The final puzzle piece to fall into place for the Marvel cinematic universe before 2012’s The Avengers was Captain America. Though he’d been around since World War II, indeed before Marvel Comics was Marvel Comics, Captain America–like his stablemate Thor–had a very weak presence in other media. A few TV appearances, a 1940s series, and a disastrously bad 1990 theatrical film that was barely released…all of them seemed to suggest that audiences were uninterested in a character whose patriotism was passe in a cynical age. Marvel bet otherwise in 2011, putting accomplished filmmaker Joe Johnston at the helm of Captain America: The First Avenger, a tale that essentially took all the beats of the 1990 version but did them much better, ending with the titular super-soldier being brought forward to the present day. The film attracted good notices and more or less tied Thor in box-office receipts, but laid the groundwork for a sequel that would double those numbers.
Director Johnston had worked with a diverse stable of composers throughout his career, with an early partnership with James Horner for his first four films and later collaborations with Mark Isham, Don Davis, James Newton Howard, and Danny Elfman. Surprisingly, he chose someone he’d never worked with before instead: Alan Silvestri. Silvestri is probably still best-known to audiences for his work on 80s sci-fi classics Back to the Future and Predator, but he had been working steadily since, and had produced a series of old-fashioned action scores including The Mummy Returns and Van Helsing since the turn of the millennium. Called in with only seven weeks to score, Silvestri was asked to write a similarly old-fashioned score for Captain America.
Right away, in “Main Titles,” Silvestri teases a theme that he develops across the score, appropriately bold and noble and full of brassy patriotism. “We Did It,” “Triumphant Return,” and (for some listeners) the “Captain America March” present the theme in all its glory, although it is worked into a satisfying amount of the action music as well. While it won’t unseat the composer’s themes from the 1980s anytime soon, it is a breath of fresh thematic air in the Marvel cinematic universe which until then had largely had relatively milquetoast themes with even the best ones undercut either by their lack of use (Iron Man 2) or the uncomfortable inclusion of studio-mandated “modern” elements (Thor). The theme is perhaps closest to Michael Giacchino’s early music for the Medal of Honor video games (though the recent entries in that series have also suffered under dreadful “modern” scores) and the comparison is an apt one, with a sense of grand orchestral nostalgia amid all the derring-do.
The villainous Red Skull and his so-evil-even-the-Nazis-are-uncomfortable HYDRA organization get a motif of their own, though it’s muted in comparison to Cap’s theme which precludes any real theme vs. theme pyrotechics of the Danny Elfman style. Consisting of a series of sinister, ascending notes, it debuts in “Frozen Wasteland” for the film’s tie-in to Thor before being aired in “Schmidt’s Treasure” and “HYDRA Lab.” What the HYDRA motif lacks in punch and ability to go toe-to-toe with the main Cap theme, it makes up for in its consistent employment; in “Fight on the Flight Deck” it’s such a pleasure to hear a noticeable theme for a villain and a noticeable theme for a hero in an action cue at the same time. After all, if the heroes in the Marvel universe had been shortchanged by their thematic representation thus far, the villains had it even worse.
Though the lack of any facets of the post-Batman Begins superhero scoring doldrums is refreshing, Captain America doesn’t approach the level of Silvestri’s best action works and at times–particularly when the main theme is absent–seems more like the composer spinning his orchestral wheels than anything. A similar problem affected The Avengers, though the constant used of Cap’s theme does give this earlier score more structure. Still, it’s a little disappointing, and probably a function of the short time in which the score was written, that Silvestri’s action music is often merely functional. The lighter cues for conversation and introspection also lack the snap of a Rocketeer and contribute somewhat toward the album’s leaden opening.
A generous album was released along with the movie, though irritatingly its very best track–the “Captain America March” from the end credits, the best and boldest statement of the film’s main theme–was exclusive to the digital version despite the CD having more than enough room. More importantly, Silvestri impressed the producers at Marvel enough that he was chosen to score The Avengers the next year. With references to his Captain America theme in that film, Thor: The Dark World by Brian Tyler, and tracked in at times around Henry Jackman’s score for Captain America: The Winter Soldier, it is arguably the most enduring theme to come out of the Marvel cinematic universe thus far. For that, and for avoiding many of the pitfalls that bedeviled superhero scores throughout the Marvel cinematic universe and the 2010s, Captain America: The First Avenger earns itself a solid recommendation.