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In Norse mythology, Thor is a hammer-wielding god of thunder, lightning, strength and the protector of mankind. In the masterful mind of Stan Lee (co-creator of countless world renowned superheroes, including Spider-man, X-men and the not so jolly green giant), Thor is a hammer-wielding god of thunder, lightening, strength and the protector of mankind. Now imagine this same Norse deity, tearing off the pages of Marvel’s much loved (and surprisingly accurate) illustrated comic book to become immortalised on the sliver screen. Thor, in Hollywood lore, is also a hammer-wielding god of thunder, lightning, strength and the protector of mankind, although in true La La land style, he’s portrayed by a muscular heartthrob, surrounded by breathtaking set design and brought to life by an eye melting assault of computer generated imagery.
The film reportedly cost Hollywood an estimated 150 million dollars to bring Thor out of his inked existence and into film form. Wowza! That thud you’ve just heard is the sound of my jaw hitting the floor! It’s certainly not the most expensive comic book creation brought to life on film; that honour goes to the critically panned Spider-man threequel with its estimated budget of $258,000,000 – ouch! Adapting a comic book for the big screen is always going to be a costly affair, especially when having to recreate the astonishing characters and worlds concocted by the legendary Stan Lee. Still, watching and enjoying every minute of Thor, I can see it was money well spent. The gorgeous Natalie Portman was worth every cent, sophisticated actor Sir Anthony Hopkins wouldn’t have come cheap, and the special effects are at times truly awe-inspiring. Looking in the opposite direction, one aspect of the film that would have been relatively cheap (in comparison to other similar superhero summer blockbusters) is in its use of music, but more on that a little later.
I’m not your stereotypical comic book nerd with a waist full of cream cakes and an endless array of sarcastic quips – worst analogy ever, but I love a good comic book adaptation, especially when the film makers manage the source material with respect. Like most people, I see film as a means of escapism. To be entertained and enthralled by seeing sights I’ll never physically see, shown places I’ll never get to visit and familiarise with characters I’ll never meet. For me, comic book films are the most entertaining form of artistic escapism; the fist pumping action, the will they or won’t they romance, the spectacular villains, the superhuman powers, the colourful costumes, the heart-stopping stunt work – for me, sitting down to watch a new film based on a popular comic book is my idea of cinematic heaven.
Anyway, back to the music! Some of my favourite film soundtracks have come from Hollywood’s world of superheroes. I’m not going as far back as say Richard Donner’s superlative version of Superman (1978), which is notable for being the first major superhero feature, nor am I talking in terms of Tim Burton’s gorgeously gothic interpretation of Bob Kane’s Batman (1989), with its Prince-centric soundtrack. I’m talking the resurgence of comic book films that vampire-slaying Daywalker, Blade, kick started back into production post 1998.
If, like me, you were born with your devil horns raised into the air, this Golden-age of comic book films offers the ultimate in music euphoria. 2002 saw Toby Maguire transform into Manhattan’s friendly neighbourhood Spider-man and accompanying him (alongside musical maestro Danny Elfman on score duties) was some incredible hard rock releases. America’s ageless Aerosmith provided an amazing cover of the character’s popular theme tune, Slipknot and Stone Sour sing star Corey Taylor offered up the heart wrenching track ‘Bother’ and the film’s staple song ‘Hero’ was performed by Nickelback’s Chad Kroeger (featuring the lead singer of rap metal band Saliva, Josey Scott). Two years later, Spider-man swung back into action and this time to the pop-rock tunes of Hoobastank, Taking Back Sunday, Lostprophets, and a track no red-blooded male should ever forget – ‘Vindicated’ by Dashboard Confessional, which resounded after the moment Mary Jane uttered the seductive words “go get ‘em tiger” – stunning!
