2007’s Spider-Man 3 was an overstuffed disappointment of a feature, cramming 2-3 movies’ worth of material into a single film. Faced with creative burnout on all levels, director Sam Raimi (who had been doing nothing but Spider-Man for seven years) and his crew were unable to come to terms with Columbia for a Spider-Man 4. So, following the “remake, reboot, reimagine” formula, Columbia opted to start an entirely new series of Spider-Man films less than 5 years after the last Raimi picture. While the studio lavished cash on new director Marc Webb and a cast of young stars, it was difficult to overlook the feeling that pervaded what became The Amazing Spider-Man: that it was a soulless and unnecessary corporate product designed solely to keep a merchandising engine chugging, a toxic stew of Raimi leftovers and nearly shot-for-shot remakes of the 2002 Spider-Man with greedy corporate fingerprints all over everything down to Andrew Garfield’s Edward Cullen hairdo. Domestic audiences greeted the film with a bemused shrug and the lowest grosses of the entire franchise in summer 2012, but robust overseas box-office numbers and the ever-present, overriding need for franchise maintenance made 2014’s The Amazing Spider-Man 2 a foregone conclusion.
To Marc Webb’s credit, he did attempt to assemble the best cast and crew he could under the shadow of the product’s utter crassness. As The Amazing Spider-Man was only his sophomore effort after the delightfully engaging 500 Days of Summer, there was some speculation that 500 composer Mychael Danna might finally get a crack at a superhero film after being rejected from 2003’s Hulk. Instead of Danna, and instead of attempting to lure back Danny Elfman (who was as tired as Raimi of the web-slinger), Webb made the surprising choice of James Horner to score his remake/reboot. Horner needs no introduction to fans of resounding orchestral sci-fi/fantasy pictures, with a proven record of genre success from 1982’s Star Trek II to 2009’s Avatar. He had dabbled in superhero scoring of a sort with 1991’s The Rocketeer, which had produced one of the composer’s most popular scores, but he had never been called upon for a full superhero score before, and certainly not one with a desperate desire to be contemporary and hip. Webb reportedly needed to persuade Horner to accept the assignment, but the veteran composer eventually acquiesced.
Horner essentially adopts a fusion of his typical style and the contemporary electronic approach that Danny Elfman took with the original Spider-Man which the film essentially remakes. He debuts his main theme in “Main Title – Young Peter” and it’s a classic Horner melody that’s both soaring and innocent and often (as in “Main Title”) enhanced by surprisingly Elfman-like flourishes and occasional choral flourishes. You’d never confuse the two, though: while Elfman’s theme was designed to be easily deconstructed and referenced, Horner’s music is long-lined and almost always at the forefront when it appears rather than being quickly alluded to. In its most triumphant outings, as in “Saving New York” and “Spider-Man End Titles,” Horner’s new theme stands alongside the best of his fantasy-adventure work from the 1980s that won him much of his current fanbase. The composer also exhibits an uncharacteristic playfulness with the theme in “Playing Basketball” and “Becoming Spider-Man,” adapting it in a style not unlike “Foraging for Food” in The Land Before Time.
Again like Elfman, Horner also created a tender love theme, though Horner’s is primarily piano-diven and often performed with the composer himself at the keyboard. From its first appearance in “Rooftop Kiss” to its lengthy airing in “I Can’t See You Anymore,” and “Promises,” the theme is vintage romantic Horner. It’s neither more or less effective than Elfman’s more fully orchestral construct, but very soft and moving in its support of the romance angle (which reviewers agreed was the film’s strongest aspect). Its airtime is limited in comparison to Horner’s main Spider-Man theme, but it was effective enough for Hans Zimmer to adopt a similar piano-centric approach (albeit with added electric guitars) in the sequel. With the combination of his love theme and his rousing main theme, the best parts of The Amazing Spider-Man are like modernized and updated versions of Horner’s lush sci-fi/fantasy sound of the 1980s.
The score is not perfect, though. There is a complete lack of a thematic identity for the villainous Lizard, or at least one that is so subtle as to be almost beneath notice. This is a major omission; while Horner creates some attractive stand-alone Lizard material in “Metamorphosis” and the action-packed “Lizard at School!” the lack of a consistent theme for the villain prevents the kind of thrilling thematic duels present in the best parts of Elfman’s scores. The inclusion of vocalist Dhafer Youssef in some cues, who worked on Black Gold with Horner earlier in 2012, is mystifying. His wailing doesn’t seem to serve any purpose for the film or its setting, save to serve as an example of a film scoring trend from the 2000s best forgotten today. And, of course, as with any James Horner score, the issue of self-referencing and musical recycling rears its head: parts of “Becoming Spider-Man” strongly resemble Horner’s magnum opus Star Trek II, and influences from the aforementioned The Land Before Time and particularly The Rocketeer are there for keen listeners. The music is less guilty of this than much of Horner’s recent output, though, and his distinctive but derided four-note danger motif thankfully makes no appearance.
The middling domestic success of The Amazing Spider-Man sent the producers scrambling to up the ante for the sequel they had already greenlit, and in addition to packing the subsequent The Amazing Spider-Man 2 to the gills with big names on the marquee, they dumped Horner in favor of the superhero flavor du jour of the 2010s, Hans Zimmer. The Amazing Spider-Man would also be the beginning of a particularly dark period for Horner: in addition to his replacement by Zimmer, his music was rejected from Romeo and Juliet and Ender’s Game in 2013. Increasingly frustrated with the current Hollywood scoring climate, and the domination of Zimmer’s methodology within it, Horner was left without any scoring assignments of any sort during 2013 and 2014. Even so, The Amazing Spider-Man score is the one part of an otherwise wretched film to emerge unscathed, and as James Horner’s first true superhero score and last major blockbuster assignment before his tragic 2015 death, it has a wealth of beautiful music to offer in the spirit of his scoring achievements in the 1980s. As long as one is prepared for the Hornerisms which inevitably accompany the composer’s work and strong echoes of Danny Elfman’s approach to the web-slinger, listeners will find much to enjoy.