The original movie score for Marvel’s 2011 blockbuster, Thor, was composed by Patrick Doyle. This is the first soundtrack of Doyle’s that I have purchased (it was only $2.50!), and while I have listened to parts of his Rise of the Planet of the Apes score, I am not too familiar with his musical style. He has also composed the original scores for Harry Potter and the Goblet of Fire and Eragon.
The opening track, “Chasing the Storm,” begins with ethereal ambiance that transmits otherworldly grandeur and mystery. Delicate staccato notes in the low strings are introduced at the 0:50 mark. This element progressively, yet subtly, intensifies, fueling slight momentum. At the same time, unassertive and slowly-building whole notes from the high strings provide a celestial and enchanting transcendence. These individual components build synchronously to the 2:22 mark, at which point an energetically up-tempo theme reminiscent to the melodic ether of The Dark Knight universe emerges. Ironically, the first track in The Dark Knight Rises is titled, “A Storm is Coming.” The Thor opener concludes brusquely, but it boldly sets the mood for the rest of the score.
The main theme is first introduced in the second track, “Prologue.” This piece begins with quick and bright bowing in the strings while a valorous and grand melody steadily intensifies. Evolving instrumentation, highlighted by clockwork percussion, powerful brass and distant choral vocals, help this song exude power, strength and heroism. After a satiating resolution to the preamble, a brief but beautiful string quartet passage opens the next track, “Sons of Odin.” At the 0:30 mark, brass and percussion abruptly intervene and initiate the return of the main theme. The bravado from the prologue is not lost. Its upbeat cadence and decorative staccato violin provide for a truly awesome and feel-good melody.
Throughout the score, Doyle manages to continuously and fluidly adapt the main theme. This stylistic approach allows for a range of moods and emotions to be conveyed. The theme is seamlessly woven in and out of nearly every track, projecting a full spectrum of feelings, from melancholy to triumph, yet it never comes across as redundant. The fourth track, “A New King,” opens with bass instruments (and maybe a bassoon) playing a subdued and downtempo version of the theme. At the 0:50 mark, the measured elegance of the central motif steadily transforms itself into the score’s first illustration of tension and turmoil. Aggressive percussion, dominant brass, and unsettling dissidence deliver sounds and emotions that are in stark contrast to the soundtrack’s opening three songs.
The seventh song, “Laufey,” is perhaps the most unnerving track in the score. Eerie ambiance, dark sounds and ear-curdling dissidence capture feelings of malevolence, conflict, and betrayal. This refrain leads into the frenetic, percussion-fueled “Frost Giant Battle.” Again, Doyle conjures the driving intensity of Hans Zimmer’s The Dark Knight score. The fast-paced and nonstop power of this song heightens sensations of mayhem, struggle and action at every turn. To me, the crowning moment comes at the 2:15 mark when the trombones and baritones deliver a short-lived but immensely grandiose chorus that misleads listeners to a false conclusion. Rather than reaching resolution, a sluggish violin glissando throws the orchestra right back into the action for an additional two heart-pounding minutes. At the very minimum, I recommend downloading this song to your iPod for high-energy workouts and epic larping.
Starting at track 17, “Science and Magic,” the disposition and minor tonality unveils emotions of sincerity and tenderness. It is a beautiful piece that exposes melodic vulnerabilities uncharacteristic to most comic book/super hero movies and scores. The musical texture takes on an arrangement that of an Oscar-worthy drama like Forrest Gump or The Imitation Game. The poignant sentimentality and delicate beauty expressed in this piece is also carried into “Forgive Me” (Track 19), “Letting Go” (Track 22), and “Can You See Jane?” (Track 23). In “Thor Kills the Destroyer,” Doyle delivers a dramatically exuberant and grand opus also worthy of a 99 cent download. This is followed by “Brothers Fight,” which delivers a range of emotions, such as conflict, sorrow, anguish, love, triumph and loss. True to Doyle’s masterful script, the main theme is never absent throughout. The final track, “Earth to Asgard,” provides one last opportunity to fully soak in the signature heroic theme.
The Thor original score is truly an amazing compilation of captivating music. There is no doubt this music was composed for an action movie, but there are so many gentle and warm moments that elevate this score above many others that I’ve listened to. Super hero scores aren’t typically recognized at the big award shows. John Williams’ 1978 Superman score is the only Academy Award-nominated super hero score that I can think of. Patrick Doyle’s Thor is/was worthy (of at least a nomination). I highly recommend buying this score if you enjoy original movie soundtrack music. I have not listened to the score for Thor: The Dark World, but intend to very soon. It was composed by Bryan Tyler, who is no stranger to the Marvel universe (Iron Man 3 and Avengers: Age of Ultron). It will be interesting to listen to Tyler’s musical interpretation of the hammer-wielding demigod and to also hear if he expands upon any of Doyle’s groundwork.
by Brian George
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