Now, I may get sent some hate mail for this next confession but my own personal favourite comic book film (and accompanying soundtrack) from this post millennium period has got to be Mark Steven Johnson’s hugely underrated interpretation of blind lawyer turned crime-fighter, Daredevil. Wait, before you stop reading and mail me in disgust, hear me out. Like many of you out there I’m not a huge fan of Ben Affleck who plays the leading role. I don’t pray he gets part eaten by wolves, but I never look forward to his latest releases. Daredevil however is still a joy to behold (the theatrical release more so than the director’s cut which included a whole sub-plot involving a character played by hip hop artist Coolio). Ben Affleck (a.k.a Daredevil) is a blind, masked vigilante – awesome! Jennifer Garner (a.k.a Elektra) looking lovely in leather – gorgeous! Colin Farrell as merciless assassin Bullseye, murders a mouthy old lady, with single peanut, whilst on a flight over from Ireland – priceless! It was also the film that introduced me to the dark, haunting sounds of Evanescence and their leading lady, Amy Lee. The heart-wrenching scene featuring the funeral of Elektra’s father, with Evanescence’s ‘My Immortal’ resounding is still one of the most poignant sequences ever filmed for a comic book adaptation. If the chilling croon of Evanescence failed to float your boat, Daredevil also featured notable heavy hitters including ‘Wont Back Down’ by Fuel, ‘Hang On’ by Seether and the sensational, ‘The Man Without Fear’ by Drowning Pool (featuring Rob Zombie).
I appreciate I’ve yet to tie into Thor so I’ll speed on seven years to 2010. Four simple letters made up the soundtrack to my perfect summer – AC/DC! Any head-banging rock fan that caught John Favreau’s inferior Iron Man sequel will have died and drifted off to hard rock heaven. AC/DC are the greatest rock’n’roll band that has ever lived, period! Two years previous, the original Iron Man film featured AC/DC’s timeless king-of-cool anthem ‘Back In Black’ as the American Air Force convoy escorts Tony Stark (a.k.a Iron Man) whilst in Afghanistan. The film also featured Black Sabbath’s aptly titled, yet amazingly unrelated ‘Iron Man’ track, with its metallic riffs shooting out during the films final credits. Although an inferior sequel, Iron Man 2 was still unadulterated eye-candy and the kind of brash, boisterous film that AC/DC’s music seemed tailor-made for. Featuring a total of 15 AC/DC tracks, including Black Ice’s ‘War Machine’ (fitting as Iron Man 2 introduced ally character War Machine), for me the soundtrack was made all the sweeter for being released only a mere two months before I got to witness these true rock gods make their long overdue return to Donington Park.
Even lesser entries in the Marvel film universe have featured some fantastic rock tracks including Fantastic Four (featuring ‘Come On, Come In’ by super-group Velvet Revolver), Daredevil spin off Elektra (featuring ‘Save Me’ by Alter Bridge) and Ghost Rider (featuring a cover version of Johnny Cash’s ‘Ghost Riders In The Sky’ performed by Australian rock group Spiderbait). I think it’s safe to say the world of Marvel has flourished on the big screen thanks to the inclusion of some hard rock, post-grunge, rap metal tracks that appeal mostly to the comic book film demographic. Punchy rock music and Marvel film productions seem to be a marriage made in Hollywood heaven. The question is, does Marvel’s latest, Thor, continue down this well trodden route?
Well, first things first. For those of you who are still in the dark regarding the story of Thor, here’s your weekly film synopsis to bring you back into the light. The mighty Thor (Chris Hemsworth) is an imposing yet arrogant Asgardian warrior whose reckless actions reignite an ancient war. Cast down to Earth by his father and ruler of Asgard, Odin (excellently portrayed by Sir Anthony Hopkins), Thor is forced to live amongst humans as punishment for his insubordination. Once here, Thor meets beautiful young scientist, Jane Foster (Natalie Portman), and learns what it takes to be a true hero. The project for a film adaptation of Thor had been in development-hell for several years. I remember reading about Thor’s progress way before Robert Downey Jr donned the Iron Man suit for the first time and recall speculating what songs might appear in the finished film. The source material and folklore inspired fantasy narrative simply screamed out heavy music such as battle metal based around Norse mythology. Songs such as ‘Let The Hammer Fall’ by Hammerfall, ‘Twilight Of The Thunder God’ by Amon Amarth and Manowar’s perfectly fitting track ‘Thor’ from fourth studio album Sign Of The Hammer would have been a metal mosher’s wet dream come true.
