Apocalypto

Composed by James Horner

Conducted by James Horner

Produced by Simon Rhodes and James Horner

Released by Decca Records on December 5, 2006

Total Running Time: 60:33

     Mel Gibson apparently had so much fun writing and directing a film in a different language that he went with the same concept for his follow-up work to The Passion of the Christ. Using the setting and language from 16th century Mayan civilization, Apocalypto transports viewers back to the time when the American continent was a wild, untamed frontier. Providing a vivid glimpse into world of the ancient Mayan culture, the film managed to ignite the box office during its opening week before tapering off. While some critics lambasted the film for its excessive violence, much like The Passion of the Christ was criticized, the film earned his fare share of favorable reviews, showing that while Gibson's personal character may be questionable, his filmmaking ability is solid.

     While composers may have switched hands from John Debney with Passion to James Horner with Apocalypto, the main idea behind both films is essentially the same. The darker tone, the ethnic percussion, and the relentlessness of the music are the foundations upon which both scores are built upon, though the edge definitely goes to Horner as Apocalypto calls for far more intensity. Truth be told, Horner seemed to be an odd choice for this type of  film. His grandiose style, which often calls upon elements that have been heard throughout other scores, would be out of place in a film of this nature, and indeed, Horner's score strays as far away from his usual output. Apocalypto is a primitive, forceful work that touches on all the raw emotional quality needed to convey the wonton violence and cruelty that is inflicted on the characters.

     The conventional aspects of the score are carried through strings, used in quiet moments that are usually offset by a percussion hit at appropriate times to continue reminding the listener than danger can be just around the corner. The wind instruments are also ethnic in sound, and conventional musical constructs are kept to an absolute minimum, keeping the listener reminding of the exotic locale. The restrained wailings of Rahat Nusrat Fateh Ali Khan, who Horner used to great effect in The Four Feathers, adds an elements of almost malevolent mysticism to the score, revving up the intensity of the music even more.

     Apocalypto is a dark, dark score with only a few moments of lightness to reflect upon the beauty of the surroundings. With such animalistic force, Horner proves that those who expected more of the same with this score severely underestimated his composing abilities. While impressive from that angle, Apocalypto is not the score for casual listening. If "Horner-breaks-loose" is something that sounds interesting, this may be for you. But for those looking for more conventional scoring, this isn't the place.

Reviewed on January 14, 2007

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