The Da Vinci Code

Composed by Hans Zimmer

Arranged by Lorne Balfe, Nick Glennie-Smith, and Henry Jackman

Conducted by Richard Harvey and Nick Glennie-Smith

Produced by Hans Zimmer

Released by Decca Records on May 9, 2006

Total Running Time: 62:36

     Much like the furor over the Harry Potter series (though most of which seemed to be directed towards the literary end of things as opposed to the films), religious groups upset over Dan Brown's little runaway bestselling novel, The Da Vinci Code, protest only to the peril of their perceived intellect. It's very clear in reading the book that Brown considers it a novel and makes specific claims to what is being based in fact. It's not that Brown is pushing the idea of the true meaning of the Holy Grail or trying to rework Christian doctrine. It is simply a novel, and one that I enjoyed reading. Regardless of your beliefs, I am a firm proponent of being allowed to take ideas and play with them for the purposes of entertainment. Brown isn't trying to start a church after all, and if Christianity is so worried that people will leave the faith over a work of fiction, then perhaps they need to examine their own teachings, philosophies and ways of going about things more closely.

     But that's enough of my soapbox (can you tell that a nerve has been struck?). Since The Da Vinci Code was such a success in the bookstores, it was hoped that it could translate into success at the local box office as well. Thus, the inevitable film version boasts the talents of Ron Howard as director, Tom Hanks as the lead, and Hans Zimmer as the composer. I was initially surprised by Zimmer's selection for this project. Howard has worked with a variety of composers over the years, but he has turned to James Horner most often. Zimmer's last score for one of his films was Backdraft, which was fifteen years ago. Zimmer would seem an odd choice to score for this film, but after listening to the album, I have to say that this is not the Zimmer we usually think of. This is an almost re-invented Zimmer scoring this film. The electronic elements are very subdued to what we are used to hearing, and while there are snippets here and there to remind us that, yes, this is Hans Zimmer at the helm, the classical and chorally epic moments that are present here deliver a result that is special indeed.

     While listening to The Da Vinci Code, there are a lot of comparisons that drop into my mind. But what stands out (and the easiest way to explain what you'll be hearing in this score) is to say that it sounds like a lighter variation on Goldsmith's The Omen. This score is heavy on the choral moments, but understandably the chorus is used in a way that evokes the epic works of classical composers as opposed to the driving bass voices of Goldsmith's take on vocal religiosity. There are also similarities with Batman Begins in how Zimmer handles the atmospheric moments (which make up a bulk of the material). Removing the electronic effects and strengthening the string section, Zimmer evolves the interesting ideas he had for that film, without ever making the music feel like it's a simple rip-off.

     Even when not coupled with any kind of main theme, this style provides an enjoyable listen and the music is rarely dull. The flow is pleasant and even the darker cues don't succumb to the harsh cacophony of orchestral madness as so many composers are apt to do in those situations. Instead, the power and horror of these moments is more than adequately displayed in Zimmer's powerful choral writing. Perhaps he picked up a tip or two from James Newton Howard? Regardless, for a score relying on classical string moments mixed in with a powerful chorus, it's effective and manages to transcend any ideas a mere description might engender.

     More conventional and yet not at the same time, Zimmer has proven himself to be an excellent choice for scoring the film adaptation of The Da Vinci Code, and his score is not to be missed by either fans or those who enjoy classically-based film music.

Reviewed on May 4, 2006

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