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United 93
Composed by John Powell
Varese Sarabande Records
Rating: 7/10
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 The
End (347 kb)
Dedication (355 kb)
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“I cannot recommend “UNITED 93” as a pleasant
listen. Nor can I deny it as a notable album. JOHN POWELL succeeds
commendably with an inarguably difficult task, . . .”
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Powell remembers 93
Review by Steve
Townsley
When Paul Greengrass
directed the first of
what was to be two
major films concerning
the events of
September 11th, 2001,
he secured the talents
of JOHN POWELL
as composer. Powell
and Greengrass
collaborated
previously on “THE
BOURNE SUPREMACY”,
when Greengrass took
over the franchise
from director Doug
Liman. Greengrass’
film, “UNITED 93”,
focused on the events
that brought the
fourth plane, whose
ultimate destination
was not an iconic
national building, but
a field in
Pennsylvania.
Writing this review is
difficult, because
everyone has their own
opinion and emotions
regarding the events
of that day. But if
merely remembering it
is difficult, the task
of making the film and
composing the score
for UNITED 93
cannot have been much
simpler. Many people
questioned whether the
world needed or wanted
a film about that day,
but whatever decisions
were involved, the
film was made.
Sadly, this is no
contrived Hollywood
plot device, with no
happy ending to
playoff with grand
fanfare. To provide a
score about these
events is extremely
delicate, to use an
extreme
understatement. This
film is a drama. This
film is also a horror.
There is action, and
there are heroes.
There is tragedy and
loss. There are
several directions the
score could go, but
very few that would
provide the right
amount of respect and
integrity. There is no
cheesiness to this
music—none at all.
Powell’s approach is
very sobering. There
are no “evil” themes
here, only moments of
ominous tenseness.
Powell has not
composed any heroic
power-anthems, only
straightforward,
percussive action.
This score is not an
easy listen, nor is it
one that is highly
thematic, or even
memorable. Powell
plays it
straight-laced, even
though we want to feel
something.
Powell begins to
conclude the score
with a 10 minute cue
entitled “Phone
Calls”. We do not need
liner notes to
understand the
significance of this
cue. The cue pulses to
the last minute, when
the beating stops, and
gives way to a
wordless vocal,
calling out softly to
the last. The final
two tracks on the CD
are the most unique on
the entire album, and
they are something of
a bitter gift. “The
End” is a terrifying
tragic cue, that does
not linger, only
builds and builds, and
then forgivingly, ends
suddenly and briefly.
“Dedication” is a
quieter, more pensive
cue, that is perhaps
reminiscent of Thomas
Newman or Lisa Gerrard,
and has that air of
familiarity about it,
but still provides an
element of uniqueness.
I cannot recommend “UNITED
93” as a pleasant
listen. Nor can I deny
it as a notable album.
JOHN POWELL
succeeds commendably
with an inarguably
difficult task, and he
has achieved a
landmark score that
challenges listeners,
though probably will
not invite many to the
film music genre.
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Track |
Track Title |
Track Time |
Rating |
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1 |
Prayers |
6:02 |
|
|
2 |
Pull the
Tapes |
4:14 |
|
|
3 |
Take Off |
3:07 |
|
|
4 |
2nd
Plane
Crash |
2:27 |
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|
5 |
Making
the
Bomb |
3:57 |
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| 6 |
The Pilots |
1:21 |
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| 7 |
The Pentagon |
1:43 |
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| 8 |
Phone Calls |
10:49 |
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| 9 |
The End |
5:50 |
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| 10 |
Dedication |
3:51 |
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| |
Total Running Time |
43:22 |
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