The action in the score is evident in cues like "The Dark Mark", "Harry Sees Dragons", "The Black Lake" and "The Maze". This is followed by a Debussey-styled melody for the Beauxbaton team, and a stirring Wagnerian motif for the Bulgarian team from the Durmstrang school. "Foreign Visitors Arrive" is one of my favorite cues on the album, as we hear a version of "Hedwig\'s Theme" as Harry and his friends arrive at school. From the opening cue ("The Story Continues"), in which Doyle also presents a minor version of Williams\'s "Hedwig\'s Theme", the tone of the next 75-minutes has been established. The resulting score that Doyle provides is a dark and energetic effort, but it - like the film - doesn\'t live up to the high standard set with last year\'s Harry Potter and the Prisoner of Azkaban.ĭoyle\'s work is dark and ominous, filled with brash horns, dramatic chords, and stirring energy. As a result, the film has a very simple plot, with a few major set pieces tying it all together. Mike Newell\'s direction is solid, but with Goblet of Fire being the longest of the Potter books, and the film only running 2.5 hours, there were a lot of subplots that were dropped. Composer John Williams had provided the score for the first three Harry Potter films, but for this round, Patrick Doyle has stepped in. He\'s been entered into the Tri-Wizard Tournament, a series of three increasingly dangerous tasks - and he can\'t seem to get a date for the Yule Ball. In Harry Potter and the Goblet of Fire, he\'s having bad dreams about Voldermort, who he believes to be making a return, and on top of it, someone is setting him up. Another Harry Potter film is upon us, and this time, the dangers that Harry is facing is even greater than ever.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |