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“The music for PATHFINDER is likely just
what you might expect. Brooding, pulsing, occasionally tumultuous -
are all things that might spring to mind. While PATHFINDER contains
all of the above, there is a surprising amount of thematic music.
The end result is a better-than-expected soundtrack presentation."
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Jonathan Elias'
Pathetique Pathos
By Christopher Coleman
For about a year word
and footage of
director Marcus
Nispel's PATHFINDER
slowly made its way
around the internet
and finally to the
cineplex. Those
looking for their
first real dose of
"Conan" in the 21st
century seemed to
salivate at the very
mention of the film's
title...or perhaps it
was just at the
thought of seeing
actress Moon Bloodgood.
Anyway, others
half-covered their
eyes and their mouths
as they could detect
the train-smash of a
film that was to
eventually be
unleashed upon
audiences.
PATHFINDER
delivered exactly what
it portended to
deliver - a lot of
highly stylized
violence, a lot of
blood, shamelessly
empty dialogue, and a
teaspoon of
plot...make that half
a teaspoon. For the
film music fan, the
most interesting
element of PATHFINDER
was the potential of a
decent score from
composer JONATHAN
ELIAS.
One of the best
descriptions of this
film that I have heard
is that PATHFINDER
was simply "part
Eragon and part
Apocalypto." As odd of
a pairing as that
might seem, it's,
unfortunately
accurate. Like the
film of Eragon,
Pathfinder was an
ambition unrealized
and like Apocalypto it
was a bloodfest. Apt
as that description
might be for the film
as a whole, it,
thankfully, doesn't
fit Jonathan Elias'
score. Actually, the
music for
PATHFINDER is
likely just what you
might expect.
Brooding, pulsing,
occasionally
tumultuous - are all
things that might
spring to mind. While
PATHFINDER contains
all of the above,
there is a surprising
amount of thematic
music. The end result
is a
better-than-expected
soundtrack
presentation.
The overall tone for
PATHFINDER is
set in the first
track, "Opening
Credits." Here we get
our first dose of
percussion, wordless
vocals, and tension
building strings with
brass accents. This
instrumentation is
used most often in the
more intense moments
of the film (and there
are a lot of them).
"Vikings Attack" (7)
goes down this same
musical road before it
ends with a
surprising, soprano
lead vocal. "Ghost
Fight" (9) treads the
line of sounding more
like a horror score
(with native american
overtones) until
things become quite
industrial at just at
the 2/3 mark. Even
more creepiness oozes
its way into the score
in tracks such as "Eye
for an Eye" (11) and
"Cave Maze" (16). This
moaning didgeridoo
found in "Eye for an
Eye," among other
places, is the
creepiest thing I've
heard in a score in a
long time. One
of the most powerful
tracks is "First Kill"
(10) where Elias
really gets the
orchestra and choir
going. The first half
is bold and beautiful,
but by the second half
we are returned to the
staples of percussion,
electronic samples,
and the obligatory
anvil hits. Pathfinder
goes beyond the
somewhat formulaic,
action/thriller stuff
and the few moments of
respite are met with
some the scores most
interesting moments.
"Sanctuary" (4) is are
first musical
breather. Here we get
a very melancholy,
lullaby-like piece
lead by woodwinds and
supported by sumptuous
string work. The
love-theme is
introduced in track 6,
"Starfire." It is a
solid piece which
Elias pushes, by
track's end, to a
wonderful crescendo.
This theme makes a
brief, but welcome,
return at the
conclusion of "Ice
Lake" (19). It's a
shame this theme
didn't get utilized
more. Other tracks
such as "Healing
Ceremony" (13), and
"Moving on" (14), help
round out
PATHFINDER.
Without such pieces,
this score would
certainly fall into
the crowded company of
countless other
action/thrillers.
The soundtrack comes
to a very optimistic
and satisfying
concluding track
"Prophecy Fulfilled"
(23). The hope
and brightness of this
track truly stands out
from the majority of
this score and gives
glimpse of where
Jonathan Elias can go
when the opportunity
affords itself.
Unfortunately, more
often than not, he has
tied himself to darker
films which rarely
give him such open
doors.
With very personal
works like
THE PRAYER CYCLE,
it's a surprise that
Jonathan Elias doesn't
do more projects which
allow him to utilize
his immense talent.
It was my hope against
hope that PATHFINDER
would not be full-on
action...full-on
thriller. Well
my hopes were met in
part. Following
on the heals of 300,
PATHFINDER
leaves a lot to be
desired, yet the score
is might be more
approachable than
Tyler Bate's
hyper-aggressive work.
There is some heart
and tenderness in
Elias' work
here...enough to
warrant serious
purchase
consideration.
In the end,
PATHFINDER, might end
up with at least a
nomination in the 2007
Cue Awards for
"Surprise of the
Year." Although
it might not be true
for the film, the
score for PATHFINDER
could have been
worse....much worse.
Rating:
7/10
|
Track |
Track Title |
Track Time |
Rating |
|
1 |
Opening Credits |
1:28 |
*** |
|
2 |
The
Discovery |
2:02 |
**** |
|
3 |
Remembering |
2:28 |
**** |
|
4 |
Sanctuary |
1:54 |
*** |
|
5 |
Haunted |
3:03 |
*** |
| 6 |
Starfire |
1:39 |
**** |
| 7 |
Vikings Attack |
3:12 |
**** |
| 8 |
The Aftermath |
1:44 |
*** |
| 9 |
Ghosts Fight Begins |
2:45 |
*** |
| 10 |
First Kill |
3:47 |
**** |
| 11 |
Eye for an Eye |
1:55 |
*** |
| 12 |
Cave Surprise |
2:01 |
*** |
| 13 |
Healing Ceremony |
2:44 |
*** |
| 14 |
Moving On |
2:32 |
*** |
| 15 |
Quick Kills |
4:55 |
*** |
| 16 |
Cave Maze |
3:34 |
** |
| 17 |
The Last Stand |
2:18 |
*** |
| 18 |
Pathfinders Destiny |
2:38 |
*** |
| 19 |
Ice Lake |
2:00 |
*** |
| 20 |
Vikings Ascent |
1:19 |
*** |
| 21 |
Mountain-side Battle |
4:16 |
*** |
| 22 |
Gunnars Victory |
2:12 |
*** |
| 23 |
Prophecy Fulfilled |
5:39 |
***** |
| |
Total Running Time (approx) |
62 minutes |
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