| The Bourne Identity |
| Composed by John Powell |
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Programmed and Arranged by John Powell Conducted by Pete Anthony Performed by the Hollywood Studio Orchestra Produced by John Powell Release Date: 2002 |
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Taking a cue from David Arnold's electronic approach to the James Bond franchise, spy movies today typically take the synth-mixed-with-orchestra, with synth being listed first as it is usually the focal point of such scores. One need only to experience last year's Spy Game to discover what rules the genre at this period in filmmaking history. In Harry Gregson-Williams' score, electronics were definately the focal point and while I found it to be enjoyable (albeit a bit too long on the CD), it was with the full recognition that it wouldn't be everyone's cup of tea. Of course, Gregson-Williams had already made a name for himself, along with John Powell, in contributing to the excellent CGI film scores of AntZ, Chicken Run, and Shrek. Though the two composers go solo every now and then, their careers seem to run parallel to each other. Such is the case with John Powell's latest solo effort, The Bourne Identity. Listening to this score, I couldn't help feeling that this was his answer to Spy Game, and indeed it's basis consists of the same pounding electronic rhythms of Gregson-Williams' own entry. As such, even before the end of the first track, some will hate it and others will love it. But casting that aside for a moment, how does it stand as simply an electronically-driven score? There is a lot of competition in this field, even from video games such as Metal Gear Solid 2 (again by Harry Gregson-Williams). What's needed is more than just a generic electronic/orchestral score (henceforth known as GEOS). In this regard, The Bourne Identity does come off as very unique. Powell's own sensitivities when it comes to electronic music is quite off the beaten path (which is in itself quite an achievement since we are talking about electronically-driven scores), and there will be several moments that may leave many scratching their heads (The Apartment is a track that immediately comes to mind). Of course, an odd-collection of weird noises does not an avant-garde creation make, but at the same time it does add a lot of flavor and steadily grows on the listener who is willing to give it a shot. The orchestra component is mixed well with the electronics and usually consists of string moments that just cannot be duplicated in the digital realm with any measure of success. The score is held together by a a few basic themes, which Powell doesn't do too much with, but that still work well in regards to the rest of the music. And when it's handled by the pounding bass, I can most certainly dig it. All in all, The Bourne Identity is nothing special from a technical standpoint, but I really like this one. It's easily just as good as Spy Game, though more digestible in that the CD is produced much better. If genre scores of this nature appeal to you, then pick this one up by all means. On the other hand, if you're more akin to the classical nature of film scores, you'll probably just want to hold off on this one. **** |
| Track Listing - Total Running Time: 54:59 | |
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