At worlds end soundtrack parlay betting
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This review will only scratch the surface. I have struggled over how to structure this review. More than having a large number of themes weaving in and out of the score, Zimmer wrote two new themes: the Love Theme, and the Pirate Theme based around the song "Hoist the Colours" , both of which are very long and broken up into multiple segments. This leads to a level of thematic complexity that rivals most other franchises. Surprising are the few prominent themes from the first two films that were not included, at least on the soundtrack.
Due to its prominence in the first two films, this was a surprise. The first theme I want to discuss is first introduced in the opening track in the form of the song "Hoist the Colours". This is, basically, the Pirate Theme and has multiple parts to it, which can be identified by following the progression of the song, beginning with the boy through the addition of the male chorus.
This is expressed with the Pirate Theme as one of the major thematic focal points of the score. Additionally, this theme - along with the even more central Love Theme - brings the swashbuckling element to the score that even critics of the first two probably will enjoy. Curse of the Black Pearl was heavily criticized by certain film score fans for two reasons: that is was mixed heavily with synth, and that it lacked the swashbuckling quality of other pirate films, such as Cutthroat Island.
Curse of the Black Pearl could even be said to be the "synth mockup" of this score, at least in regard to the original themes - they sound better and are further fleshed out in their orchestrations. In fact, some of the brass performances during the action sequences are simply stunning.
So what is swashbuckling anyway? It basically means action-packed, but here, I suppose it means in regard to pirate films. Cutthroat Island remains the prime example of a modern swashbuckling score, though Zimmer himself has achieved this sound once before in Muppet Treasure Island. The two new themes - the Pirates Theme and the Love Theme - are well suited for being adapted to action scenes and are done so often.
While this score does lack the orchestral bombast and countless triumphant fanfares of Cutthroat Island, Zimmer makes an amazingly good attempt at creating a soundscape suitable for the pirate world. In this score, he utilizes harpsichord and other instruments that give parts of the score a certain period feel.
In addition, Zimmer, for probably the first time in a Bruckheimer production, uses prominent woodwinds often, giving this score a much wider spectrum of orchestration that even Cutthroat Island did not boast. Okay, so back to the Pirate Theme. This theme is not used until halfway through the album where it gets its first orchestral statements in "The Brethren Court". It is used in the middle of this cue and is followed by a quirky statement of the melody by an accordion and recorder, adding to the "period" feel of the score.
The choir comes in singing the lyrics to "Hoist the Colours" for a nice, epic reprise. This was a huge melodic suite that Zimmer broke up into multiple parts for various purposes of the score. This way it gets very nice statements and also very loud, bold statements for action scenes. The A love theme is played on a distorted electric guitar, while the strings accompany with the ostinato of Cutler Beckett's theme.
Calypso Calypso heavily uses Tia Dalma's theme from Dead Man's Chest, as it accompanies the scene where she is transformed into Calypso with choral chanting. As Zimmer himself had confirmed, the first half of this track is actually the final part of the massive battle, during the destruction of the Endeavour — Cutler Beckett's theme is given a massive statement here as cannons tear his ship to bits. The second half serves as the middle portion of the battle, with the duel between Jack and Davy Jones for the Dead Man's Chest and the rather impromptu wedding ceremony.
Many themes from all three films are interwoven here, all interconnected by a moving eight note line, including Jack Sparrow's theme, the love themes and He's a Pirate. Towards the end, the track moves to a full statement of the powerful C love theme, ending with action material from Curse of the Black Pearl. One Day One Day is the aftermath of the battle, where the pirates have won over the East India Trading Company, and are celebrating their hard-earned victory. Jack's arrival theme is played powerfully, with an underlying eighth-note rhythm, before segueing into a full statement of all three love themes, A, B and C as Elizabeth and Will share their farewell.
He's a Pirate is then played, as in the other two films, as the end credits begin to roll, before moving into another lengthy statement of all three love themes, using the Up is Down fiddle theme as an accompaniment. On Amazon. A review by Mike Brennan on soundtrack. His overall rating for the score was 4. Not all critics were impressed, however. Christian Clemmensen, on Filmtracks.
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