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Atlantis: The Lost Empire

 

 

Atlantis: The Lost Empire (2001)

Composer(s):
James Newton Howard 

Released in:
2001

Reviews
A great addition in Newton Howard's ever-growing discography
by a soundtrack collector (June 2, 2007)
I cant do as thorough a review as I see has been done here, for I am not a musician, only a appreciator of film scores. I was pleasantly surprised with this score, and although very original, I did hear "odes" to Newton's other score, Waterworld, in this one. But that is to be expected, they hav very similiar nautical/adventure themes. Anyway, the most surprising thing about this score is the inclusion of female vocals, something I know some other listeners tire of, but I really like. A few "gems" would have to be "City of Atlantis" "The Secret Swim" and "The King Dies". A worthy addition to any collector's shelf.

Atlantis
by
Samuel Van Eerden (July 26, 2005)

Atlantis
James Newton Howard

James Newton Howard (Signs, The Fugitive, The Village) is one of my favorite composers. I find it amazing how he creates such exotic and completely original backdrops for the movies he scores. He developed rich, ethnic themes for “Dinosaur”, somber motifs for the “Fugitive”, established lively, thoughtful cues in “Waterworld,” and virtually gave the horror/suspense score a whole new dimension in “Signs” and (most recently) “The Village.”Knowing Howard’s tendency and skill at enhancing a fantastic story with a culturally-rich soundtrack, I was quite excited to hear his work for Atlantis.

The story of Atlantis is nearly as old as time, but leave it to Disney to turn the myth into a colorful, vivid film rich in plot, character, and depth. For a Christian though, the strong new age themes of the movie are a serious drawback. However, it is this very same dominant new age storyline that is the backbone of the soundtrack. James Newton Howard takes this new age element and brings it to the forefront of the score with a powerful orchestra, and majestic, sweeping choir. The themes he creates, while structurally new-agey, are beautiful, insightful, and the best possible backdrop for the movie, itself. Which is what every good soundtrack should be—an excellent compliment to the film it underscores.

From beginning to end, though, Howard’s score for Atlantis does not shine as “The Village” did. Although “Atlantis” has its moments of sheer orchestral brilliance, it falters, as well, in far too many spots. Admittedly, that is in part because of Howard’s attempts at organizing a score that would perfectly fit the bizarre and culturally diverse Disney movie (which moves at a brisk, zesty, scene-changing pace).

The first track “The Submarine” is an interesting cue—a three-and-a-half minute hodgepodge of ethnicity. The zaniness is excusable in this one, though, because Howard is using the variety of different musical arrangements to introduce the dysfunctional Disney cast of “treasure (Atlantis) hunters.” Prominently themed here are oriental, old west, and roman cues. The triumphant 9-note trumpet motif is not even heard until almost 90 seconds have passed; and it is quickly followed up by a playful arrangement reminiscent of the popular “Chicken Run” score. Howard ends this opening cue on a very strong note, though, with several variations of the aforementioned 9-note trumpet theme, mixing in strong bass and a background chorus.
Track two is nothing really to speak of. “Milo’s turned down” is exactly what it sounds like. Beginning playfully, as Milo is intent on acceptance, the cue quickly wraps off into moodiness, before picking up again as Milo discovers “new hope.” It is a discombobulated track though, with many trumpets, and tubas blasting off a zany composition.

“Atlantis is waiting,” is full of mystery and wonder, with a strong sweeping theme and choir—all implemented here with the definite purpose of hinting at more majestic things to come. Truly, it is—in all of its wonderment, only a taste of what comes next. In the fourth track, “The Leviathan,” it seems as if Howard gets lost in the sheer volume of the orchestral composition. Surely he needed to keep up with the monstrous animated creature depicted on the screen, but the brass and trumpet arrangements played here come off as cheesy at best. Sheer-sound does not define action; it is the melody of the sound that does. Howard seems to figure this out half-way through the cue though, as he introduces the strong “heroic theme” in the form of his now-familiar 9-note trumpet theme. The track then follows a crazy line of notes up and down, up and down, the scale, before finally coming to a dizzying halt. Thankfully. It was at this time in the score that I wondered, a little sadly, where the action cues of “Dinosaur” were. I knew from that score that James Newton Howard could pull off a John-Williams sounding brass-choir arrangement (think: Duel of the Fates on a slightly more barbaric level), but in this action scene, Howard just never found the success achieved in Dinosaur’s seventh track “Raptors/Stand Together” (see review for “Dinosaur, below).

