Bowing the Thanksgiving after Iron Man 3, Thor: The Dark World was the second post-Avengers Marvel cinematic universe sequel, and compared to its immediate predecessor it had a very difficult development. Original director Branagh passed on the project, and two more would-be helmers briefly warmed his chair before the studio settled on relative newcomer Alan Taylor, a veteran of several highly-regarded TV series but with a thin film resume. Casting was still another headache, as was writing, and the project turned into something of a revolving door for high-profile comings and goings. It’s a miracle that the final product is as enjoyable as it is, mashing up Star Wars, The Lord of the Rings, Portal 2, and the original Thor for another tale that is never afraid to let its ponderousness be deflated by its tongue in its cheek. It was successful to the tune of a bit more than its predecessor, but wound up getting lost in the scuffle between the popular Iron Man 3 and the acclaimed Captain America: The Winter Soldier.
The second Thor suffered its share of development problems on the scoring stage as well. Patrick Doyle bowed out with Kenneth Branagh to work on the latter’s disastrous Jack Ryan: Shadow Recruit after some early talks, and director Taylor then settled on an unconventional choice: Carter Burwell. The cerebral Burwell was in the midst of his greatest period of box-office success due to his overachieving scores for three of the five risible Twilight films, but it was clear from the beginning that Marvel was nervous about his ability to carry a holiday superhero blockbuster. Indeed, Burwell was unceremoniously rejected from the project as it entered post-production and replaced with the composer who had been the producers’ choice all along: Brian Tyler. Tyler, fresh off his well-received score for Iron Man 3, thus accomplished the Hans Zimmer-like feat of scoring two superhero movies in the same calendar year.
Despite–or perhaps because of–the relatively short timespan in which he had to write it, Thor: The Dark World has many of the same building blocks as Iron Man 3. It combines a resounding theme for the hero with a scoring approach that seeks to merge the Remote Control “wall of sound” characteristics expected of all post-Batman Begins superhero scores with more traditional orchestral modes. Essentially, Tyler does his best to subvert the dominant Hans Zimmer superhero scoring paradigm while remaining outwardly loyal to it, an approach that worked so well for Iron Man 3 that it led to Tyler almost single-handedly taking over the Marvel cinematic universe. As such, the sound is “bigger” in almost every way compared to the original Thor: greater use of choir, a bigger-sounding ensemble beefed up with more synths, and hyperbolic actions sequences that out-rowdy the rowdiest parts of Thor–and, unlike Doyle, Tyler seems completely at home writing in this mode.
Many fans of Patrick Doyle were disappointed that his noble brass theme for Thor was not used by Tyler; stories vary, but either Tyler or the producers were unwilling to pay the re-use fees associated with the theme (and, to be fair, it’s doubtful that Burwell’s rejected score used it either). Tyler’s new theme often gives the primary ascending melody to a gigantic choir set against brass. One can hear some echoes or influences of the original theme within it, and if it’s perhaps not as strong as Doyle’s, Tyler uses it much more consistently and weaves it more deeply into his underscore. A rising secondary phrase within the theme is used almost as much as an accent, again almost always either taken up by or supported by a full chorus.
One of the major problems with the original Thor was its lack of thematic attention to the villains of the piece. With the slightly ridiculous addition of Dark Elves into The Dark World, Tyler does make some basic attempts to portray their depredations. Cues like “Lokasenna” and “Origins” combine a vague motif of snarling menace with a world music approach reminiscent of Tyler’s own Children of Dune with strong echoes of Howard Shore’s epochal scores for his own elves. Loki’s thematic representation is sneaky and subtle with harp accents (“The Trial of Loki,” “Shadows of Loki”), and while it’s certainly more recognizable than Doyle’s efforts at the same, one wishes that Tyler could have developed it into a fuller theme.
Much of the lengthy album is given over to muscular action cues that feature Thor’s theme, or variations thereof, in straightforwardly crowdpleasing fashion. There are no musical winks to the audience for some of the more goofy moments of the film, and no equivalent to the glorious “Can You Dig It?” from Iron Man 3, but it’s always tuneful music crafted with consummate skill. Tyler’s one concession to goofiness is in “An Unlikely Alliance,” where he inserts a brief blast of Alan Silvestri’s theme from Captain America for one of the film’s funniest moments–interestingly, the actual score for Cap’s own sequel has none of the theme, making Tyler’s use of it, in retrospect, a bit of a last hurrah. The album also concludes with one last piece proving Tyler’s increasing grip on the Marvel universe: a whirling, James Horner-esque fanfare for the Marvel logo that combines beats from Tyler’s two Marvel scores.
Much like The Avengers before it, Thor: The Dark World was primarily a digital release, with a physical CD pressing from boutique label Intrada intended primarily for collectors at a slightly higher price point. Unlike The Avengers, though, Intrada’s platter has no extra music; the digital-vs.-physical issue being solely a personal preference in this case. Tyler did fine yeoman’s work on Thor: The Dark World, especially considering the short time period he had to write it and the pre-production teething problems the film had. If his theme for Thor himself is a tad weaker than Patrick Doyle’s, the composer makes up for it with excellent integration of the motif into a score that’s comfortable in its own skin and has a set of stronger–if still somewhat underdeveloped–secondary themes. With 2015’s The Avengers: Age of Ultron next on his docket, Tyler proved with Thor: The Dark World that his ability to please producers and score collectors alike with Iron Man 3 wasn’t a fluke.