SCORE: John Carter

[BLUMENKOHL 1,068]

Blume Score: 93%

 

 

 

 

Very few scores can sweep me into another world. Those scores shut off my music listening and switch on my music experiencing. John Carter takes me to another world. And I can never listen to John Carter, I can only experience it. The scores that sweep me away tend to have a few things in common: they conjure a feeling of breezy spring air, freshness, and energy. They feel like a crisp sunny spring morning. The kind of morning where, had you still been a young teen, an inhale of the springy air charged you with the energy, thrill, and courage to say hello to that girl you had been crushing on all year long. These scores tend to be big, of blockbuster caliber, and more often than not science fiction. John Carter is one of those few scores.

 

 

 

 

 

I first listened to John Carter before going to see the movie. “A Thern for the Worse” started playing and in its first few moments I could already tell that this would be a darn good score. It sounded alien. There were familiar elements of course, and it was clearly Giacchino. But it sounded like something from another world or another time. In a way it sounded like what you'd expect every great Dune-esque, classically written science fiction worlds to sound like. The music quickly turned into action that was engaging, albeit a little damaged by the Dan Wallin mix.

 

 

 

 

 

Before long, the mood changed, and the fresh springy breeze practically fills my nose. Those high quivering strings, the harp, the organ, the choir, the ethnic tones coalesce into this magnificently simple, magical moment in the score. It's one of those moments that people will just pass through, never stopping to appreciate the special moment it is in the world music.

 

 

 

 

 

We rarely stop to appreciate the "in between" moments in music. Music is motion, it zooms across an axis of time. So it's natural that we inherently gravitate towards that motion. It's why pop music conquers our ears so easily. It's why film music has grown so rhythmically driven over the last decade. We live in a world that moves fast, and we consume music that moves just as fast. The state of film music is the state of our lives.

 

 

 

 

 

Music that holds still is an anomaly, it is not of this world.

 

 

 

 

 

And hold still is what Michael Giacchino does around 2:40 of “A Thern for the Worse.” He confronts you with an anachronistic anomaly, beckoning you to take a pause from your break-neck paced life. And if you pause, and fire up your imagination, you feel yourself floating with the haunting music, suspended in this magical place between the reality around you and the magnificent imaginary world that Giacchino's music will soon take you through. The music builds ever so gently, downwards, back in time, to a time and place your modern mind has never been. Even the instruments are strange for this modern world we are in. An organ gently joins in helping hold the music all but still. What is this, the 7th century? A light gong begins your slow descent into the world of John Carter. The rhythm becomes gradually obvious until it absolutely drives the rest of the track forward (fitting that in the film this track underscores the frenzy of life on earth). It's a wonderful contrast to the nearly frozen moment that came before it all.

 

 

 

 

 

The soundtrack that follows this track is filled with the same magic and other-worldly and other-timely identity this track is rich in. A beautiful experience to the end.

 

 

 

 

 

The action writing in this score gets a little bit of flak. I can certainly see some of the arguments, but I largely disagree with most of them. The only action track that rubs me the wrong way is "The Second Biggest Ape I've Seen This Month." That said, I don't think it's a stretch to say “Sab Than Pursues the Princess” is probably one of the most delightful action tracks to come out of Michael Giacchino in quite some time. It's not your conventional blaring action track. No, it tells a story, and it is more subtle than it is brash. Classy action.

 

 

 

 

 

And if the science-fiction aspect of the score is your thing, another mesmerizing trip can be found in “A Thern Warning.” It's a Goldsmithian track if there ever were any, just listen to the phrase around 2:02! Again, what makes this track are the quieter passages that linger in the air a little longer than you expect. There is tension and release throughout. And it works.

 

 

 

 

 

John Carter exudes identity, it delivers an experience, and it does both with a classical grace and beauty worthy of Edgar Rice Burroughs' John Carter of Mars.

 

 

 

 

 

It is Michael Giacchino's first, and thus far only, entry into the realm of film music greats. Hopefully, it's not the last.

 

[Dixon Hill 4,234]

Hmm. Maybe it's time I put aside my distaste for the mix and finally give this one a full run through.

Though I'd say Lost entered him into the realm of greats too.

[Incanus 5,714]

Incanus,

Slightly off topic.

I think I now know why I read through your over-long posts on this message board. Most other posts that length I just skim through, but yours, I read word for word, even if I think you've gone off the deep end with what you're actually saying.

Your writing is soothing.

Regards,

Tingly Blume

And I return the compliment now Blume!

Regards

Tingly Inky

[BLUMENKOHL 1,068]

Aw shucks. Thanks Tingly Inky!

