The 2nd OFFICIAL Indy IV Score Thread

[FattyMcButterpants 1]

Ah, if you mean what I think you mean, then I've already heard some of it, and it's indeed horrible.

[Dole 17]

The Last Crusade boot can be heard on Youtube in its entirety. As has been mentioned, it has horrible sound quality.

[BurgaFlippinMan 7]

Funnily, when I first listened to the score two weeks ago, I deemed the themes to be good but pretty unmemorable after listening to it just once. However, three days after that first and only listen (up till then), Irina's theme suddenly popped up in my head and I've unable to get it out till now.

[King Mark 3,631]

That's the thing .After a 3 year wait we listened to the score and passed judgement too fast. Sure there are no Fawkes ,Hedwig's Theme or Buckbeak's Flight to leap out at you instantly ,but it still has good themes you have to get to know

[Vaderbait1 1]

That's the thing .After a 3 year wait we listened to the score and passed judgement too fast. Sure there are no Fawkes ,Hedwig's Theme or Buckbeak's Flight to leap out at you instantly ,but it still has good themes you have to get to know

Agreed. Things really jump out at you now.

[Josh500 1,615]

That's the thing .After a 3 year wait we listened to the score and passed judgement too fast. Sure there are no Fawkes ,Hedwig's Theme or Buckbeak's Flight to leap out at you instantly ,but it still has good themes you have to get to know

Agreed. Things really jump out at you now.

Hmmm, like I said, there are many enjoyable cues on the KOtCS album... and we have now the rest of our lives to enjoy them!

[Marcus 390]

Greetings,

So I've been away a little while, but managed to see Indy 4 last thursday, and I have to say, I think it was a really, really fun, joyous and exuberant film, with nearly everyone involved on great good form.

The film itself fits nicely with the other Indy films, and has managed to retain some of he particular qualities of each of its predecessors, while also having a strong identity on its own. And of course, needless to say, this is an entertainment flick, and entertaining it was.

Having said that, I must say what impressed me the most, and somehow even more after seeing it in its proper context, was the score.

I think this is Williams's most mature and developed Indy score. Especially his leitmotivic work has a whole additional layer to it this time around. He's being more constructive (should I perhaps say "de-constructive"?) and conceptual with it.

There are many great examples, so I'll start with some very obvious wisdom-imbued decisions a younger Williams might not have made.

1. The absence of a theme per se for Mutt. I think this was a great decision, and a very appropriate one.

Considering the fact that Mutt is such a young character, not only in years, but in terms of not having "found himself", it is appropriate that the closest thing we have, are two motifs: rising scalar semiquavers, and a short chordal motif of non-diatonic V-I cadences (sounding both whimsical and seraching, somehow).

The scalar motif captures something of the abrupt, youthful temper and quickness of the character. Of course, there's the swashbuckling music for the sword fight, and this aspect of Mutt's character is somehow fully formed, although still in a youthful incarnation. But it isn't a "personal" theme, but music for his antics.

Then there's of course the "Indy inversion" theme that is heard at various moments, when Mutt's hertage shines through. I find this actually very touching. And a brilliant piece of motivic concepuality.

(And some might say, well Short Round was an even younger character, and he had a fully formed theme. Yes, and a great one. But Short Round was more a charicature than a character, -a mascot, if you will. And his music reflects this.)

2. The Jungle Chase pt.2 being, in abstractio, a deconstruction of Irina's theme. Yes, most of the chase music is constructed using only seconds and thirds, usually minor seconds and minor thirds, the most prominent intervals forming Irina's Theme. And, to further make his point, Williams highlights the passage with snippets of her theme tossed around.

This is almost Beethoven-ian in construction, and it is one of Williams's most elaborately designed set-pieces.

And even though it covers a lot of different musical terrain, its flow (as heard in the film) is simply a marvellous piece of audiovisual articulation.

3. Conceptual reprises. For instance, Henry's Theme functioning not only as a musical presence of Henry's character when mentioned, but also as a more general "father theme", as Indy and Mutt's relationship in certain moments echoes that of the previous generation's.