Fast forward several years and I’m now sat in the cinema, finally watching Thor do battle on the big screen, wondering when (or if any) pre-recorded songs will resonate and shake the cinema’s built-in surround sound speakers. For all the adrenaline-secreting action exploding out of the screen, not a single song resounds (or at least none that I recall). Hell, there’s not even a single blast of ‘Thunderstruck’ resonating by thunderous rock gods AC/DC, which I was sure would make a bold appearance. Actually, I take that previous statement back (the one about not a single song resounding) as I spotted a very faint hint of The Foo Fighters recent track ‘Walk’ from shiny new album Wasting Light resonating in the background of a key scene in which Thor (now marooned on Earth and stripped of all powers) retreats to a New Mexico roadhouse to drink the night away with sceptical new friend Dr Erik Selvig (Stellan Skarsgard). It’s a perfect addition to augment the film’s narrative considering the songs lyrics are all about being a million miles away from home and learning to walk again (thus becoming a true hero).
Sadly this is where the rock tunes, or any pre-recorded tunes for that matter, reach an abrupt end. It’s no secret heavy metal has a tendency to turn off at least 90% of mainstream audiences, so with that in mind, I knew hearing bands such as Manowar and Amon Amarth were the longest of long shots. Dave Grohl and his merry band of Foo Fighters sit comfortably at the far end of the rock-friendly music spectrum so their inclusion comes less of a surprise. The lack of further tracks is a bit of an enigma though, especially when looking back at other hugely successful Marvel adaptations. Perhaps it has something to do with Shakespearean actor and director Kenneth Branagh at the helm or the fact Thor’s source material requires a Destroyer-sized amount of credibility to elevate it above what could have been (with the inclusion of lyrical songs) a ham-fisted sci-fi fiasco in the vein of Flash Gordon. Either way, Thor flourished without the inclusion of songs and I never thought I’d say this of a superhero film but, I’m glad those in charge chose to avoid including popular sing-along songs and instead stuck primarily to a rousing, beautiful and sweeping orchestral score.
The classical composer accepting the daunting task of creating the score for Marvel’s Thor was Scottish born, Academy Award nominated, and long time Kenneth Branagh collaborator, Patrick Doyle. During pre-production of the film, a quick glance over Doyle’s action-starved C.V. would have been enough to raise serious doubts as to whether he’s the man to musically score Thor to life. After all, with the likes of Sense and Sensibility, Hamlet, Love’s Labour’s Lost and Bridget Jones’ Diary stamped on his worksheet, scoring a fast-paced, action-packed, superhero summer blockbuster would be a different beast altogether. Luckily, there was one film he scored successfully (which would go on to convince all non-believers); a little known fantasy film about a courageous young boy wizard.
Doyle was responsible for scoring the magical soundtrack for Harry Potter and the Goblet of Fire which was proof enough he had the skills and imagination for the truly grandiose. Just like Thor, The Goblet of Fire featured romance, suspense, villainy, heroism, magic, mystery, otherworldly realms, and an abundance of action. In comparison to legendary composer John Williams’ earlier trio of Potter scores, Doyle’s was, in my opinion, an inferior product, but his score for Thor more than makes up for it in grand majestic style.
It’s gracious (heard during ‘Chasing The Storm’), dramatic (resounding through ‘Banishment’ and ‘The Destroyer’) and seeped in emotion (a la ‘My Bastard Son’ and ‘Letting Go’). Even with the daunting task of scoring a film taking place on present day Earth as well as the mythical realm of Asgard, Doyle makes the combined distinction, perfectly. Also, similar to the two dissimilar settings, Doyle enriches the score with an engaging melodic heartbeat, expressing the opposing themes of both Thor and his brother Loki (Tom Hiddleston). To talk more would be to give away the film’s full story. Seriously, if you detest plot spoilers, stay clear of the Motion Picture soundtrack until you’ve caught the film, as the title of each tune presented on the album is listed in full narrative order and will no doubt explain to you the whole amazing story of Thor. My advice is to see it first, then enjoy the soundtrack!
The film reportedly cost Hollywood an estimated 150 million dollars to bring Thor out of his inked existence and into film form. Wowza! That thud you’ve just heard is the sound of my jaw hitting the floor! It’s certainly not the most expensive comic book creation brought to life on film; that honour goes to the critically panned Spider-man threequel with its estimated budget of $258,000,000 – ouch! Adapting a comic book for the big screen is always going to be a costly affair, especially when having to recreate the astonishing characters and worlds concocted by the legendary Stan Lee. Still, watching and enjoying every minute of Thor, I can see it was money well spent. The gorgeous Natalie Portman was worth every cent, sophisticated actor Sir Anthony Hopkins wouldn’t have come cheap, and the special effects are at times truly awe-inspiring. Looking in the opposite direction, one aspect of the film that would have been relatively cheap (in comparison to other similar superhero summer blockbusters) is in its use of music, but more on that a little later.
