The Avengers (Alan Silvestri)

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Five years and five movies in the making, “Phase One” of the Marvel cinematic universe culminated in 2012’s The Avengers, the first true big-screen superhero team-up in the vein of a comic book crossover. With a cast of stars drawn from every movie in the series thus far (except the ever-troublesome Hulk, who was recast for the third time and debuted with barely a mention of his previous film), Marvel took the gutsy step of handing the production over to geek god Joss Whedon. Whedon was well-known for his TV work from Buffy the Vampire Slayer through Firefly, but The Avengers was only his second film. Still, acting as both director and collaborating screenwriter, Whedon was able to create a film so deft and balanced that The Avengers became the third-highest-grossing film of all time on its release and received better critical notices than any other Marvel film since Iron Man.

In constructing a score for The Avengers, director Whedon had plenty of options open to him, as each of the five setup movies had been scored by a different composer: Ramin Djawadi, Craig Armstrong, John Debney, Patrick Doyle, and Alan Silvestri. Whedon’s only previous film, the 2005 Firefly-concluding Serenity, had been scored by industry veteran and perpetual underdog David Newman, who had plenty of superhero experience of his own though his output had been tapering off through the 2010s with an increasing emphasis on the concert hall. In the end, though, it was all about theme: Marvel and Whedon wanted a grand old-fashioned theme to tie their film together, and only one of the previous Marvel composers had provided such a theme and used it in their film consistently: Alan Silvestri. On the strength of his Captain America theme and an enthusiastic recommendation from The First Avenger director Joe Johnston, Silvestri got the gig.

In discussions with the producers, Silvestri was instructed to stick with a theme for the Avengers and only a theme for the Avengers. Post-Batman Begins concerns about music being “intrusive” led to the producers’ dismissal of a leitmotivic score in the John Williams vein in favor of a score that had an “old-fashioned” theme in a more contemporary and “less intrusive” framework. Silvestri was allowed to pen a motif for Loki, the main villian, and to make sparing use of the theme that got him the job from Captain America, but mostly in fragments or short bursts to avoid being “intrusive” or competing with the main Avengers theme.

And, to be fair, the Avengers theme that Silvestri wrote fits the bill: it’s brassy and bold in a way that not many superhero themes are post-Batman Begins, and almost completely devoid of synths and other electronic accoutrements (though with a very large and very contemporary percussion section at times). Teased in “Tunnel Chase,” the theme explodes to the forefront in the “old-fashioned” way that Whedon and the producers wanted in “Assemble” before being sent off with a bang in the end credit suite “The Avengers.” The theme is an excellent one, but it is not used as often as it might be: it is frequently teased but only appears in full muscular form in a handful of key moments. The feeling that one gets from this, especially after the much more integrated theme for Captain America in Silvestri’s previous Marvel assignment, is that Silvestri is holding back from full-on action a la The Mummy Returns or Van Helsing–exactly what the producers wanted.

Speaking of Captain America, his theme is heard in some of the titular superhero’s most superheroic moments, though never in anything resembling the punchy “Captain America March;” true to the producers’ demands, the theme never competes with the Avengers theme. Though Silvestri was explicitly allowed to write a motif for the villainous Loki, it is a complete non-entity in the film and on album, mirroring the disappointing lack of thematic identity for the character in Patrick Doyle’s Thor (the character would need to wait until Brian Tyler’s Thor: The Dark World for an even somewhat memorable motif). Oddly, the only other bit of overtly thematic scoring goes to the Black Widow character, who gets a Slavic-tinged idea in the CD-exclusive “Interrogation,” the lengthy “Red Ledger,” and (briefly) “I Got a Ride.” While it’s nice that the only female hero on the team was given a theme of sorts–something John Debney had failed to do in her Iron Man 2 debut–once again the feeling one gets is of a composer holding back, scoring with the parking brake on.

It goes without saying that, given Marvel’s desire not to have Silvestri use themes for each hero, that none of the previous films’ themes by other composers are used in any way whatsoever. While this makes sense in some cases–especially since Iron Man had already been given two different sets of thematic material–it’s disappointing that Silvestri couldn’t have at least tipped his hat to one of the themes in much the same way that his own Captain America theme was given a brief shoutout in The Dark World. It also means that Silvestri’s fully-orchestral and skillful music for the remainder of the film, despite some highlights, feels oddly anonymous and neutered. It’s leagues better than a lot of the sound design and sonic wallpaper that has become de rigueur post-Batman Begins, but the scoring pales in comparison not only to Silvestri’s aforementioned fantasy action music but superhero scoring from the post-Superman and post-Batman 89 eras.

The Avengers was also the start of a relationship between Marvel, Disney, and Intrada Records: on all future Marvel releases, Intrada would provide a deluxe CD product at a premium price for collectors, while a digital album filled the iPods of everyone else. In this case, Intrada’s physical album features substantially more music, and some lengthened cues, compared to the digital download; it therefore stands as the preferred version of the music despite a $10 price difference. Be sure to avoid the “Avengers Assemble” coaster, which doesn’t feature a note of Silvestri alongside a group of pop songs which, if they appeared in the film at all, did so for three seconds on a jukebox blaring behind an alien space battle whale.

The Avengers winds up being a difficult score to characterize. On the one hand, it features perhaps the best theme of any Marvel movie to date. On the other, the theme’s sparing use and the relative anonymity of much of the supporting material–out of fear of being “intrusive”–makes the score feel like a missed opportunity. One wonders what Silvestri might have produced if he’d been fully unleashed on the project, or if the film had been during a different paradigm of superhero scoring. As is, it’s recommended for that glorious theme but a bit underwhelming elsewhere. Silvestri, despite scoring such a successful film, did not seem to get much of a career boost from The Avengers; he would be passed over for Captain America: The Winter Soldier and Avengers: Age of Ultron, with only a few mediocre scores for regular collaborators to fill out the remainder of the decade. As with James Horner and Avatar, the success of Silvestri’s thematic approach made little headway against the current Hollywood scoring trends.

Rating: starstarstar

Thor: The Dark World (Brian Tyler)

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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.

Rating: starstarstarstar