And the various variations on the Russian martial theme used throughout, shows that Williams more than ever is willing to toy with his musical material. A leitmotif (or a theme) is not merely used as a sonic analogue to the character in question, but often (more so than in the previous films) as an allusion to locale, or something less overtly linked to the character or artifact of thematic origin. Case in point being the Ark Theme's reprise when Indy enters the warehouse last seen in the final shot of Raiders. It serves as a musical clue, a hint. And reaches a proper conclusion towards the end of the scene, when we finally glimpse the Ark.

[Josh500 1,615]

Hmmm, you make very good points there, but I was thinking that for many people the 3 things you listed are seen negatively rather than positively. However, I agree with you on most of what you said. Just not sure whether the absence of a proper Mutt's Theme is a sign of Williams's maturity as a composer . . .

EDITED BY MODERATOR: Did you really need to quote the whole post????

[FattyMcButterpants 1]

I think you seriously overinterprete Mutt's music, dude.

Judging from the interview with Williams on Mutt, he didn't have that deep of a thought.

[Nemesis 245]

I watched the film yesterday. Heard the music the first time in the movie and it was awesome!! The movie was fun but not fantsatic. All was there what have to be there, it IS Indiana Jones.

The Music IS fantastic. Wow, I even love the darker scored parts in the movie. And the best today I received my CD from Screen Archives! Almost all music I wanted is on the album!! I am very happy with this new Williams effort and very thankul for this CD.

I can't understand all those whiners, really. What did you expected to get?! I listen to Williams now since over 20 years and I can still say I am a Williams fan, no not fanboy. I am a fan of great music, and this is really great music.

Thanks Mr. John Williams for this great gift!!

[crocodile 8,020]

Just not sure whether the absence of a proper Mutt's Theme is a sign of Williams's maturity as a composer . . .

I don't how about maturity, but it is certainly his most coherent score in a while. Or at least consequential in its use of themes. The problem that the prequel trilogy and HPATPOA had was that some of the themes appeared only at certain sections of the movie. For example DOTF was present only in the final section of the film, so was BOTH. I know that was the plan, but, somehow, the whole thing didn't seem to have any specific architecture. Besides, JW didn't make much of a use of Anakin's theme in TPM. Double Trouble from POA appeared only in the first part of the film and the fact that theme didn't have much of a purpose, dramatically, didn't help. Window to the Past theme, on the other hand, didn't seem to have much variations (not counting the finale). Only AOTC seemed to have to some direction, but that score has other, even more burdening, problems. I don't want to dismiss either of those, becuase I enjoy all of the above, but these exmaples worried me quite a bit. It seemed to suggest JW can't think outside of a cue he's working on right now and doesn't know how to write the whole score in which certain ideas seem have an arc of sorts. Which is, I think, the whole point of leitmotif technique.

There isn't such problem in KOTC. All three (or four, depending on how you count it) appear consistently during the course of the film. The way I see so called Mutt's theme is that all the scherzo material from the beginning of the film (which isn't maybe very thematic, but hints at The Adventures of Mutt) culminates during the jungle chase where it seems to find its climax. Irina's theme appears as a semi-noir melody at the beginning of the film, then begins to be more agresive and martial (as the character begins to be more agresive) and ultimately is overwhelmed at the end by Skull material, which itself develops during the course of the film.

I never really disliked new JW, but was hoping to hear some more thematic development like this. And because of that I think it is his strongest score since HPPS/SS.

Karol

[Jay 37,397]

I saw John Williams & The Boston Pops on Saturday night, and before he kicked off the encore with "Adventures of Mutt", he talked about how Indy 4 had opened and that he thought we would all like it (some guy in the audience yelled "It was horrible!" after that, I couldn't believe it!)

Anyway, then he said (and I'm paraphrasing, not a direct quote) "There is a character in the new movie named Mutt, well, his name... I'll let you see the movie to discover the secret of his real name. But he has a sequence where he's sort of sword fighting and swinging around on vines, and here is the music from it, Adventures of Mutt. You can find it in reel 6 I believe"

Furthering that AOM is a "The Forest Battle" like concert arrangement and not a arrangement of a lietmotific theme...

[crocodile 8,020]

It is not a theme in a traditional sense because the melody appears only in that swordfight segment. But the scherzo itself is very similar to that of Snake Pit and the motorcycle chase cues. Which would make sense and could serve as hint of sorts.