So I was up to the fifth track “Bedding Down” and I was still disappointed. None of the tracks thus far had really jumped out at me—the first track being the best one, so far (and that too only eeking out 3 stars in my mind). “Bedding Down” begins nicely enough, with soft violins and woodwind instruments. Peaceful is a word that came to mind. And after the cacophonous “Leviathan” cue, I was happy to hear something quieter. Unfortunately, the peaceful tones quickly change for more playful notes, which run this cue into the ground. Fortunately, track number six “The Journey” is where the score starts to pick up. For it is in this cue that James Newton Howard begins to implement the more exotic sounds I had been waiting for. Springboarding off yet another re-arrangement of the 9-note trumpet motif, Howard adds powerful brass and a woodwind composition that is not wholly unlike “Atlantis is waiting.” A nice cue, indeed, but still, just a step in the right direction, “Journey” quickly gives way to the seventh track on this soundtrack “Fireflies.” Although barely two minutes in length (the second-shortest track so far), “Fireflies instantly became my favorite. Reminiscent of Dinosaur’s “The End of our Island,” which I thought was a well constructed cue, “Fireflies” implements much of the same structural appeal, beginning sweetly, with an exotic, playful feel (one can easily picture fireflies flitting around), and then suddenly turning chaotic. But the following brass and trumpeting is not without a pattern and a strong underlying melody (fleshed out by excellent violin-play). Bravo to James Newton Howard for doing a James Horner here and copying a bit from a previously successful score (which Howard usually NEVER does). It fits well in this cue.

The eighth track “Milo meets Kida,” despite being the shortest cue in the soundtrack at a minute, forty-six, is no letdown. Rather, it is the second four-star track in a row, after a long string of “three’s.” It is also where the VERY FIRST truly original music in this score is showcased. The first sounds of the new age are in this cue, in the varied forms of synthesized triangles, African percussion, and a beautiful choir/violin corroboration. But even at four stars, this cue—and the ones before it, are nothing compared to the brilliance that immediately follows. “The City of Atlantis” is just under three minutes, and is masterful. Quickly putting away from it an early touch of foolishness, the cue ventures as slowly and carefully as the submarine with its explorer occupants, delving into the unknown. The music, played out with percussion, triangles, and violins underlies a steady beat which climbs and climbs before climaxing with a powerful choral arrangement which is highlighted perfectly by a trumpet fanfare. The cue then drops off, and quietly fades away, leaving the listener somewhat disappointed that this track was not a few minutes longer. But the brilliance of “City of Atlantis” is soon to be returned to. Thank goodness! After putting behind it the lackluster (but pre-dominantly new age) cue, “Milo and Kida’s Questions,” Howard revisits the beauty of Atlantis in “Touring the City.” As the explorers tour the city through the magic of animation, James Newton Howard gives perhaps the best vision of all of “Atlantis”-- Through a very successful medium—the sense of hearing. The choir returns here, as well, and does very well for itself, but once more, the almost-asian, new-age feel is what pushes this cue into the outer limits of imagination and beauty.

“The secret Swim” is sort of a letdown, as Howard explores the playful realms of the new-age experience (which is not the music’s best area). But he also adds a very interesting piece of composition in the form of a woman’s chants which sound as if they are coming through a vibrating tunnel that is full of chimes. Quite a dazzling effect. Still, “The Secret Swim,” and all the preceding cues do not amount to the best track on this score...

