John Williams - The Patriot: Original Motion Picture Score (2000 Film)

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Music reviews of The Patriot: Original Motion Picture Score (2000 Film)

Music Review: Works on Every Level but the Most Important One
Rating: 3 Stars

With regards to the two main themes, I find neither appealing: the action theme is simple to a fault, trying to emulate Sousa's piccolos in Stars and Stripes, but failing to locate the substantial brass melody to support it. The more emotional theme is repetitive and ultimately uninteresting, striving too hard to locate the heart and leaving nothing to the characters, the story, the visuals on the screen. Especially silly is the use of this theme on what sounds like harpsichord and harp, but admittedly comes across as moderately effective onscreen nonetheless. As previously said, both of themes are used with an appropriate "sound," however the themes themselves lack the power to truly carry the score towards the boundaries of excellence. The kicker is, however, that though these two themes in specific are rather subpar, they are developed to an above average capacity, making any critique of them somewhat ambiguous. Most effective of the main themes, however, is a trumpet solo used to define somewhat of the evil character behind the onscreen motivations. What makes this theme work is that it is used not to define a physical villain, but to define the internal villainous trait that drives everyman, thereby blurring the lines between "evil" and between "good," between "hero and "villain." And so when speaking of The Patriot in terms of its musical themes, its only strengths are the nonrecurring, incidental scenes like To Charleston that best creates the kind of music John Williams has become known for.

Behind the overlying faults of the main theme--the aspect that is supposed to bind, encompass, define, and regulate everything else--there lies underscore that surpasses these other limitations; Williams even seems to create a new style of his own, taking moving low strings with ease in a simultaneous fashion. This music effects a very tragic--and moreover appropriate--atmosphere for the film, but when it climaxes with true joy or true sorrow, it creates an awe-inspiring wave of emotion that stands independent of the thematic faults. And so the only conclusion I can make that summarizes this film score is that it succeeds not on the expected levels, but on its superior use of tone to divulge and create the scene. Every track seems to suit and embody what this film is trying to accomplish. If the main themes don't succeed in music, than they certainly do in maintaining the overall tone, but while still depriving the listener of the full experience anticipated in such a grand score.

And so, with both its faults and its graces, I can't help but wonder if the work of David Arnold might have contributed to this film a score more rounded in its entirety, capturing both the tone and the themes in a way that would maintain the mood without breaking it by lackluster material. Regardless, this is what I got; and if I were to say that I am completely disappointed, it would be an utter lie. The fact remains that this score achieves on many levels that other scores do not, and even when listening to the suite tracks I am immersed in the atmosphere despite being somewhat dissatisfied with the thematic offerings. This is a film score that works by its use of all-encompassing sound; when broken into its parts, it easily reveals a lacking power; but meanwhile it entertains along with some of John Williams' best. Unfortunately, there can be no debate: this is NOT his best.

Description of The Patriot: Original Motion Picture Score (2000 Film)

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