Karol

[Genius_Gone_Insane 5]

I saw John Williams & The Boston Pops on Saturday night, and ...(some guy in the audience yelled "It was horrible!" after that, I couldn't believe it!)

That is terrible! Honestly it would have ruined my night. Who would do such a thing?

...Did Neil sneak in?

[King Mark 3,631]

3. Conceptual reprises. For instance, Henry's Theme functioning not only as a musical presence of Henry's character when mentioned, but also as a more general "father theme", as Indy and Mutt's relationship in certain moments echoes that of the previous generation's.

As much as I am growing to like this score,some of the things you say are bulls**t

[Luke Skywalker 1,796]

you are alive!

why, of course, accidental tourist was your holy 'official CD' grial

[King Mark 3,631]

I saw John Williams & The Boston Pops on Saturday night, and ...(some guy in the audience yelled "It was horrible!" after that, I couldn't believe it!)

That is terrible! Honestly it would have ruined my night. Who would do such a thing?

wow,JW should have gone up in the audience and punch that guy in the nuts .What a total lack of respect

[Ollie 1,059]

The person said the film was horrible, he didn't say Williams was horrible, sheesh.

As much as I am growing to like this score,some of the things you say are bulls**t

[Luke Skywalker 1,796]

throwing the batton at full speed would have been nice too...

[Henry B 50]

Just not sure whether the absence of a proper Mutt's Theme is a sign of Williams's maturity as a composer . . .

I don't how about maturity, but it is certainly his most coherent score in a while. Or at least consequential in its use of themes. The problem that the prequel trilogy and HPATPOA had was that some of the themes appeared only at certain sections of the movie. For example DOTF was present only in the final section of the film, so was BOTH. I know that was the plan, but, somehow, the whole thing didn't seem to have any specific architecture. Besides, JW didn't make much of a use of Anakin's theme in TPM. Double Trouble from POA appeared only in the first part of the film and the fact that theme didn't have much of a purpose, dramatically, didn't help. Window to the Past theme, on the other hand, didn't seem to have much variations (not counting the finale). Only AOTC seemed to have to some direction, but that score has other, even more burdening, problems. I don't want to dismiss either of those, becuase I enjoy all of the above, but these exmaples worried me quite a bit. It seemed to suggest JW can't think outside of a cue he's working on right now and doesn't know how to write the whole score in which certain ideas seem have an arc of sorts. Which is, I think, the whole point of leitmotif technique.

There isn't such problem in KOTC. All three (or four, depending on how you count it) appear consistently during the course of the film. The way I see so called Mutt's theme is that all the scherzo material from the beginning of the film (which isn't maybe very thematic, but hints at The Adventures of Mutt) culminates during the jungle chase where it seems to find its climax. Irina's theme appears as a semi-noir melody at the beginning of the film, then begins to be more agresive and martial (as the character begins to be more agresive) and ultimately is overwhelmed at the end by Skull material, which itself develops during the course of the film.

I never really disliked new JW, but was hoping to hear some more thematic development like this. And because of that I think it is his strongest score since HPPS/SS.

Karol

So themes should always appear periodically throughout a film? Duel of the Fates is the final battle theme, so it makes sense that it doesn't appear until the final battle (I think it's hinted at in earlier parts of the score, but whatever). Double Trouble is a theme for the return to Hogwarts; as the kids become situated at school, the theme fades away. There is an unreleased bit that hints at it in the second half of the film, anyway. And A Window to the Past is used all over the place. A lot of its statements are just unreleased.

[Josh500 1,615]

I saw John Williams & The Boston Pops on Saturday night, and ...(some guy in the audience yelled "It was horrible!" after that, I couldn't believe it!)

That is terrible! Honestly it would have ruined my night. Who would do such a thing?

...Did Neil sneak in?

[SeekUYoda 0]

By the way, anyone else noticed the "Gaudeamus Igitur" theme interpolated in track 8 "A Whirl Through Academe"?

Someone else mentioned this too...I picked up on something that sounded like it was a quote of something, but not anything I'd heard before. Appropriately "academic" sounding - what's the piece from?

