Captain America: The First Avenger had been a modest hit for Marvel in 2011, and the character had been further spotlighted in The Avengers a year later, helping to undo some of his long-term neglect in other media and bringing him new fans. As part of Marvel’s “Phase 2” lead-up to The Avengers: Age of Ultron, Cap got a sequel in Captain America: The Winter Soldier which traded in Joe Johnston for the Russo brothers and straightforward 1940s heroics for the paranoia and conspiracies of the 1970s. The Russo brothers–best-known for Community of all things–managed to combine the existing film mythos, explosive action sequences, and a timely question-the-power attitude into a film that resounded surprisingly well with critics. For their part, audiences took the film nearly $100 million north of its predecessor, outgrossing even rival Sony’s terrible big-budget The Amazing Spider-Man 2.
The Russo brothers claimed that they wanted a more “modern” sound for their outing, and in the film parlance of the 2010s, “modern” means Hans Zimmer’s Remote Control studios. Therefore, Alan Silvestri was not invited to return and instead longtime Zimmer associate Henry Jackman got the job. By 2014, Jackman was in the process of solidifying his mainstream breakout, with a series of scores with ever-escalating budgets that had brought him from Remote Control’s back benches to the A-list. His superhero score for X-Men: First Class had been serviceable with some highlights, and he had even replaced Silvestri in a franchise before, with his Remote Control style G. I. Joe: Retaliation succeeding the Silvestri’s more traditional Rise of Cobra.
As one might expect from the Russo brothers’ instructions to Jackman, the composer makes no reference whatsoever to Silvestri’s original Captain America theme. It was tracked in from the original score on a few occasions (most notably the introductory jogging scene) but Jackman never arranged the theme himself and none of the tracked portions of the theme appear on the album. It’s not surprising that Jackman doesn’t use the theme, as none of the composers in the Marvel cinematic universe has ever adapted another’s theme (outside of Brian Tyler’s momentary reference to Silvestri’s Cap in Thor: The Dark World) but it’s more disappointing because it was the best and most iconic theme the series had produced thus far. Jackman does fashion a replacement, heard first in “Project Insight” and “The Smithsonian” with its most prominent appearances in “Time to Suit Up” and “Captain America.” While it is essentially orchestral in character and has the requisite drums and brass, Jackman’s theme is never performed with the boldness of Silvestri’s, and it virtually disappears from the score for large chunks of time, either due to genuine absence or being buried so much under layers of synths and sound design that it’s simply not audible.
Action music is the order of the day, by and large, with The Winter Soldier filled to bursting with white-knuckle action that’s perhaps the most urgent and brutal of any movie in the Marvel universe thus far. With “Lemurian Star” and especially “Fury,” Jackman provides his version of the serviceable and thematic, if not necessarily exceptional, combat cues from the first film, and one can immediately see where the Russo brothers’ inspiration came from. There are titanic brass bursts straight out of Hans Zimmer’s once-innovative but now-tired Inception, synth loops and snarling electronics from John Powell’s once-innovative but now-tired The Bourne Identity, and constant aurally-unpleasant music-as-sound-effects from Steve Jablonsky’s Battleship. It works on an okay level, a basic level, on screen surrounded by taut explosions, but by “The Winter Soldier” and “Countdown” listeners will be wishing for even John Debney’s most underperforming orchestral mush from Iron Man 2. In doing what he was asked, Jackman created what is, on album, the most irritating collection of modern action film scoring cliches since the aforementioned Battleship and Captain Phillips.
The titular Winter Soldier often seemed lost in “his” own film, more of a pawn than anything, and the same goes for his thematic representation. If Jackman did in fact pen a theme for him, it’s lost under so many layers of synths that he needn’t have bothered; none of the Marvel films have had a strong musical identity for their villains, and the Winter Soldier’s thematic material is about as prominent and memorable as Ramin Djawadi’s Iron Monger material from the very first film in the series. The film’s true villain is represented by soft and murky music in “Alexander Pierce,” while the motif developed in The Avengers for the Black Widow hasn’t even an echo in the similarly turgid “Natasha.” The resurgent HYDRA organization is represented by still more vague churning when it’s not underscored by still more action music like the self-titled “HYDRA.” In fact, by the end of the lengthy Intrada album (which is the same as a digital download or a physical platter in all but cost) one senses that the directors’ instructions to Jackman were to avoid any overt themes or motifs at all outside of tracked-in Silvestri excerpts and the few instances where an equivalent was needed.
Jackman’s score thus stands out as the weakest link in the film, and unfortunately its success and the Russo brothers’ return for the upcoming Captain America: Civil War makes it likely that neither Silvestri’s theme nor any approximation of it will appear in Cap’s future adventures (and it remains to be seen if Brian Tyler, who referenced it in Thor: The Dark World, will do so again in Age of Ultron). Jackman is a capable composer with several creative scores under his belt, but in this case he met the Russo brothers’ request for “modern” with what is, in the film, essentially violent sound effects and what is, on album, a laundry list of the worst characteristics of the kind of Remote Control style textual and electronic scoring that dominates the blockbuster scene in the 2010s. It’s not the worst offender by any means, but the experience it offers on album is probably the worst of any Marvel film so far, even Ramin Djawadi’s underachieving Iron Man. And it goes without saying that seeing Silvestri’s traditional theme-based score that largely avoided the scoring cliches of its day succeeded by a score that embraces every last one of them is disheartening.