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Posted: |
Jan 13, 2017 - 6:45 AM
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By: |
Aidabaida
(Member)
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The Analyzer
Hunger Games - Mockingjay Pt. 2
I greatly enjoyed each of the Hunger Games movies for their own merits. The first movie - "The Hunger Games" had a wonderful atmosphere of dread filtered through high society and politics: all as seen through the eyes of a rural girl. The second movie - "Catching Fire" delivered some solid character development and great plot twists, but mixed it with some thrilling action sequences, and an absolutely stunning finale. The third movie, "Mockingjay Pt. 1" played more like a political thriller flecked by only a few bursts of action It was much slower movie, and some consider it weaker than the others, but personally, I think it was just as interesting, it was simply different.
In "Mockingjay Pt. 2" the series was over, and what a finale it was! The action was thrillingly intense, the finale was huge and deliciously dramatic, and the emotional moments weren't just obligatory moments between action sequences, they had tear-jerking tragedy to them as well. The film flickered from pulse-poundingly exciting to desperately dramatic with ease. It was a great movie, and in this humble reviewers opinion, the best of the four.
The music for this series has been something of a mixed bag. James Newton Howard's score always fit the picture perfectly, but occasionally devolved into nothing but ambient sound design. Newton Howard is among the most frustrating modern composers, because he seems capable of delivering knockout themes and scores at a whim, yet purposefully restrains himself, choosing to apply those massively emotional orchestral moments to only a few key scenes, and relegating the rest to droning synths. In the case of the "Hunger Games" franchise, the theme first stated in "Rue's Farewell" was the knockout punch of the score, perhaps the most emotion filled theme I've heard in a long time. Howards ability to wring tragedy from a string section is one I've not seen matched in a while. The love theme for Katniss and her family was exquisitely beautiful, summarized best in "Katniss's Nightmare" Each score had specific action highlights (notably the superb "Air Raid Drill" of Mockingjay Pt. 1. The "Horn of Plenty" theme was a memorable and rousing anthem for the bad guys that Howard failed to perhaps adapt into some sort of villians identity. "The Hanging Tree" was a tour-de-force song filled with beauty and determination, but James still didn't utilize it his score to a satisfactory degree. In Mockingjay Pt. 2, I was hoping that he would finally bring these fantastic fragments together into a cohesive, fantastic score.
The album begins with "Prim Visits Peeta", and it's a rather disappointing beginning. Low bass droning, dissonant synth textures...the like. It's a very weak track. But thankfully, we're back to better ground in "Send Me to District 2", with a gorgeous solo vocalist intoning the haunting theme that has come to be "Katniss's Theme" before a gorgeous crescendo of string melodrama and beauty leads us into a harmonic passage for strings and choir that lilts on until it grows darker and introduces a thumping, militaristic theme full of chopping strings, thumping snare drum, crashing cymbals and chanting choir (the choir resides far too low in the mix though). A great track - and one that should've started the album.
"Go Ahead, Shoot Me" opens with low key suspense music before a reprise of Katniss's Theme over a bed of tortured synthesizers. It's very effective in context of the movie, but as the track moves on, it becomes clear that this one isn't exactly a standout, mainly just creating an air of tension.
The haunting synthesizer cry that opened up "Catching Fire" and "Mockingjay 1" is back in "Stowaway", giving it a familiar beginning. Some dissonant sound design overhead isn't exactly welcome, but what is welcome is the outburst of militaristic might at about 1:30 into the cue that leads into some low string suspense, which in turn leads into a heart melting reprise of the "Rue's Farewell" theme from the first score. Chills ran down my spine when I heard that wonderful theme in an equally powerful scene of the movie.
"Your Favorite Color is Green" reprises the haunting fiddle solos from the first one. They seem agonized as they saw their way through tortured minor chords, before suddenly, they start playing familiar music, and you realize this is a reprise of "The Hanging Tree". The song continues building with the orchestra. It never plays the Hanging Tree theme exactly, but works with all the underlying harmonies to a crescendo of power. This is a great track, and it's frustrating that Howard used that amazing theme so sparingly.
"Transfer Command" begins with dissonance and electronic droning, before fading into some suspense/horror music that fades into some chopping action music full of bubbling woodwinds and thumping drums. An atmosphere of unease fills the whole beginning. At about 2:00 in, we get Katniss's theme on the solo vocals before some more dissonance and raging action music. The action music here is unlike any in the series so far, percussion heavy, dissonant, angry, frenetic. It's great to hear, and reminds you just how important music is to the success of any fight scene. Groaning strings and horns provide wonderful textures at about 3:30, providing some true dread. Low key suspense music whines above for a few minutes, and some choral music below adds a nice melody of unease. The choir is, again, mixed far too quietly. At about 6:00, the atmosphere switches from menace to sadness, with the solo vocalist providing some gorgeous contemplative textures and the bed of fast, quiet strings recalling "The Last Airbender". It slowly builds, the vibrato in the soaring violins heart melting. A crescendo of menacing music ends the track well. This 8 minute juggernaut has some great moments, but too much slow suspense music.
