Jump to content

Howard Shore's The Desolation Of Smaug (Hobbit Part 2)


gkgyver

Recommended Posts

I also think that the Fellowship theme has a sort of clumsiness or awkwardness to it

?

What do you mean?

The most easily described bit of awkwardness comes in the second of its four phrases, where the chords accompanying the Ring-related twisty-turny melody don't quite seem to find the right place to go and end up in something of a muddle (it then reverts to a repeat of the first phrase and makes a more successful attempt at resolution with the melody straightened out and the chords falling into place). I assumed this was supposed to signify the discord existing within the Fellowship by virtue of the Ring being there.

But even the first/third phrase and (to some extent) the final one seem to me to have a slightly awkward disposition - melodically, harmonically and rhythically - especially given that this is the main heroic fanfare of the film. Or, at least, not as slick and glossy as such themes generally are (in my perception, anyway). I don't mean this as a criticism of the theme, of course; I think it's brilliant.

Link to comment
Share on other sites

At the moment it really feels like the main connecting thematic identities are indeed of Thorin and Erebor, which is in a way quite suitable. I still wonder why Peter Jackson chose to diminish Bilbo's role in the story as a whole and at the same time his thematic identities. It is amazing how the different ideas for Bilbo from AUJ (in Shore's original vision at least) are so completely left behind apart from the comedic fussy theme.

Link to comment
Share on other sites

At the moment it really feels like the main connecting thematic identities are indeed of Thorin and Erebor, which is in a way quite suitable. I still wonder why Peter Jackson chose to diminish Bilbo's role in the story as a whole and at the same time his thematic identities.

Wel, basically, PJ is telling Thorin's story rather than Bilbo's story, really.

That irreverent rascal! It is not called The Hobbit for nothing! :angry:

Link to comment
Share on other sites

At the moment it really feels like the main connecting thematic identities are indeed of Thorin and Erebor, which is in a way quite suitable. I still wonder why Peter Jackson chose to diminish Bilbo's role in the story as a whole and at the same time his thematic identities. It is amazing how the different ideas for Bilbo from AUJ (in Shore's original vision at least) are so completely left behind apart from the comedic fussy theme.

I don't know for sure, but it doesn't seem to me like they cut Bilbo out a lot to diminish him, rather they added loads of other stuff with other characters.

No but even though he has his heroic pivotal moments in the film it is not nearly as Bilbo driven as we might expect from the novel. Of course they had to give room to Thorin and others as we arrive to the Mountain but the story loses some of its charm because it is not narrated so focusedly from Bilbo's perspective anymore. But this is the trouble of having 14 central characters, or actually Bilbo, Thorin, Balin and 11 scenery dwarves.

Musically it means that the Dwarven material takes over in the final third and I think that is a sound choice as we arrive at the pinnacle of the culture's creations, Erebor, but it does so entirely at the expense of Bilbo's musical material. Another way to look at this is that Shore and PJ are saving the Hobbit material for special moments to give it more resonance and not to dilute the power of these themes by constant repetition.

Link to comment
Share on other sites

I consulted my translating team on it, and was given two possible meanings:

(1) As you speak not one clear white, I say death should find you east and west old elder brother.

(2) I don't understand a damn thing you say, bro.

As it's BloodBoal, I guess (1) is the more likely option.

Link to comment
Share on other sites

I consulted my translating team on it, and was given two possible meanings:

(1) As you speak not one clear white, I say death should find you east and west old elder brother.

(2) I don't understand a damn thing you say, bro.

As it's BloodBoal, I guess (1) is the more likely option.

2q0r3wz.jpg

Link to comment
Share on other sites

Favorite tracks:
Inside Information, The Forest River, Beyond The Forest

Favorite Themes:

House of Durin, Tauriel, Tauriel/Kili, Smaug

Link to comment
Share on other sites

Even though they respect and like Shore's music and do a better job in this film than in AUJ, quite a big chunks of it was left unused. I really felt the absence of the music in the final sequences, where I felt it should have driven the action without those sudden silences. One aspect of it I guess is the fact that I have been conditioned by LotR to expect music for that kind of sequences. And you can never underestimate your own attachment to the composer and music and wanting them to be heard and part of the drive and drama of a film.

Link to comment
Share on other sites

I was just listening to the AUJ last night and was reminded what had been somewhat missing in DoS in my opinion, the Dwarven choral music. I mean by this the brilliant chanting we hear in Moria and in scenes like Out of the Frying-Pan. The score could have done with some of that heroic material during the final action sequences. The build-up in the finale of My Armor Is Iron is all the more spectacular for the choir.

Link to comment
Share on other sites

in DOS, I truly believed it hurt the three major sequences where a lot of music was dialed out: the spiders sequence, the forest river sequence and the whole showdown in Erebor. Removing the music in those scenes really killed the pace and the flow of the action. The first two sequences in particular would have greatly benefited from having the music left untouched, in my opinion.

I agree with you completely.

I need to finish my "Score Restore" project and post the results here for people to see. Those sequences work so much better with the music fully flowing the whole time.

Link to comment
Share on other sites

Agreed with what was said here. I might even daresay that the music worked better in AUJ as a whole then DoS, even though you have some of those unforgivable moments.

With DoS, the butchered nature of the film has really hurt the nature of the film's pacing, one that was already haphazard in the first place, is made even more to give the impression of "being all over the place" with the music constantly being dialed in and out.

Link to comment
Share on other sites

After the statement of the Erebor theme at 1:30 in The Courage of Hobbits, does it sound to anyone else like the ending phrase it spins into is a hint at Dwarrowdelf material? Maybe someone noticed it before.

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.