I gave up on reading the whole thread to see if anyone has answered this - I know John Takis addressed this in his chronological score thing on the front page - but he's either quoting Gaudeamus Igitur or quoting Johannes Brahms' Academic Festival Overture, a piece Brahms wrote to thank a university which gave him an honorary doctorate. He was just going to send a thank-you note, but discovered that they really required him to write a piece, so he strung together a bunch of familiar drinking songs in a very witty, well-orchestrated manner. Gaudeamus igitur closes the work, and it's really a fun overture. I didn't catch the quote in the film, but I recognized it immediately when I was listening to the soundtrack at 2AM. Brahms sticking out his tongue at the university, and Indy doing the same thing.

I wonder if Spielberg and Lucas recognized it or if he had to explain the joke to them?

Maybe a spoiler? Someone I know was wondering if the Skull theme was some sort of retrograde or inversion on the CE3K theme, which would be really funny, but I don't think it is. Has anybody been able to work out a connection?

Now I need to listen to the soundtrack a lot more and see the film again so I know what's missing on the CD!

Not sure I've listened enough to rate this in the overall spectrum of Williams' work, but watching the film was all kinds of fun. Probably not a spoiler, but what the heck: The whole thing is kind of summed up by Mutt asking "What is he going to do next?" Marian responds "I don't think he plans that far ahead" and Indy immediately pokes his head out with a rocket launcher. That, to me, is what Indiana Jones is all about.

As I listened to Raiders again in preparation, I noticed the stylistic similarities to ANH. In KOTC, I hear stylistic similarities to ROTS (especially the Russian motif) and COS. I'm not going to launch into the plagiarism debate, but I kind of enjoy watching him define and re-define his style.

[Genius_Gone_Insane 5]

In KOTC, I hear stylistic similarities to ROTS (especially the Russian motif) and COS.

Yes, I noticed this as well. And I LOVE that Russian motif!! So ESB/ET/ROTS sounding!!

[JoeinAR 1,949]

As I listened to Raiders again in preparation, I noticed the stylistic similarities to ANH. In KOTC, I hear stylistic similarities to ROTS (especially the Russian motif) and COS. I'm not going to launch into the plagiarism debate, but I kind of enjoy watching him define and re-define his style.

please if you're going to so anal and use the awful ANH then you must refer to Raiders as Indiana Jones and the Raiders of the Lost Ark (see JWFAN Rule of Conduct #77), otherwise just refer to it as Raiders and Star Wars, people will know what you mean.

[crocodile 8,020]

So themes should always appear periodically throughout a film? Duel of the Fates is the final battle theme, so it makes sense that it doesn't appear until the final battle (I think it's hinted at in earlier parts of the score, but whatever). Double Trouble is a theme for the return to Hogwarts; as the kids become situated at school, the theme fades away. There is an unreleased bit that hints at it in the second half of the film, anyway. And A Window to the Past is used all over the place. A lot of its statements are just unreleased.

All I wanted to say is that I was longing for a JW score in a more traditional vein, in a thematic sense. Like Star Wars or Indiana Jones. You know, in a more old fashioned way. In that sense KOTC was closer to older scores than anything JW wrote for a popcorn movie in quite a while.

I am one of those people who thought there were many great cues in ROTS (some of them unreleased) but the score as a whole didn't seem to have much focus. POA, even better score, had the same problem. When you listen to the album it is one unrelated idea after the other. First, reprise of the main theme, then some Rossini-like music, than some wild big band jazz music, then post-modern atonal horror music, than medieval music, then a soaring JW flying cue, then something almost folk-like...etc. Each one of these in itself is marvelous, but together they make quite a disjointed album and score. Am I the only one who thinks that?

BTW Window to the Past appears in the film quite a bit, that's true, but doesn't vary much until the very end. They could have as well tracked the first minute of the concert version and it would have been all the same. Not much happening with that theme.

Karol

[FattyMcButterpants 1]

I think you've just described why PoA is so bloody brilliant.

In key scenes (not only plot-wise, but especially visually scenes) Williams establishes a sound for Harry Potter that is medieval, but in a most magical way.

The marriage of music, sometimes dialogue, and picture is so stunning is PoA that I have no problem putting it amongst Williams' Top 5, maybe even Top 3.

Merely thinking about some scenes makes me choke. For instance, Secrets Of The Castle is so delicate and evocative that it makes the movie for me.

In this artistic finesse, PoA has yet to be beaten by any Potter film (and many others of the same genre).

