- Apr 18, 2016
- 0 comments
- by Fully Filmy
Before we begin, I suggest you play THIS:
Have you even listened to a piece of music and felt that it was out of the world? Do you feel snatched from reality and taken into a void of nowhere?
Being a fan of Original Soundtracks, I have this habit of watching a movie for a second time just for the background scores. But when it comes to movies which have been composed by Zimmer, just listening to the scores on YouTube makes me visualize the scenes. It’s got the power to make the movie come in front of your eyes with its deep music. I felt the same for one of my favorite scores ‘Rafiki’ from Lion King. Every time I listen to it, I can actually see Rafiki, Mufasa and Simba. “Flight” from Man of Steel gets me all amped up with adrenaline with its powerful motivation that superman gets when he tries to fly for the first time.
What intrigues me about Zimmer is that he can rip out our soul in any genre of music regardless of the base theme for the story.
On a more fundamental level, his beautifully sequenced melancholies in his earliest works i.e. The Lion King was so soothing on a spiritual level when the whole jungle life bows down to Simba’s acceptance into the Circle Of Life wasn’t just a deep execution. It was just blissful.
What other example than the Gladiator to explain how Zimmer portrayed freedom. The story is about a general who just wanted to get back home, get loose from all the political drama he was caught in and the score ‘Now We Are Free’ transcends us to a higher state to speak about freedom.
One word to describe Zimmer’s influence in the Batman Trilogy is ‘Legendary’. It basically redefined the theme music for the greatest work of fiction such as Batman. From a sad young boy of Bruce Wayne to the greatest Detective superhero, Zimmer covered every aspect of life for the Dark Knight in parallel with reality. His music which portrays the Fall and Rise of the Bat was simple Legendary.
‘Time’ from Inception took us through various levels of dream land and finally to after which even we weren’t able to differentiate between the dream and reality of music. We went under one level of a dream with each and every OST from Inception, making the whole experience dreamy.
To someone who doesn’t understand human emotions very well, I had quite a difficulty getting through emotional scenes. But it ‘S.T.A.Y’ simplified it so much that I found myself tearing up for the father-daughter scenes in Interstellar solely thanks to Zimmer’s score. I watched the movie thrice for the original soundtracks alone.
Man Of Steel was a risky attempt for Zimmer but he didn’t fail to surprise me. He actually pulled it off, with typical goosebumps material. What I noticed with his soundtracks are, he is suited for themes that reach out to your soul and rips it apart be it a happy or a sad moment. Hits you right in the feels.
When he announced he is done with scoring for superhero movies, I felt it was for the better. From what I experienced with Batman vs Superman, it wasn’t that great. It was a rip off of Man Of Steel with a few editing and mixing. Such movies are for entertainment purposes and it’s more of a Junkie XL thing.
But Zimmer is ‘Adhukkum mela’.
So we have one request Mr Zimmer, please find the first flight to Chennai and come here. Many bad bad uncles like DSP and Anirudh are producing background scores that make us want to rip our ears off and bury it along with Kamal's hopes of releasing Marudhanayagam.
So neenge Vandhaa mattum Podhum _/\_