I don’t particularly love the idea of the use of iconic musical cues from past films, in We Have All The Time In The World and the rumoured use of the OHMSS theme in another NTTD song.
The Bond series is unique in that the themes and cues are so identifiable and recognisable to each film that they are are as important to that film as the respective posters or set pieces. It feels a bit odd and try-hard to pick from a past one. WHATTITW is iconic to Bond and Tracy, it has nothing to do with Bond and Madeleine. Using OHMSS, while a fantastic song, would make as much sense as using the melody from Live and Let Die. I’m surprised they didn’t do something like this for Die Another Day to be honest.
I liked it’s usage, it’s a nice acknowledgment that this is who this character is based on, even including the idea she is the daughter of a criminal at war with Blofeld who gives Bond aid on the condition that Bond protected said criminals daughter…
Madeleine and Bond are a significant and similar pairing, especially with her being a recurring character. So I think the usage is justified. The OHMSS title theme being used when Bond returns to MI6, for example, could signify a theme for the Secret Service or the Crown itself. Which I honestly wouldn’t mind continuing going forward.
It is the same orchestra as this one…because it’s always been Bond’s orchestra apparently. You hear a musical instrument in a Zimmer score, odds are that person lists every Bond movie made in their working life on their CV
I love the ohmss vibe running through it, makes this feel like Craig’s homage to me of the ending of the novels and OHMSS, fair play to him/them!! Also getting echoes of the soundtrack to CR
I was worried that Zimmer or Mazzaro (who is credited as composer) would go full sound scape.
Instead they remixed the greatest hits of Barry and Arnold into a very entertaining Bond score.
Is it a great score? Not for my taste. I know too much from the Zimmer factory to identify too many similar or even identical elements from their previous work. And it is telling that the bits which immediately create feelings and images in my head are the Barry melodies used.
I would have preferred if this score had created its own legendary melody. Heck, Arnold composed at least the Vesper theme which sounded Barry-esque but stood on its own. And Newman composed the Severine and the Madeleine themes which, unfortunately, were used much too sparingly.
In the end, the score for NTTD is fun but not the highlight of the Craig era. The film might be the best of the five, of course. But the last score track on the CD makes me worry a lot about Bond‘s fate…
Apart from some orchestration elements again quoting…
Summary
OHMSS
I also hear a few bars from
Summary
DR.NO
Am I wrong?
I mean, with the plot of
Summary
a scientist being abducted and some kind of poison/virus being spread, this might really point to a mix of both films and Malek doing a Waltz, denying that Safin might have a certain nickname
Bit of wild speculation in regards to OHMSS and WHATTITW usage, It’s an element of Tracy from the book that the film didn’t go near, What if Madeline already had a child during the time that Mr. White was with Spectre? Safin being the father and that’s what gave White the change of heart, and that’s the secret that Blofeld and Safin seem to know.