[Koray Savas 2,251]

I think this is one of Giacchino's worst.

[Not Mr. Big 4,639]

I don't necessarily think it's one of Giacchino's worst but I don't really get the hype around it. It has some decent action music and singular motifs but the themes are bland and are too reliant on his music from Lost. And to add to that the sound mixing is awful. If it had a crisp and robust mix (like John Ottman's similar work, Jack the Giant Slayer) I would probably have enjoyed the score better.

[BLUMENKOHL 1,068]

Fools! Go back to whence you came!

[tedfud 38]

well i think it's one of his best....truly stunning

t

[Jay 37,346]

I think Koray listened to it once 2 years ago and never bothered to give it a second chance

He's too hipster to like Giacchino's recent output anyway

[tedfud 38]

well i'd agree that STAR TREK should be given a wide berth....

t

[Jay 37,346]

What about Into Darkness?

[Koray Savas 2,251]

I think Koray listened to it once 2 years ago and never bothered to give it a second chance

He's too hipster to like Giacchino's recent output anyway

Hipster? lol

I listened to it a handful of times when it came out and couldn't get over its mundaneness. He started to lose me in 2010 and hasn't gained back my love since. His little bit of music in the Jupiter Ascending trailer is better than anything in John Carter

Can't wait for that or Dawn Of The Planet Of The Apes.

[BloodBoal 7,538]

[Jonesy 55]

I wish more score were as mundane as John Carter.

+1

[Incanus 5,714]

Overall I think John Carter is one of Giacchino's strongest film scores to date impeded only by Damn Wallin. This music would certainly benefit from bigger and more spacious sound.

[crocodile 8,000]

I've seen the film last week and the score is even better within the context. It's the most old-fashioned scoring I've seen in quite a while. Well, old-fashioned in the 90's kind of way. It'd gladly pay for the complete release, there is a lot of worthy material out there.

Karol

[Jay 37,346]

Agreed with all your points!

[tedfud 38]

yup...it's dynamite . Such a hame disney screwed up the whole thing

t

[BLUMENKOHL 1,068]

I think Giacchino was on to something in that 2011-2012 time period. Super 8 was damn good, and John Carter was fantastic. Whatever he was eating or smoking during that period, it must have reenergized him. Into Darkness felt a little clinical by comparison.

Here's hoping that Jupiter Ascending gives us something remarkable.

[Jay 37,346]

AFAIC that "damn good" period continued right on through 2013, and includes Star Trek Into Darkness.

I have extremely high hopes for his three 2014 scores.

[Koray Savas 2,251]

That "damn good" period is the one where he lost me. Odd that I feel completely opposite to you guys. I don't know, Giacchino was one of the first composers I ever got into with the first MOH game in 1999. Played it endlessly and his genius music helped shape the musical tastes I have today. I've essentially followed his career as he's lived it.

Cars 2 happened and then it all went downhill. Or rather he just kinda leveled out, stopped climbing higher and higher and reached his peak with LOST: Season 6 and took a few steps down. His music is still good, well written, but it no longer grabs and immerses me. Similar to what happened with John Williams with a few of his more recent scores. But like I mentioned earlier, that bit of Jupiter Ascending got the hairs rising on end again. I have high hopes for his return.

[Jay 37,346]

Hipster

[Koray Savas 2,251]

Don't think you know what that means.

[crocodile 8,000]

Giacchino is a mixed bag, that's for sure. Super 8, initially really great, fell out of favour. One the other hand, Mission Impossible 4 gets plenty of love (and even outdoes its predecessor). I don't like the first Medal of Honor score (it's too cartoony and camp), the third and fourth ones are great, though. Lost, of course, is great - and was getting better with each seasons. His animated output peaked for me with Ratatouille and even Up didn't reach those heights (aside from a few cues). Let Me In is an interesting an intelligent horror score, but hardly a nice listen. And Star Treks do very little for me.

Karol

[Jay 37,346]

Don't think you know what that means.

I know exactly what it means. You're being all "I liked him BEFORE he was famous" / "I liked him BEFORE he sold out" on Giacchino

[Koray Savas 2,251]

I never said he sold out nor did I say anything about fame. No one outside film score people know who he is. His music means a lot to me, is the point I was trying to illustrate. And now his recent output doesn't. Simple as that. I don't wear plaid or wear thick black glasses.

[Jay 37,346]

Forget it Koray, it was just a joke, you weren't meant to take it literally.

[KK 3,307]

That "damn good" period is the one where he lost me. Odd that I feel completely opposite to you guys. I don't know, Giacchino was one of the first composers I ever got into with the first MOH game in 1999. Played it endlessly and his genius music helped shape the musical tastes I have today. I've essentially followed his career as he's lived it.

