But we are also a little bit of a masochist, because we also want to grade those that are simply downright horrible, because there's something special about them alright. They make us remember what it feels like to actually listen to something ... that isn't worth to be called music.

Step right up there contestant number 1 of the year. Please welcome Captain America: The Winter Soldier on the stage for making us cherish those days that we actually listened to proper music. I know times have changed, I know cinema and more specifically the money behind it demand for different approaches. But for me, a movie still needs to move you emotionally. Whether it's by sheer adrenaline, fear, humor, drama or excitement. Basically, the music needs to elevate the film on screen, but actually outside the screen as well, by wowing you so much you're actually living it, experiencing the movie first hand. Good, great, classic film music did that so long ago, and it still does it occasionally from time to time. But sadly that was not the intention of the people who worked on Captain America: The Winter Soldier.

This sequel to the successful Captain America: First Avenger appears to receive the critical and commercial acclaim every Marvel film has been getting these past few years. And rightfully so, because it's a great comic world to live in. Every superhero has his own universe to play in, and once and a while they meet up to wreak havoc on those that threaten our world. I mean, it's common sense. But what's not common sense is to throw away continuity. Hell, Alan Silvestri perhaps didn't do a bang up job on the first Captain America, but at least his sound was appropriate, nostalgic, dare I say it even thematic. There was a theme on board for goodness sake that even inspired Brian Tyler to use it briefly in Thor: The Dark World (a score that is perhaps generic as hell, but at least it's downright fitting). I mean there was a sound that was ready for appropriate development. Well, that wasn't important, because apparently Chris Evans is playing some other guy in Captain America: The Winter Soldier, so no need to continue with an already appropriate (dare I even say it) winning main theme.

And that's the first complaint about this score. Where's the theme? Why didn't or couldn't it be used? Wasn't it allowed (which is again strange considering Tyler was able to use it in Thor: The Dark World)? Or was it the choice of the composer to go for a completely different approach? Okay then, different composers, different musical styles. But the problem is, where's your theme then? Because if I'm not mistaken, isn't Captain America a symbol? Hell perhaps even a hero? I mean don't heroes need their own sound? Their own voice? The thing that makes them special? Of course not, because that would mean ... we would actually get a thematic score instead. Sorry, my bad.

Second complaint. What about the minutes of sound design? Why are we listening to endless droning ambient ?music? that is neither making an impression nor a statement. Has film music literally degraded itself that it doesn't need to make an impression anymore? Because the tracks in the middle literally do a great job to bore me to death.

Third complaint. Several tracks are downright contestants for worst track of the year. Perhaps even decades. Why go to the trouble to write something like this? It might work inside the picture, but please there are other ways to envision action in films! Literally degrading film music to a mere compilation of sound effects and beats is honestly the downfall of film music. Because then you're actually giving the producers of the film what they want. So little noticeable music that it doesn't overpower the film, making sure people can enjoy as much as possible the movie without noticing the things that could distract them So, take it from me, "Fury", "The Winter Soldier", "Hydra" and "The Causeway" (carrying the worst sfx's imaginable) are some I wouldn't even want to call filmmusic cues, because they make us fans look bad. Sadly they're heard in a giant blockbuster, an opportunity for people to make themselves heard. A project every inspiring composer dreams about when they start composing for film and television.

Truth is, it's not all that bad. "Project Insight" creates some kind of an impact with a heroic like fanfare. The same for the even Americana nobility of "The Smithsonian" or the sad "An Old Friend", moments where there's actually an attempt to write something with emotion. I mean it's not refined, but it's nice considering everything that follows after it. And dare I say it, there's heroism and some kind of excitement in "Taking a Stand" (that has the misfortune to sound like trailer music through the way it ends the cue). But the rest of the action music from the finale is the typical remote control stuff, mixed with sound effects to stop / start the rhythm too frequently, too painfully. I'm sure it will work in the film, but film music is too special for me to just work in the film. It needs to do MORE.

And to get the perfect example of the excitement that flows through the veins of this score, listen to the final track "Captain America", a track that sizzles with energy. Yawn. Comparing this with the old school march of Alan Silvestri's Avenger is literally making it like David vs. Goliath. Only here Goliath would kick David's butt. Truth is, this track is 100 times better than the drivel of "Fury" and "The Winter Soldier", but that's merely a patch on the wound. Hell, the track doesn't even bother to end with a crescendo, but merely fades away like it's nothing important. Bloody Hell :(

If all this hoopla was created because the producers or director wanted you to bring this, then I apologize right now for blaming you to compose this in the first place. But the thing that bothers me the most is, why not go for something better instead? I always read that you guys grew up with the great ones. You grew up listening to Goldsmith, Williams, Poledouris. Composers that were writing music that still stands the test of time until this day! Why not honor that tradition by making them proud? Because right now Goldsmith and Poledouris are rolling over in their graves. This is anything but honoring the legacy of being a film composer. Show what you're worth and actually come up with music that speaks for itself. No more underscoring a picture, but honoring it by elevating it. Jezus, it's what you wanted to do when you were a kid for Christ sake, a composer that makes an impression.

I want to tell you this too Mr. Jackman. Even the greatest composers have slipped on occasion. Even Jerry Goldsmith, Alan Silvestri or James Horner sometimes composed soundtracks that are still considered today to be a horrible expression of their talents. There's no shame to admit that. Hell, even one of my heroes Mr. Silvestri downright crucified me last year with RED 2, a downright horrible score. But their biggest success was that they didn't fail on the 90% of other assignments that they considered to be worthy, challenging if you could summarize it the best. Movie music needs to push the boundaries and beyond, dare to elevate the composer so that he pushes himself to new heights. Always regarding that his purpose is to support the film, but never neglecting his own voice so that he can be proud about it when it's actually making an impression away from the film. So my question is, have you literally pushed yourself to give the movie the best possible sound? Yes, because sound is what you've given the film. My bad, I was actually expecting it to be music instead.

Silly me.

Favorite Moment
Deleting it from my hard drive.

Track Listing

1. Lemurian Star (3.03)
2. Project Insight (1.29)
3. The Smithsonian (1.36)
4. An Old Friend (3.05)
5. Fury (4.07)
6. The Winter Soldier (6.24)
7. Fallen (2.51)
8. Alexander Pierce (2.59)
9. Taking a Stand (2.07)
10. Frozen in Time (3.52)
11. Hydra (6.46)
12. Natasha (1.12)
13. The Causeway (2.41)
14. Time to Suit Up (2.05)
15. Into the Fray (6.05)
16. Countdown (4.26)
17. End of the Line (2.51)
18. Captain America (9.41)
19. It's Been a Long, Long Time: Harry James and His Orchestra (3.23)
20. Trouble Man: Marvin Gaye (3.47)

Total Length: 74.37
(click to rate this score)  
 
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(total of 41 votes - average 0.99/5)

Released by

Intrada D001872392 (regular release 2014)

Conducted by

Gavin Greenaway

Orchestrations by

Stephen Coleman