Prometheus Soundtrack Review
Marc Streitenfeld has word consistently with Ridley Scott over the past decade – becoming his composer of choice.
Scott has also worked on more than one occasion with the likes of Vangelis and even Hollywood favourite Hans Zimmer. And right there you are probably filled with many memorable scores. The trouble is that Streitenfeld, whilst quite capable, has yet to deliver something truly gob-smacking, heart wrenching or even just plain memorable.
The trailer campaign for the Prometheus film was littered with very memorable music from other artists. The film though is paint by numbers to a large extent. But perhaps this is the way Scott wants it. Maybe he doesn’t want the new Jerry Goldsmith, or the next Vangelis compliment his awesome visual style going on in the film.
Streitenfeld then to be truly appreciated needs to be put under the microscope for a closer inspection. Yes already by track two you can see that he does know how to create dark moods, mix synth with orchestral and blend his music into the background. So he is hardly a novice. He is at his best though when exploring wonder instead of dread. He hasn’t got the right credentials to frighten us, but he does know how to linger in a land of amazement without ever overpowering any visual items he may be supporting (Such as the Earth track which has some of the film’s more glorious visual displays).
But he is also undercut by the decision to include 2 tracks from composer Harry Gregson-Williams who provides the main theme to the film that plays over the main credits (and is of a very Jerry Goldsmith nature).
As much as any film or music appreciator wants to try to look beyond initial impact, there is still a bit of that overzealous fan in us all that wants to be swept away by an artist who barley has to lift a finger to prove they have genuine, master-class talent. Streitenfeld has been given the opportunity to do that here. The score though is perhaps then serviceable for your modern day release3d Sci-fi thriller.
Steven Hurst