The Bourne Supremacy [Original Motion Picture Soundtrack]
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Music CD Cover
Brand: ScoreComposer: John Powell
Edition: Music CD
Audio: English (Original Language); German (Original Language); Italian (Original Language); Russian (Original Language)
Format: Soundtrack
CD Release Date: 2004-07-27
Music Label: Varese Sarabande
Soundtracks:
- Goa - John Powell
- The Drop - John Powell
- Funeral Pyre
- Gathering Data
- Nach Deutschland
- To The Roof
- New Memories
- Berlin Foot Chase
- Alexander Platz / Abbotts Confesses
- Moscow Windup
- Bim Bam Smash
- Atonement
- Extreme Ways
Free Music Notes for The Bourne Supremacy [Original Motion Picture Soundtrack]
Free Music Review: Bourne Supremacy Scores over Bourne Identity
Hit: 5 Stars
I have been playing the soundtrack from The Bourne Supremacy (TBS) over and over and I am very impressedhow well this music stands on its own, as well as how well it works in the film. In fact, I believe it is vastly superior to the music for The Bourne Identity (TBI), which sounds more like sketches for TBS.
If you listen to the tracks for TBI on the CD and then see how they work in the DVD, you can hear that Powell was working with weaker material, or at least with weaker development of the original Bourne themes. It's the integration of the music with the movie sequences (e.g., Atonement) which demonstrates the superiority of how he handles his material.
Powell has a tough task, since the Bourne screenplays are not the most powerfully emotional scripts ever written. Rather, they are puzzles, into which cool reserve masks human emotion. In TBS, there really is no emotion after Marie perishes, since Bourne himself is a cipher, whose own life experiences is psychologically supressed. He wants out, but cannot get out, even as far away as Goa.
TBS is filled with grand gestures, which always seem right for the film's sequences: consider his use of strings in the To the Roof sequence, which is largely devoid of other instruments, and is especially reminiscent of pages from Shostakovich...not from his film scores, but from his 8th and 11th Symphonies. Yes, Powell uses a lot of rhythmic drive, especially in his use of percussion. However, the motoric rhythms all seem right: Bourne is a human machine who works according to his instincts, which have been synchronized perfectly due to his training.
As much as I love To the Roof and the Russian car chase scene (Smash, indeed!), it's the Goa, Atonement and Nach Deutschland sequences which are musically most poignant. Why? because they hint at the emotional life of the character which is trying to emerge -- expressions of tenderness, fear, sorrow -- but which yet stay psychologically repressed. The music is cool, yet not quite detached. Powell's use of the vibraphone is especially memorable here.
TBS is a real triumph of music craftsmanship and creativity. It is far superior to the TBI score. I highly recommend it as one of the best scores since last year's memorable Glass score for The Hours.
The Bourne Supremacy [Original Motion Picture Soundtrack] Poster
No Description AvailableNo Track Information Available
Media Type: CD
Artist: BOURNE SUPREMACY
Title: SCORE
Street Release Date: 07/27/2004
Genre: SOUNDTRACK
Novelist Robert Ludlum's amnesia-plagued, tough-as-nails spy/assassin Jason Bourne again proves that success begats sequels, be they literary or cinematic. As he did for the saga's initial big screen installment, composer John Powell concocts an electro-orchestral fusion score that seasons its tense, bristling rhythms with dollops of melodicism, synth-atmospherics and staccato string figures. Those welcome touches hearken back to composer's similar work on the '03 action-thriller The Italian Job, with Powell initially evoking the film's exotic locales by employing a savory synth pop-meets-Eastern European palate. The tension-building rhythms and percussion flourishes familiar from Powell's other action-centric scores are the score's musical pulse -- even if they eventually upset the finely honed balancing act by boiling over into the familiar explosive cliches of all too many thriller scores. --Jerry McCulley
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