[Wojo 2,453]

Is it safe to assume we won't get any unreleased KOTCS music until the DVD is released near Christmas, and we have to rip the 5.1 channels ourselves? That's certainly doable but a real killjoy for quality.

As I recall, an extended/complete boot of Star Trek Nemesis came out shortly after that film's soundtrack was released. Maybe there's hope?

[ChrisAfonso 188]

With Goldsmith scores there always was a great quality boot just around the corner... with Williams it's different, sadly.

[Ollie 1,059]

I think had to do more with people who worked with Goldsmith.

[Henry B 50]

I am one of those people who thought there were many great cues in ROTS (some of them unreleased) but the score as a whole didn't seem to have much focus. POA, even better score, had the same problem. When you listen to the album it is one unrelated idea after the other. First, reprise of the main theme, then some Rossini-like music, than some wild big band jazz music, then post-modern atonal horror music, than medieval music, then a soaring JW flying cue, then something almost folk-like...etc. Each one of these in itself is marvelous, but together they make quite a disjointed album and score. Am I the only one who thinks that?

Well, here your problem is with the album. The full score is, of course, more cohesive.

[King Mark 3,631]

For anyone interested .

The KotCS c.d. is finally available at Best Buy in Canada

I didn't see it yet at HMV

[Desplat13 1]

My review of the score is up at http://www.soundtracksreviewed.blogspot.com/ , but I will paste it here for anyone who doesn't want to go there.

Indiana Jones and the Kingdom of the Crystal Skull

John Williams

Rating: 9.2

It's The Phantom Menace all over again. It's every film music fan's dream (or nightmare) come true. It's anything but under-anticipated. It is, in fact, Indiana Jones and the Kingdom of the Crystal Skull. Hype seems like too tame a word for the recently released addition to the beloved Indiana Jones series. The themes which the general public can recognize and whistle 18 years after the fact (the most recent fact, that is) are few and far, far between. Of course, John Williams scores seem to be some of the only ones with that type of longevity (Jaws, E. T., Star Wars), and we have already seen old themes reprised in a new series, with great box office success, in the form of the prequel Star Wars movies.

The similarities between The Kingdom of the Crystal Skull and The Phantom Menace are obvious and comparisons have been going on for quite some time on the internet. For The Phantom Menace, Williams composed an amazingly epic, fun, adventurous, fascinating and meaningful score, which was subsequently ripped to shreds and pasted back in wherever Lucas felt it would be right. This is a very sore-spot for film music fans. The material quality vs. presentation quality difference has rarely been more pronounced, and Lucas' habit of jumping between battle scenes resulted in snippets of "Duel of the Fates" being stuck in with Gungan, semi-slapstick battle music. The result is a disaster that film music fans have worked extremely hard to unravel and turn into something similar to what Williams must have envisioned. It would have not been as bad had Lucas made all of the cuts before Williams composed the music. But, because of the order, the cuts mean very little musically. I think this might have been the downfall of Attack of the Clones as well. When Williams saw the type of musical artistic compromise that was Lucas' editing, he had a much harder time putting as much effort into the second installment. Of course, this is nothing but conjecture on my part, and I have yet to form a complete opinion on why, after this, Revenge of the Sith was such a complete musical triumph.

But enough on Star Wars. Why is this relevant to an Indian Jones review? The Kingdom of the Crystal Skull had a very similar anticipation level going in. Expectations were at fever pitch, just like they were for The Phantom Menace, and Williams had the almost impossible task of living up to those expectations. But he put everything he had into it, and, as opposed to The Phantom Menace, it paid off. This time 'round Spielberg was in the director's chair, and, as a result, the film is beautifully shot, the dialogue is impressive, and the music, thankfully, seems to be relatively intact.

So, then, what of the music? First of all, of course, we are treated to the first really good quality recording of the "Raiders March". After 18 years and endless overplaying it has lost none of its effect, and remains one of the best adventure themes ever. Part way through the track it segues into Marion's theme, which, I always thought, far outdid the character and was far more than she deserved. Beautiful and soaring, it, to, remains one of the most effective love themes. Nothing of great interest is done with these two themes presentation, but they serve to create a "Here we go again" sense of excitement.