"Your Next Step" begins with droning synths before some emotional strings add some interest. A quiet choir starts up, before some more suspense music begins. But this is interesting suspense...the string chords are gorgeous and the atmosphere of unease isn't just created by dissonance.
Some quick strings open "The Holo" providing propulsion as the violins whine through some moody material. It's all quite subtle. Some electronic beats are a nice way to keep the forward motion going as the strings slow down, and the bassoon solo adds nice texture. Midway through, we reach a loud, dissonant section that gives way to low bass string meandering, before some fantastic action music that lasts for only a few seconds before the piano and harp add some glassy textures overhead. This track really didn't need to be included on the album.
We're back to better ground in "Sewer Attack", which begins with a sudden, action packed, dissonant hit before wonderful action music drives forwards with incredibly intensity. The blaring, in your face brass and strings stand in contrast to the low key suspense music before - and wonderfully. I don't think I've heard such a savage outburst of orchestral panic since Desplat's stunning "Godzilla" score. Howard gives each section a workout, the strings whirling at incredible speeds, the percussion playing complicated patterns and the brass flutter tonguing and growling. The woodwinds are veritably shrieking. A palatable sense of terror screams from the music. There's some electronic beats that aren't completely necessary, but that's forgivable given the quality of the orchestral music. Rarely do you hear full throated orchestral panic like this in major blockbusters. At about 2:40 comes a heroic passage where the music grows harmonic, but no energy is lost. The wailing trumpets and propulsive string chopping stand in stark contrast to the kind of banging muck that gets passed as "action music" most of the time. Finally, some choir gives a bit of "Maleficent" style tragedy at 4:20, Howard showing off his emotional chops in stunning fashion. At 5:10, the music reaches amazing levels of sobbing emotion. Then we're to an indescribably dramatic section at about 5:40 that mortal words can't begin to explain. How Howard manages to squeeze every drop of emotion from his orchestra is unbelievable. At 6:41, the battle is over, and we're into some melancholy wind solos that leads into more emotional string music that closes this 8 minute track on a quiet note. What an amazing track! Be sure to get this one.
"I Made it Up" is a much shorter track, and it begins with some dramatic string writing that perfectly underlines this tragic scene. But it's over to quickly to make an impact. It's a good cooldown after "Sewer Attack", but ultimately unmemorable.
Choir and strings open "Mandatory Evacuation" with solemn dignity. At 1:06, Howard almost directly quotes the "Bard" theme from "The Hobbit: Desolation of Smaug", but it has to be forgiven, because it's among the only times that he manage to write really interesting suspense music, with energy behind it. The energy is mostly due to the harp, which is a constant presence in this score. At about 1:20 we reach a great moment where the strings play a minimal rhythm over gently rolling major chords, while the flute plays the "crying synth" theme that opened "Catching Fire" and "Mockingjay 1". Finally, the piano gives us a wonderful reprise of the emotional theme we've heard occasionally throughout the movies, most notably at the ened of the "They're Back" in "Mockingjay 1" A good track.
We're back to action in "Rebels Attack". Blaring horns and rampaging string runs open the track before some mostly harmonic battle themes lead us into a reprise of "Air Raid Drill"'s action music, but with added energy. And it's amazing. Just sit back and let Howards massive, harmonic skill with commanding an orchestra blow you away. At about 2:00 minutes in, Howard manages to make the music intensely emotional with out losing energy, and then he finishes out the reprise of "Air Raid Drill" with the same, overwhelming assault on your emotions that we heard in that amzing cue the first time. And then Katniss's theme on solo vocalist adds spine-tingling emotion to top it off. This is easily the best performance of Katniss's theme ever, accompanying a truly heart-breaking scene in the movie. Finally, Howard lets his string section soar forth with a melancholy theme of loss and sadness that reaches unbearable levels of sorrow, before slowly fading away. This is a stunning track, the best on the album up to this point.
Gentle piano tinkles forth along side choir and strings in "Snow's Mansion". It's a beautiful beginning, full of sadness, confusion and emotion. The strings begin growing dissonant and reach a crescendo - then fade away. Some atmospheric violin sustains lead us to a tragic bassoon solo that's unlike what we've heard so far in the score. Growling contrabass and cellos produce an air of real menace, and there's a tangible sense of dread and shock as the strings make their way slowly forwards. The five minutes of this piece are not the strongest five minutes in the score, but they are so amazingly effective in this great scene that I can't say it's a weak piece.
