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Does anyone else find the end of Theme from Jurassic Park...insufferably irritating?


BLUMENKOHL

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First, let me be clear, this is a great score. And the theme is actually quite lovely...in restrained bursts here and there (like on horns at the beginning of the track).

But does anyone else feel...an irritating being nagged by someone feeling by the end of Theme from Jurassic Park?

BA-DA-DAAA-da-da. Over and over and over, and it just gets higher pitched and higher pitched. It incites aggressive tendencies in me.

That bit of it repeats 23 times in less than one minute. :microwave:

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The theme is simple enough that repeated listens in a short amount of time damage it's emotional impact, I agree. The OST is poorly put together in that sense, as we get 3 full fleshed out variations of the theme in the first 7 tracks.

I wouldn't say it's irritating, just that it has the potential to get boring.

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The score is absolutely perfect for me. The theme is so simple yet so absurdly gorgeous that it's almost funny.

This and Close Encounters are basically the definition of the sound that comes to mind when I think "John Williams".

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He, he....no, and I've heard this soundtrack (and theme) more than any other in my collection -- by a wide margin. Maybe 1000 times over the years, I don't know.

However, in recent years I've been more conservative in putting on this soundtrack. It's my alltime favourite, so I wouldn't want to overdo it. I don't want to grow tired of it, if that's even possible. But when I play it now -- even after all these years and all the repetitions -- it's still goosebump-inducing. That says something about how powerful and everlasting it is (to me, anyway).

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I've found this as well actually. The way it keeps building gets rather repetitive towards the end.

Also agree that the album sequencing makes it worse - the opening titles/incident duo works so well in opening the film and score, not fully revealing anything... so what's Williams doing putting his majestic 'revelation' theme between them? Then you get the same thing in Journey to the Island, and *again* two minutes later in Welcome to....

It's thanks mainly to this terrible album, that the word 'album' drives me up the wall.

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It's a special talent Williams has to write a piece of music that both perfectly matches the onscreen visuals and functions as a standalone concert arrangement (with a different intro tacked on) at the same time

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It's a special talent Williams has to write a piece of music that both perfectly matches the onscreen visuals and functions as a standalone concert arrangement (with a different intro tacked on) at the same time

I don't think anybody is questioning the existence of the concert version, just that it's placed right next to an identical presentation on th album.

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It's a special talent Williams has to write a piece of music that both perfectly matches the onscreen visuals and functions as a standalone concert arrangement (with a different intro tacked on) at the same time

I don't think anybody is questioning the existence of the concert version, just that it's placed right next to an identical presentation on th album.

Woah, I wasn't trying to comment on the OST whatsoever, I was just heaping praise on Williams for being in a genius.

There's nothing wrong with Theme From Jurassic Park at all, it's all brilliant

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There's nothing wrong with Theme From Jurassic Park at all, it's all brilliant

Well that's a fanboyish statement if I ever heard one!

Bet if we asked John he could think of dozens of ways to improve on it. :P

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There's nothing wrong with Theme From Jurassic Park at all, it's all brilliant

Well that's a fanboyish statement if I ever heard one!

That's really what you were after with this thread, isn't it..? ;)

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I feel the same way as the OP. Glad I'm not the only one! Actually, whenever I hear the end of the theme arrangement in my mind, it always segues to the buildup into the recapitulation of Hymn to the Fallen (3:49). :D

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Oh I have no problem with the piece, none what so ever.

The fanboy has spoken.

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The point is that it's a very simple piece, based on good old triads (I-IV-V), it almost sounds "pop" in that sense. Maybe a tad too much, imho. But it's the truly perfect music for the scene it was written for. The sense of awe and wonder in the scene is almost totally dictated by the music. It seems Williams heightened to the highest level possible that "Spielberg face" feeling. So it was important for him (I guess!) to find a musical solution that would convey a sense of simplicity and directness, based on something familiar and reassuring, even singable (the music almost spells "Jurassic Park") almost to the point of sounding "pop". We know from interviews that Williams usually starts the writing process from a key moment in the film, a scene which can become the pivot around which he'll be able to build the whole composition. I guess this was the scene he tackled first, because it was important to get it right.

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I would say the Raider's March Concert Version, as heard on the OST, is worse in this regard actually...

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We know from interviews that Williams usually starts the writing process from a key moment in the film, a scene which can become the pivot around which he'll be able to build the whole composition. I guess this was the scene he tackled first, because it was important to get it right.

Really? I thought he's always said he starts figuring out the themes in the abstract, and THEN tackles the specific scenes.

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I must also empathize with Blume also, to some extent. It does get a bit too much when the chorus joins in, just before the crescendo finish. That said, the moment in Journey to the Island where the theme finishes, and the martial rhythmic bit begins is a wonderful segue.

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I skip the theme as presented on the OST because of the ending. I used to use iTunes to stop the track early. Now I just listen to Welcome to JP. Erich Kunzel added a new ending which I prefer, and that's used as a standard now--even Williams uses it.

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It does get a bit too much when the chorus joins in, just before the crescendo finish.

That's my favourite part and one of my most powerful Johnnygasms ever.

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Well, it's timed to fit the film scene, it only became a concert arrangement after the fact.

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There's nothing wrong with Theme From Jurassic Park at all, it's all brilliant

Well that's a fanboyish statement if I ever heard one!

Bet if we asked John he could think of dozens of ways to improve on it. :P

Sure. And we'd find we wouldn't like the end results as much as the version we got! :biglaugh:

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all I can say it the score to Jurassic Park is better than any score from any film this summer.

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all I can say it the score to Jurassic Park is better than any score from any film this summer.

I think JURASSIC PARK is better than all scores in all summers since the dawn of film! :)

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all I can say it the score to Jurassic Park is better than any score from any film this summer.

I think JURASSIC PARK is better than all scores in all summers since the dawn of film! :)

it's pretty close, but I like Jaws, Star Wars, E.T., Raiders, and TOD probably a bit better. it's a win win situation.

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Why are we stating the obvious?

You are such a politician Joey!

It's like walking into a room and yelling "Mister Rogers is a nicer man than Hitler!" to get everyone on your side. Who's gonna say no?

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Absolutely right Blume! Stir the status quo, rip old platitudes to shreds! We want controversy!

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Why are we stating the obvious?

You are such a politician Joey!

It's like walking into a room and yelling "Mister Rogers is a nicer man than Hitler!" to get everyone on your side. Who's gonna say no?

sometimes the truth goes unspoken and must occasionally be brought forth. Hitler was a better painter than Mr. Rogers.

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The incessant repetition only works because of the variety in the orchestration. Put it on a single instrument and it becomes extremely repetitive - I notice that when I play it on piano, for instance.

For me, the bigger annoyance with "Theme from Jurassic Park" is the actual ending itself, which feels sudden and half-assed. We've just come off of this enormous climax and then Williams just lets us off with a simple major triad with a harp arpeggio, and then it's over. It's a little puzzling. He had the time and inspiration to write the concert intro, which is as lovely as anything in the score proper, and he certainly managed to write a great cue that functions perfectly in the film AND as the main body of a concert piece...but when it came to the ending, I think he dropped the ball.

Not that it especially matters - I can forgive a single flaw in a staggeringly great score. :D

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Theme is wonderfully introduced and developed IMO. The ending is perfect. If anything, I don't like the ending of End Credits (as a concert track I mean, in the movie it is the perfect close).



^^ yep, and that's why Erich Kunzel fixed it and Williams uses Kunzels version now.

How do you know it is not the other way around?

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