Williams composed three new major themes for this installment, and each one is impressive and deserves a close look. First of all, the Crystal Skull theme gets a complete concert arrangement on the track "Call of the Crystal". The theme really is an interesting combination of theme and motif. There is a three note motif that is used as the Crystal Skull motif throughout, and is very effective inverted as well, but there is also a more drawn out melody that is usually played on top of the motif. The result is that there really are two different musical representations of the Crystal Skull, and while they work wonderfully together, they can both function excellently on their own.

Next in the line-up of new themes is Mutt's treatment. Mutt, as Williams put it, is more of a Robin Hood character. He is flamboyant, he swings on vines and he sword fights. What more could you ask for in musical material? Williams, of course, does not disappoint, and while this is perhaps the weakest in a very strong line-up of new themes, it is still a fun ride. The scherzo-type piece is both fast-paced and thematic, a combination that some consider to be sadly lacking in much of Williams new music. The music is used effectively throughout the soundtrack, and gets a very good concert treatment on the track "The Adventures of Mutt".

Irina's theme is my personal favorite of the new themes. While the Crystal Skull theme fits its material perfectly and Mutt's theme is a blast to listen to, Irina's theme is an amazing combination of the two. Though the concert arrangement on the track "Irina's Theme" is short and a little disappointing for the obvious potential of the theme, it is used on many other tracks very effectively. Seductive and dangerous, Williams chromatic melody outlines a musical identity of a level of completeness rarely found in the modern film score scene. Though the most commonly used role for the theme is a seductive one, some of the greatest moments in the score are the march treatments. The versatility of the theme is a tribute to the genius of Williams.

Following the first four tracks of concert arrangements, all the new themes begin to turn into something meaningful. Williams uses the Raiders March theme to great effect once again as part of action cues, such as the beginning of "The Journey to Akator". "A Whirl Through Academe" shows intelligent use of two theme-based actions music, with both the Raiders March and Mutt's theme laying the groundwork for a fast paced piece of music. "The Spell of the Skull" and "Return" are dark, brooding cues based on the Crystal Skull theme, and "Return" builds the theme through an orchestral crescendo impressively before suddenly returning to low, menacing music. Outside of the concert arrangement, "The Jungle Chase" is the first of the tracks to showcase Irina's theme. But that is not all this gem of a track contains. Williams further complicates things by turning this action cue into a three theme based piece of music, with Raider's March, Mutt's theme and Irina's theme all getting chances at center stage. The march renditions of Irina's theme are presented on this track are some of the best moments in the entire soundtrack.

From this point on in the album presentation the music takes on a darker tone. The Crystal Skull theme begins to be the more dominant theme, and its brooding harmonies control a large portion of the remaining soundscape. "Orellana's Cradle" uses the Crystal Skull theme, and never builds to much of anything, wandering instead among the Skull's dark tones, before doing an interesting attempt at the the Raiders March, which drops down and fades away quickly. "Grave Robbers" is a percussion driven piece, which treads an interesting line between brooding and action. Ethnic drums and swirling string pizzicato combine to create very foreign textures. The Crystal Skull melodic theme is used in the tense "Hidden Treasure and the City of Gold". Building to a crescendo that ends in the middle of the track, the music then turns into an impressive display of continually tense action music. Instead of Williams normal fast paced and wild action music, he uses repeating string motifs to keep tension high, while signaling danger throughout the brass section.

After wondering through more brooding music based on the Crystal Skull theme, we get to Williams musical representation of ants on the track "Ants!". Though perhaps not the most original of orchestrations, the swirling string section is effective to say the least, and, living in Florida, I can tell you just how well the music represents the creepy-crawlies. "Temple Ruins and the Secret Revealed" takes the tension up a notch, and holds it there for the duration of the track, before finally being released with the Raiders March theme in "The Departure", after which Williams builds to an appropriate finale, which ends on a curiously subsided note. "Finale" is 9:20 minutes of pure Indiana Jones musical enjoyment. Beginning with a rendition of Marion's theme, it quickly goes back to the Raiders March, in all of its full-blown glory. This track, being used as the music for the credits is really nothing but a tour-de-force of Indiana Jones and the Kingdom of the Crystal Skull themes, and next in line is Irina, followed closely by Mutt's spunky musical identity. Marion's theme gets reprised once again, before we get one more full blown blast of the Raiders March, which turns into a fascinating show of Williams skill in counterpoint, before taking a surprising and fascinating build-up into the last orchestral hit.