"Symbolic Hunger Games" is one of the most stunning scenes in the movie. It begins with textures we haven't heard in this score yet - tinkling bells, vibraphones, and glistening chimes creating an air of exotic suspense. Finally, the sinster "Games" theme best heard in "The Countdown" from the first score closes out this decent, but unmemorable piece.
"Snow's Execution" is THE scene of the movie. What ever other scene has been leading up to. Rather than trying to convey it's importance with booming bombast, Howard gives us Katniss's theme cooed simply by a female vocalist. A wonderful choice. Then more choral voices enter, as if to represent the voices of the all the people Katniss represents, is fighting for. The strings begin building in tragedy and emotion, signifying clearly the importance of the moment. And then the shock of Katniss's decision. Huge, pained string glissandi recall "The Incredible Hulk". The orchestra convulses with apocalyptic awe. It's over too quickly. What a piece!
"Plutarch's Letter" is a gorgeous piece conveyed over watery fiddle solos and gentle harp. It's an emotional scene in the movie and James Newton Howard supports it with one of the best songs in this soundtrack, gently working with fragments of the "Games" theme in a clever way, staying harmonic the whole way through, letting the wind and string soloists convey the emotion he's going for. The sense of release here after all the tension and dissonance is wonderful. Just close your eyes and let the gentle song wash gently forwards. It's a wonderful, wonderful track.
"Buttercup" begins with silvery synthesizers that portray a sense of loss and longing. The wash of strings is a nice touch, and overall, this is a piece that is far too short (Barely a minute long) to make an impact.
"Primrose" is another knockout rack. A heartbreaking cello solo leads into some wind solos that develop into a gentle expression of relief. Finally, an acoustic guitar starts up the love theme. And what a performance it is. Exquistely, Howard develops the amazing melody. It's primarly a major key theme, and it so different than what came before. Finally ,the theme is taken up by romantic strings, providing a genuine sense of "It's over now, and everything's okay". Some folksy fiddle solos are a wonderful way to close this track. It may not be a completely happy ending, but Katniss has earned a restful and contented life, and we've come back to where we started - the countryside. Get this track!
But Howard isn't quite done yet. We still have the final, stunning track. And it's the best of them all. "There Are Worse Games to Play" gives us the best, most emotional performance of the "Rue's Farewell" theme on sobbing strings. Kids, this is what film music is all about - stunningly beautiful music that does not just press all the right buttons, but instead elevates the film beyond what it was. A theme that started as one of mourning and now turns into one of victory - perhaps the most beautiful theme I've heard in a long time. Gorgeous. But Howard isn't done yet. He let's the theme fade into glassy, high textures in the choir and string, and Jennifer Lawrence quietly sings "Deep in the Meadow", the song she sung to Rue so far earlier. This was the perfect artistic choice, and her performance has the kind of fairy tale grace that truly made this ending a powerful, emotional experience. As she concludes the haunting little tune, James Newton Howard brings the orchestra to a crescendo, then hits a solitary major chord that rings out beautiful and free, cellos underneath playing with variations of the lullaby, until it reaches a triumphant major key release that makes you sit back and sigh with satisfaction. For the end credits, Howard has arranged a wonderful suite. First we get a reprise of the fantastic "Bow and Arrow" from "Catching Fire", but an extended arrangement. The swirling strings chopping overhead grow increasingly desperate and heroic, then the cellos underneath start to hint at the "Rue's Farewell" theme, transplanting it into full on action mode. It's James Newton Howard fantasy at his best. Eventually, that passage ends, and he gives another reprise of the Rue material on soft strings, cementing it as the primary theme of the franchise. Then he gives a menacing performance of the snarling "Games" theme, with high choir overhead. It builds to a slow moving, powerhouse performance of evil before morphing into the gorgeous, rising theme that we heard in "The Mockingjay" from Mockingjay 1. And slowly, he brings the strings down to a softly fading close on a minor key. The Hunger Games franchise is over. Bravo, James!
This score is full of incredible highlights. The second half is absolutely a masterpiece. The way he uses the Rue theme for sobbing emotion, the Katniss theme at "Snow's Execution", the frantic action material in "Sewer Attack" or the "Hanging Tree" reprise in "Your Favorite Color is Green" - those are moments out of time. But unfortunately, there is a great deal of droning suspense music that ends up going nowhere, and that drags the album down a great deal.
The Hunger Games franchise was lucky to have a composer like James Newton Howard, one who knows how to restrain himself, and keep the goosebump musical moments for the goosebump scenes. But sometimes the restraint was detrimental to music, and that unfortunately harms many tracks here. However, the amazing highlights certainly outweigh the negatives - which is why I think this score is well worth your time.
