Hans Zimmer is one of the most sought after film composers. He does an amazing job creating the score for this swashbuckling adventure. The movie begins with the interrupted marriage of William Turner and Elizabeth Swann.
As the Pirates of the Caribbean trilogy has unfolded, the films' quirky characters have become even more of a draw than the action and special effects. The music for the films has followed suit, although not at the same pace: Hans Zimmer's score for the final film, Pirates of the Caribbean: At World's End has a few moments of whimsy, spooky drama and exotic flavor mixed with more typical, churning musical backdrops for the action set pieces. With sawing strings and huge brass and choral sections, tracks such as 'At Wit's End,' 'I Don't Think Now Is the Best Time,' and 'I See Dead People in Boats' are no doubt serviceable in the film's context, but separated from it, they're too repetitive and overwhelming to be enjoyable.
However, 'Up Is Down's Celtic flair makes it more interesting than many of the other amped-up tracks, while the chanted shanty 'Hoist the Colours' and mischievous, sinister 'Multiple Jacks' prove that the score's quieter moments are the most entertaining. It's also too bad that Keith Richards, who plays Captain Jack Sparrow's pirate dad, isn't featured somehow in the music -- it's a missed opportunity that makes this send-off for Captain Jack and his maties just a little less satisfying.
Zimmer, a longtime fan of virtuoso acoustic guitar duo Rodrigo y Gabriela from Mexico, decided to incorporate them into his score, which is rich in Latin and flamenco themes. They are prominently featured on no less than five cues here. In fact, it's more like the selections that include Rodrigo y Gabriela -- 'Angelica,' 'The Pirate That Should Not Be,' 'South of Heaven's Chanting Mermaids,' 'Palm Tree Escape,' and 'Angry and Dead Again' -- feature their flashy, soulful guitar work in the foreground adorned by Zimmer's strings, voices, brass, and woodwind sections in an understated manner, and they add dimension and texture, balancing the bombast.
They work fantastically. In addition to the 11 selections in the score are six of the film's cues remixed by various DJs and producers. Interestingly, four of the Rodrigo y Gabriela tracks were chosen. In all, this soundtrack is a wild ride, moving as it does from brooding orchestral and choral music to exotic flamenco and rumba-flavored tunes to careening electronica.
It won't be everyone's cup of tea, but for those adventurous enough, it's quite satisfying.
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