Not only is this the first Indiana Jones score in 18 years, it is the first Williams score in two years, the longest break between scores in Williams' film scoring history. But once again Williams shows he has not lost his touch, and, though it might take a little longer at his present age, his end-product is far above any competition in the modern film scoring scene. I would say what the Crystal Skull theme represents, and how it blows away all competition, but that would give away too much of the story. Once you know what Williams is representing with this theme, it is obvious that he can represent it far better than any one else today. Mutt's theme is fun, and a worthy addition to the impressive array of Indiana Jones themes. Irina's theme, as I have already said, is my favorite of the new themes, and is a perfect character representation. All in all, I don't think it is too early to start talking Academy Awards. Finally, we have another Williams score, and believe me, it has been worth the wait.

-Colin Thomson

Track Listing:

Raiders March

Call of the Crystal

The Adventures of Mutt

Irina's Theme

The Snake Pit

The Spell of the Skull

The Journey to Akator

A Whirl Through Academe

"Return"

The Jungle Chase

Orellana's Cradle

Grave Robbers

Hidden Treasure and the City of Gold

Secret Doors and Scorpions

Oxley's Dilemma

Ants!

Temple Ruins and the Secret Revealed

The Departure

Finale

[Josh500 1,615]

Great review!!! I agree with most of it.

JW will probably be nominated for an Oscar, but . . . will he win? Urghhh . . . depends on what Santaolalla's been up to recently, I guess.

[crocodile 8,020]

Does it really matter, I ask?

Karol

[Ollie 1,059]

John Williams won't win an Oscar for this film. If the pattern holds he won't even get nominated.

[Josh500 1,615]

I remember how upset we were back in 2000 when JW wasn't nominated for TPM.

I hope we won't see a repeat of that.

[Luke Skywalker 1,796]

the pattern says he always gets nominated if a score of his is there.

This seems to be his only 2008 score.

And well amend the non-winning of the other 3 scores with a win this year i will not mind.

after all santaolalla as two oscars.

[Henry B 50]

I really have to say that this score is a better listen in chronological order. Splitting the tracks allows you to cluster the climactic cues together, making the second half much stronger.

Do all the edits if you can; they're not that hard. ("Oxley's Dilemna" can't really be pulled off cleanly - for the second part of the track I substituted an identical note from a later measure to give it a clean beginning.)

[Ray Barnsbury 8]

I agree - the minor edits and resequencing make a big difference. Everything just seems to fall into place and have new meaning. I really think it's a very good score now; not as great as the original three, but probably in the top five of the 2000s.

[JoeinAR 1,949]

John Williams won't win an Oscar for this film. If the pattern holds he won't even get nominated.

while I like the score more than you I don't think this is Oscar material. If Sorcerer's Stone and Prisoner of Azkaban can't win then this lesser score shouldn't. Of course thats what the Oscars will be expecting us to think..........

[King Mark 3,631]

Of course it won't win.

I almost hope it's not nominated to spare us the drama and stress

K.M.who has to work on chronological c.d.

[Ray Barnsbury 8]

I just did it exactly as outlined the complete score analyses. Very helpful.

[John Crichton 4]

And this one's a very simple edit. Only 3 tracks have to be spliced, only one of them has an ugly crossfade and one actually has a gap between the two cues. I had mine done in 20 minutes.

[King Mark 3,631]

yeah,done

K.M.Not sure where to place the concert versions

[John Crichton 4]

Yeah, the hardest part is figuring out what to do with the concert pieces. I like Adventures of Mutt and the Raiders March at the end, but I've been experimenting with Call of the Crystal and Irina's Theme at both the start and end to see what I like better.

[King Mark 3,631]

Adventures of Mutt could be placed before the Jungle Chase too.

[Henry B 50]

I just put the concert suites at the beginning, and either start with "The Raiders March" or skip to "The Spell of the Skull." The concert suites, by definition, don't really fit into the score.

[JoeinAR 1,949]

how about playing them as presented on the album.

tracks 1 to 19

[Ray Barnsbury 8]

It flows a lot better in order, to me at least.

[Henry B 50]

how about playing them as presented on the album.

tracks 1 to 19

Bad idea.