Harry Potter & The Deathly Hallows Part 1
by Alexandre Desplat
Harry Potter & The Deathly Hallows Part 1
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Harry Potter & The Deathly Hallows Part 1 Composed by ALEXANDRE DESPLAT
Water Tower Music (2010)
Rating:
8/10
Soundclips below from AmazonMP3
“[Alexandre] Desplat
clearly intended to stamp his own identity on the score, and does
so, often expertly. However, he unfortunately does not manage to
give the film the standout theme it so clearly craves and surely
deserves.”
Desplat on Hallowed Ground
Review by Richard Buxton
And so it comes to an end. The final
chapter of the phenomenally successful Harry Potter series is nigh. The
seventh and penultimate film adaptation of the series of novels signals
the film franchise’s imminent 10th year in existence, and with it comes
the inevitable and insatiable hunger for pure unadulterated fantasy and
adventure. For a series approaching its eighth iteration, Harry Potter has
shown remarkable endurance in an ever-changing and unremittingly demanding
industry. One staggering measure of its success is the fact that over the
course of the first six films, the gross revenue has amounted to
approximately $5million, a figure that is over four times the total budget
for the six films. Such financial returns are the result of a synergy of
numerous people and circumstances. The immense popularity of the novels is
a good start, but purely in terms of film, the way in which the themes and
tone of the series has developed ensures audiences never grow weary of the
magical adventures.
From the optimistic and upbeat tonality of the first films, the series has
taken a gradual turn into darkness. As the audience has grown up with the
characters themselves, they understandably demand a more complex narrative
that is of a more mature nature when compared to the earlier films. With
this evolution the score has similarly been transformed, out of necessity.
ALEXANDRE DESPLAT's efforts heard in part 1 of THE DEATHLY HALLOWS
continue the descent into darkness.
As with any score in the series, that of THE DEATHLY HALLOWS has been the
recipient of continuous and fervent anticipation from the insatiable
legions of score fans and film fans alike. The fact that director David
Yates, being so impressed with the score immediately hired Desplat for
work on the second part only heightens the already stratospheric
expectations. Such pressure is only heightened when one realizes that the
series began with John Williams and a collection of instantly recognizable
themes. To the dismay of countless fans, the heights achieved by Williams
in the first three films were never quite reached in the subsequent
offerings. However, one indication that this score may be a return to form
is the presence of Conrad Pope as the score’s orchestrator, as he was for
the opening three films.
One fear that arises once a franchise takes the inevitable ‘dark turn’, is
that the score will suffer as a result of this significant change. Often
scores are justifiably labeled as generic and lacking in imagination once
the mature themes take hold. The opening of THE DEATHLY HALLOWS makes no
apparent effort to quell such fears, as demonstrated in “Oblivate”. While
pleasing to the ear and fitting with the tone, the repeating string
ostinato brings the likes of Zimmer’s “Batman” theme to mind, rather than
that of Harry Potter. The following track, “Snape to Malfoy Manor” begins
in a similar fashion, with the pulsing strings acting as the driving
force, a force that later returns in the latter stages of “Death Eaters”.
Throughout THE DEATHLY HALLOWS it becomes difficult to establish exactly
what Desplat intended the film’s main theme to be. Traces of a rising and
inspirational theme can be heard in the previously mentioned “Oblivate”
while a more traditional theme graces the opening moments of “Polyjuice
Potion”.
While the opening tracks display Desplat’s obvious proficiency, it is in
“Sky Battle” that Desplat really lets loose with a constantly shifting
action piece. One of the standout pieces of the score, “Sky Battle” offers
a statement of intent during its first forty seconds as the bold brass
triumphantly enters the fray, before the cacophony of strings and brass
begins moments later. The piece truly lives up to its name as it rarely
lets up in its variety of tone and pace.
While the search for a true theme for the film continues, Desplat still
manages to find ways to evoke the emotions that are required. It is true
to say that the score struggles to establish its own identity, but it
cannot be said that Desplat ever becomes entirely predictable. “Harry and
Ginny” puts the breaks on the intensity as the softness of the piano and
strings emphasize the more emotional side of THE DEATHLY HALLOWS. This
change seems to be instantly forgotten in “The Will” as the triumphant
brass begins to stir once more, but this is quickly subdued as the tone
returns to a more somber one as the most memorable of all of the series’
themes creeps in.
A much-needed foray into one of the film’s rare themes can be heard in
“Dobby”. The brass echoes the suspenseful progression before the driving
strings return. This theme returns in “The Locket” as the tension ramps up
in the closing seconds. The suspense created in “Dobby” is quickly opposed
by the mischievous tone of “Ministry of Magic”, another example of the
stronger themes to be heard in the score. “Fireplaces Escape” ramps up the
pace of the score in its opening and closing moments. The tumultuous and
jarring strings and brass combination only momentarily lets up in the
middle of the piece.
Desplat manages to provide THE DEATHLY HALLOWS with a prominent duality in
its personality and does so in particularly impressive fashion in “Ron
Leaves”. The subtle duel between somber strings and defiantly triumphant
brass works well to evoke a simultaneous sense of loss and optimism. This
duality continues in “Destroying The Locket”. The atmosphere in this track
begins with the sense of adventure of adventure but this tone is quickly
subdued by omnipresent unease before the dissonant and climactic close.
“Ron’s Speech”, a light and easy listening experience, is a foreshadowing
of the events to come, acting as a final moment of optimism before the
film descends into its conclusion, ending with the inevitable cliffhanger
leading into part 2. “Captured and Tortured” begins the final approach
towards the end with a strong reliance on percussion, before a subdued and
suspenseful end that paves the way for “Rescuing Hermione”. The mere
mention of the word “Rescue” evokes images of heroism and similar feelings
within the music. However the piece never reaches heroic heights, rather
it maintains constant tension in its strong variation. As part 1 leads
into part 2, the propulsive strings heard earlier in the score make a
return to accompany the characters descent into their ultimate fate in
“The Elder Wand”.
Long-time fans of the Harry Potter films and in particular the scores no
doubt be disheartened by the news that Desplat does little to hark back to
Williams’ memorable themes heard in the genesis of the saga. This does not
render THE DEATHLY HALLOWS redundant however. Desplat clearly intended to
stamp his own identity on the score, and does so, often expertly. However,
he unfortunately does not manage to give the film the standout theme it so
clearly craves and surely deserves. For fans of Desplat, THE DEATHLY
HALLOWS is strongly recommended, but for others it may serve as a reminder
that replacing Williams is often a feat that remains unaccomplished.