Giacchino is a mixed bag, that's for sure. Super 8, initially really great, fell out of favour. One the other hand, Mission Impossible 4 gets plenty of love (and even outdoes its predecessor). I don't like the first Medal of Honor score (it's too cartoony and camp), the third and fourth ones are great, though. Lost, of course, is great - and was getting better with each seasons. His animated output peaked for me with Ratatouille and even Up didn't reach those heights (aside from a few cues). Let Me In is an interesting an intelligent horror score, but hardly a nice listen. And Star Treks do very little for me.

Karol

I'm largely on this side of the boat as well. I think John Carter is a great score, but other than that, Ratatouille was the last Giacchino score I truly enjoyed. I fell in love with Giacchino through Medal of Honor, which I still regard as one of his finest. But lately, I just don't find much to enjoy in his works. Super 8 I found especially disappointing, it had very little to offer me outside of a few highlights. I didn't listen much to MI4 so I don't remember it very well. And the Trek scores are kind of "meh" in my book (first one is a lot better than the second though).

[Koray Savas 2,251]

I'm similar. I thought Super 8 was great in the film (especially "Letting Go") but I never got into it on album. I like the Trek scores, but not a huge fan and rarely go to them for my Giacchino fix.

[Incanus 5,714]

I'll join the choir but I have hard time getting into his animated scores at all. Super 8 is a bit long-ish on the album but the highlights are very strong.

[BLUMENKOHL 1,068]

I agree on his animated scores. I don't care for them. They're cute and fun here and there, but unfulfilling at the end of the day. That said, it's not a Michael Giacchino thing. I don't like the music to most animated films. Yes, that includes Tintin.

[Koray Savas 2,251]

That's cause Tintin sucks

Giacchino should have won the Oscar for Ratatouille. Up was good but didn't deserve it that year.

[Sharkissimo 1,973]

TINTIN shits on every Pixar film ever made, bar THE INCREDIBLES.

[tedfud 38]

The Incredibles as good as it was, sounded liked they tempt the movie with greatest hits from Barry's Bond years ( space walk, laser beam et el ) Asked Barry,...got a no, and hired someone else to get as close as possible....He did a good job but there is SO much more to MG than aping Barry....

T

[Sharkissimo 1,973]

I meant the film, t. RATATOUILLE's the better score, though I find UP too cloying.

[KK 3,307]

Tintin is a better film than Up, Wall-E or Finding Nemo? I don't think so.

Tintin does have a better score than most Pixar films though.

That's cause Tintin sucks

Giacchino should have won the Oscar for Ratatouille. Up was good but didn't deserve it that year.

Agreed about Up. But I'm perfect happy with Atonement taking the Oscar home, and I say its well deserved too.

I agree on his animated scores. I don't care for them. They're cute and fun here and there, but unfulfilling at the end of the day. That said, it's not a Michael Giacchino thing. I don't like the music to most animated films. Yes, that includes Tintin.

I thought you had backlash some time ago, where you came to appreciate Tintin?

[Sharkissimo 1,973]

Tintin is a better film than Up, Wall-E or Finding Nemo? I don't think so.

WALL-E is an utterly hateful picture. An insult to humanity, up there with THE TRIUMPH OF THE WILL, SALO and ANTICHRIST. UP and NEMO are standard cynical-sentimental factory-made Pixar trash, like the TOY STORY films.

[KK 3,307]

Hmmm.....

[tedfud 38]

WALL-E...starts well. but ends up being awful.

t

[crocodile 8,000]

Wall-E has a terrific first act... and then... nothing. And, interestingly enough, the same happens with Thomas Newman's score - after The Axiom there is very little good stuff after that.

Karol

[KK 3,307]

I didn't know I was in the minority with this one.

Wall-E plays like a great silent film with dazzling visuals and a lot of heart, traits that are characteristic of the old Pixar. I find it hard not to love this film.

[crocodile 8,000]

I just felt cheated it switched genres after leaving Earth.

Karol

[tedfud 38]

it really did..........almost as if someone else took over

t

[BloodBoal 7,538]

Yes. They're called the producers.

[Incanus 5,714]

Yes. They're called the producers.

And accountants, or Hollywood bean counters as I like to call them.

[BLUMENKOHL 1,068]

Man...this was the time I'd buy every new Giacchino album. And this still stands out as the best film score of his. 

 

I haven't bought a Giacchino album since Jupiter Ascending. His new stuff is the occasional Spotify/Apple Music listen these days...

[Jay 37,346]

Spider-man Homecoming is pretty good