0 Gladiator: More Music From The Motion Picture

Gladiator: More Music From The Motion Picture Review

One of those pivotal soundtracks. Unfortunately, there is dialogue over a few of the tracks, but it is well worth sitting or fast-forwarding through. There is a duduk (the sound used for that thing Mr. Tumnus plays in 'Narnia'), and I have fallen in love with it. There is the use of a female voice (Lisa Gerrard) wailing in another language, which had become something of a trend ('Troy', 'Munich', 'Narnia' again, and many others). "Now We Are Free" is the kind of song that first intrigues you, then entraps you, and then takes you on an emotional ride. The soundtrack is intensely bittersweet, exciting ("The Gladiator Waltz"--yes, you're supposed to giggle--Hans did!), and just very consumable. If you were impressed by movie--and I haven't run into anybody yet who wasn't--then consider this soundtrack an equivalent of that experience, but audio.

Gladiator: More Music From The Motion Picture Overview

If there's one thing film producers and record executives like more than Success, it's Success: Part 2. Thus when Ridley Scott's high-tech sword 'n' sandal epic scored both Golden Globe wins and Academy Award nods for Best Film and Best Score, it was a sure bet that another volume of Hans Zimmer's and Lisa Gerrard's music for the film couldn't be far behind. Though not exactly leftovers, the tracks here sometimes point to the fact that there wasn't enough fresh material to fill this volume out, hence we get some remixed cues, a handful of familiar music with dramatic dialog excerpts edited and superimposed (or misplaced, with decidedly mixed results), and even a beat-heavy, dance-club mix of "Now We Are Free." With a little over half an hour of entirely fresh material and some souvenir dialog snippets over the rest, there's enough here to please Gladiator die-hards. Also of note: guitarist Heitor Pereira's flamenco-flavored flourishes are better showcased throughout; and "The Gladiator Waltz" serves up one of Zimmer's original synth demos (with a dash of Russell Crowe dialog up front)--a dramatic amp-up of Holst's "Mars, the Bringer of War" that's a prime example of the composer's state-of-the-art digital orchestral conjuring. --Jerry McCulley

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