“The Crystal Chamber,” one of the longest tracks at nearly four minutes is mysterious, and suspenseful, beginning with a queer arrangement that sounds almost more suitable for the “X-Files,” or the “Roswell” TV series.’ Following this melancholy composition though, the cue builds on new-age-sounding synthesizers and chimes, before suddenly a little girl can be heard quite clearly—chanting over the musical notes. Her voice is angelic, if mysterious, but it always gives me shivers (although I do wonder what in the world she is saying; it is in some foreign language). In any case, by the time she lets go of her last note, the track explodes into a brass, trumpet, and choral arrangement that trumps even the one played in the “City of Atlantis,” bringing me to realize that Disney’s main theme they wanted to outline in this movie was not the city of Atlantis, but the energy source that powered it: the “Crystal Chamber.” Obviously, Disney was trying to use more than just color to promote the WAY over-the-top new age concept of the crystal chamber; they wanted the power, the emotional sway of SOUND; ie: music. Obviously a compliment to James Newton Howard’s abilities, but a detraction from the movie, it’s message, and the moviemakers’ motives. Unfortunately, the score goes downhill, as well, from there. Or maybe it would be fairer to say that the perfection achieved in “The Crystal Chamber” is just never matched, let alone eclipsed at any other point. Which is a shame. Still, there are other highlights in the remaining four tracks.
At 5 minutes and 10 seconds, “The King Dies – Going after Rourke” is the longest track on the soundtrack, but it is a pretty good one. Full of sweeping themes, including the “Crystal Chamber” one, it is an easy four-star cue. The only problem is it does not go far enough. Case in point: the “Crystal Chamber” motif in this track, is only played with a fraction of the instruments used in the original “Crystal Chamber” cue. Usually when a composer revisits one of his themes, he either adds new/more/louder instruments, or just incorporates a slightly different arrangement. But Howard does neither; which is confusing to me, because he did it so successfully in “Dinosaur.” The “Going after Rourke” part of this cue provides, in my humble opinion, the best action music of the score, as well. Strong percussion underlies dexterous violin-play, and powerful trumpet blasts, which grow in volume and wonder before climaxing with the (by this time) VERY familiar (and almost, but not quite yet—stale) 9-note trumpet theme. The cue then ends with a Roman army sounding fanfare, which is well done. “Just do it,” the score’s fifteen cue, sounds for all the world like it popped out of one of Williams’ Star War’s soundtracks, particularly the beginning brass/percussion motifs. Eventually, Howard gravitates back to the true “Atlantis” theme, which is pleasant, if a little long in coming, since the last time it was heard was far back in “City of Atlantis.” But “Just do it,” pulls off a solid 3+ minutes of sound, proving itself to be the most consistently good cue on the entire score.

“Kida Returns” follows with a significantly slower, more methodical rhythm, opening with chimes, and continuing with one of the best emotional segments from the score. A slow picking guitar adds to the heart-throb element, drawing the movie, and the soundtrack slowly towards its satisfying end. If you like emotional music, this track is excellent. Personally, I give it 4 stars, just because of its excellent composition. The final track is aptly named “Atlantis,” and it is where James Newton Howard’s most popular sounds can be heard. Although the cue is only one minute, fifty-eight seconds long, it contains very distinct elements from Howard’s previous “Sixth Sense,” “Unbreakable,” “Waterworld,” “Fugitive,” and certainly “Dinosaur.” But eclipsing all other sound, are the underlying motifs Howard created early, and built upon for “Atlantis.” This final cue ends with a graceful, sweeping note, fading beneath a riveting brass and choral arrangement. This final track is the seventh consecutive four-star cue, in my mind, finishing up a solid score, and rounding out the better (second) half of the soundtrack. One reviewer (I think) successfully divided the two halves of the soundtrack in this fashion: "The first half of the score is full of militaristic, march-style music with plenty of strings, brass, and percussion. The second half of the score is mainly exotic in nature and here is where the chorus really kicks into high gear." I like that succinct description.

On the whole, exotic chimes, woodwinds, just the right mixture of brass, and the perfect element of an almost angelic choir, give Atlantis a significant edge over many of Howard’s other scores like “Waterworld,” “Hidalgo,” "The Interpreter," and the somber “Sixth Sense.” However, the new-age style of composition is not enough to push it over such scores as “Dinosaur” and “The Village.” However, it is a solid stand-alone, a beautiful enhancement to the vivid film, and a good choice for any fan of the film music.

MY RATINGS:
Tracks 1-8 = 3 stars
Tracks 9-17 = 4 stars
Atlantis = 3.5 stars

• 1. Where The Dream Takes You - Mya (4:00)
• 2. The Submarine (3:20)
• 3. Milo's Turned Down (1:48)
• 4. Atlantis is Waiting (2:41)
• 5. The Leviathan (3:25)
• 6. Bedding Down (2:33)
• 7. The Journey (3:22)
• 8. Fireflies (2:11)
• 9. Milo Meets Kida (1:46)
• 10. The City of Atlantis (2:48)
• 11. Milo and Kida's Questions (2:59)
• 12. Touring the City (2:51)
• 13. The Secret Swim (2:46)
• 14. The Crystal Chamber (3:45)
• 15. The King Dies/Going after Rourke (5:12)
• 16. Just Do It (3:18)
• 17. Kida Returns (3:10)
• 18. Atlantis (1:59)

(NOTE: I did not specifically review the opening track; “obligatory” pop/R&B song “Where the Dream Takes You,” performed by Mya, because—like most such add-on songs to movie scores, it was unnecessary to the original soundtrack. Although played over the end credits, it was superfluous, and a desecration to an otherwise substantial effort by James Newton Howard.)

(Posted with permission from the author Samuel Van Eerden http://www.xanga.com/home.aspx?user=Teenwriter



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