CAPTAIN MARVEL.

MARVEL11

At last after much hype and lots of anticipation from fans, CAPTAIN MARVEL has burst onto cinema screens. The Marvel films franchise is as we all know huge and this latest superhero tale will I am sure continue to attract fans old and new. The musical score for CAPTAIN MARVEL is the work of Turkish composer Pinar Toprak. She has in the past few years established herself as one of the worlds most talented and highly regarded composers of film music and has worked on numerous movies all of which she has provided with excellent soundtracks. CAPTAIN MARVEL is a powerhouse of a score and has to it a contemporary sound but at the same time purveys a style that is from a bygone age in film scoring. The score contains great sweeping themes and has within it emotionally charged musical passages and so much great action music it is hard to take in that this is all from one movie. The action cues are brassy and high octane affairs but amongst all the action the themeatic material shines through and it is this rhythmic and rich style of scoring that gives this soundtrack so much appeal, it is I think to compare this music with scores for other Marvel films productions, but let me just say that Pinar Toprak has certainly created a work that not only equals past scores but in some cases surpasses them in the entertainment stakes. The opening cue CAPTAIN MARVEL begins with stirring brass flourishes that are supported and carried along by driving strings, enhanced by thundering percussion, we are then treated to the central theme from the score purveyed by horns that are embellished and given greater effect by the use of romantically laced strings and fanfares from more brass, the cue also contains an interesting pulsating synth line that acts as a background to the proceedings as it approaches its conclusion and shimmering crescendo of a six note motif, this relatively short opener sets the scene perfectly for what is to follow. Track number two, WAKING UP, is the opposite to the opening cue, it is a more gentile and melodious affair, female voice combines with subdued strings at the offset and together act as an introduction for a fusion of strings and synthetic layers that compliment each other creating an almost relaxing atmosphere. Throughout the score we hear symphonic and synthetic textures and colours, but these never grate or interfere with each other, instead they are seamlessly fused and wonderfully combined, each supporting and ingratiating one anther bringing greater depth and yielding even bigger atmospheres. Things begin to step up a gear or two from track number six ENTERING ENEMY TERRITORY, which has brass, percussion and so many exciting and heart stopping musical stabs, the cue is upbeat and driving and has to it a dark and sinister sound.

PIN
PINAR TOPRAK.

The same style and sounds continue in track number seven, BREAKING FREE the composer deploying low strings, percussive elements, forthright strings and awesome sounding horns that are themselves supported by various brass. The entire score is a triumph in my opinion, the composer has fashioned a commanding and mighty soundtrack, that will thrill, excite, scare and inspire. In many ways the score evoked the scoring style of Jerry Goldsmith, with inventive use of percussion and ample participation from both string, percussion and brass sections, this is highly recommended.

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