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"Your Favorite Color is Green" is an incredibly powerful track, with the Hanging Tree theme rising out of the plaintive fiddle solo and then transitioning to the orchestra almost in the form of a dirge. Amazing. I left the theater hoping it would be on the album.
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Posted: |
Jan 13, 2017 - 7:24 PM
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By: |
DeputyRiley
(Member)
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Hi Aidabaida, DeputyRiley here, nice to meet you. If you ask most people around here, they may possibly tell you that I've bored them silly in the past with my exhaustive droning about how obsessed I am with JNH's Hunger Games scores in the past. They are, in fact, my favorite scores that he's ever written -- collectively and individually (probably Catching Fire being my favorite). I've written many a dissertation before on these scores on this here website.
Thanks for posting this thread -- very excited to read your in-depth analysis, as I've always felt these scores don't get nearly the attention they deserve. Your attention to detail and praise of the virtues and merits of this score are commendable and I'm of a kindred spirit.
Here were my initial thoughts I posted when first hearing Mockingjay Pt. 2 upon first release. I think this may be one of my shorter essays when writing about HG music...
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I am surprised they opened with "Prim Visits Peeta." Unusual opening CD track for this series, very downer. Chronological, makes sense. The CD would have been incredible to open with "Send Me to District 2" as it has a great opening sound to it, but there is a certain amount of intense foreboding to "Prim Visits Peeta." For those overly concerned with album listening experience above all else (I am not one of them) they probably would not want this track first.
Surprisingly, one of my favorite moments of the entire score was in the track "Symbolic Hunger Games" which featured a quote of the "Games motif" previously heard in the middle of "The Tour" from Catching Fire and a few times on the train in the first score -- a mysterious, tinkly, synthy melody that I find irresistible. When I heard it on this score I cheered. That attention to detail and recall to such a distant moment in the past of the scores' franchise is just plain awesome.
And yes, the final track is mesmerizing. It yanked tears from my eyes by the dozen...so emotional, so perfect. Maybe the best thing James Newton Howard has ever written and arranged. I can take Jennifer Lawrence's vocals or leave them in "The Hanging Tree" -- love the second half of that track but never connected to her vocals, but her voice in "Deep In the Meadow" was powerful and I connected to it profoundly. I loved her voice on this score.
I could've done with a bit more synth on this score -- "Stowaway" was a treat -- but that's okay, I get the scores were retreating from that as they went on. They were a bit too subtle in this score and mixed a bit too low for my taste, as I am a major synth fan and they are such a strength of JNH.
There are several wonderful woodwind solos in this score. Nice.
Hard to tell if there are "new" themes, because this is the end of the series, so you won't see if the new themes go anywhere, or if they were established for characters -- it's hard to identify if they were just memorable phrases, or outstanding melodies, or actual intended new themes. At least, I couldn't (yet, anyway) identify any new themes without having them pointed out to me but of course I noticed a multitude of themes return from every previous entry in the franchise.
I liked the quote of action material from Catching Fire's "Monkey Mutts" in "Sewer Attack" which, by the way, is insane in its ferocity. The orchestrations on this one, the heroics in JNH's writing, the way the fever-pitch intensity is held and sustained for so long, is mesmerizing. You could listen to this track twenty times in a row and find something new each time to grab onto and discover and pick apart and enjoy. The way the 8-minute track accompanies the scenes in the movie, following from one location to another so seamlessly with its various musical segues, is so smooth it's amazing to me that the entire track comes together the way it does so well as a unified whole and retains a singular vision. There are times in "Sewer Attack" when you just cannot catch your breath (in a good way...?).
"Snow's Mansion" ... now that's a sophisticated track. I'm going to have to listen to that one many times, I feel like there's a lot of intelligent stuff going on there. It's not flashy, it's not bombastic, but it's so well-written and I feel like it's conveying a lot of interesting ideas but it's not just handing them over to you easily, it's kind of a puzzle. I like it. Nice piano work.
"Plutarch's Letter" and "Buttercup" and "Primrose" are an exquisitely lovely trio of pieces and are a wonderfully warm finale, a respite from the slam-bang "Snow's Execution" and a necessary segue to the final track.
There's so much going on in "Transfer Command" I don't know where to begin! What a rich track, with so many different ideas, moods, paces, and tones. Great action, great themes, great mystery, it's got it all.
"Rebels Attack" is up there among my favorite tracks and reprises the wonderful "Air Raid Drill" material from Mockingjay Pt. 1, and I do think it's the most lively piece on the album (along with "Sewer Attack"). "Rebels Attack" might be the second-best track in my opinion, the first being the absolutely sublime, basically perfect final track.
Okay, done for now...
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