I’m not your stereotypical comic book nerd with a waist full of cream cakes and an endless array of sarcastic quips – worst analogy ever, but I love a good comic book adaptation, especially when the film makers manage the source material with respect. Like most people, I see film as a means of escapism. To be entertained and enthralled by seeing sights I’ll never physically see, shown places I’ll never get to visit and familiarise with characters I’ll never meet. For me, comic book films are the most entertaining form of artistic escapism; the fist pumping action, the will they or won’t they romance, the spectacular villains, the superhuman powers, the colourful costumes, the heart-stopping stunt work – for me, sitting down to watch a new film based on a popular comic book is my idea of cinematic heaven.
Anyway, back to the music! Some of my favourite film soundtracks have come from Hollywood’s world of superheroes. I’m not going as far back as say Richard Donner’s superlative version of Superman (1978), which is notable for being the first major superhero feature, nor am I talking in terms of Tim Burton’s gorgeously gothic interpretation of Bob Kane’s Batman (1989), with its Prince-centric soundtrack. I’m talking the resurgence of comic book films that vampire-slaying Daywalker, Blade, kick started back into production post 1998.
If, like me, you were born with your devil horns raised into the air, this Golden-age of comic book films offers the ultimate in music euphoria. 2002 saw Toby Maguire transform into Manhattan’s friendly neighbourhood Spider-man and accompanying him (alongside musical maestro Danny Elfman on score duties) was some incredible hard rock releases. America’s ageless Aerosmith provided an amazing cover of the character’s popular theme tune, Slipknot and Stone Sour sing star Corey Taylor offered up the heart wrenching track ‘Bother’ and the film’s staple song ‘Hero’ was performed by Nickelback’s Chad Kroeger (featuring the lead singer of rap metal band Saliva, Josey Scott). Two years later, Spider-man swung back into action and this time to the pop-rock tunes of Hoobastank, Taking Back Sunday, Lostprophets, and a track no red-blooded male should ever forget – ‘Vindicated’ by Dashboard Confessional, which resounded after the moment Mary Jane uttered the seductive words “go get ‘em tiger” – stunning!
Now, I may get sent some hate mail for this next confession but my own personal favourite comic book film (and accompanying soundtrack) from this post millennium period has got to be Mark Steven Johnson’s hugely underrated interpretation of blind lawyer turned crime-fighter, Daredevil. Wait, before you stop reading and mail me in disgust, hear me out. Like many of you out there I’m not a huge fan of Ben Affleck who plays the leading role. I don’t pray he gets part eaten by wolves, but I never look forward to his latest releases. Daredevil however is still a joy to behold (the theatrical release more so than the director’s cut which included a whole sub-plot involving a character played by hip hop artist Coolio). Ben Affleck (a.k.a Daredevil) is a blind, masked vigilante – awesome! Jennifer Garner (a.k.a Elektra) looking lovely in leather – gorgeous! Colin Farrell as merciless assassin Bullseye, murders a mouthy old lady, with single peanut, whilst on a flight over from Ireland – priceless! It was also the film that introduced me to the dark, haunting sounds of Evanescence and their leading lady, Amy Lee. The heart-wrenching scene featuring the funeral of Elektra’s father, with Evanescence’s ‘My Immortal’ resounding is still one of the most poignant sequences ever filmed for a comic book adaptation. If the chilling croon of Evanescence failed to float your boat, Daredevil also featured notable heavy hitters including ‘Wont Back Down’ by Fuel, ‘Hang On’ by Seether and the sensational, ‘The Man Without Fear’ by Drowning Pool (featuring Rob Zombie).
I appreciate I’ve yet to tie into Thor so I’ll speed on seven years to 2010. Four simple letters made up the soundtrack to my perfect summer – AC/DC! Any head-banging rock fan that caught John Favreau’s inferior Iron Man sequel will have died and drifted off to hard rock heaven. AC/DC are the greatest rock’n’roll band that has ever lived, period! Two years previous, the original Iron Man film featured AC/DC’s timeless king-of-cool anthem ‘Back In Black’ as the American Air Force convoy escorts Tony Stark (a.k.a Iron Man) whilst in Afghanistan. The film also featured Black Sabbath’s aptly titled, yet amazingly unrelated ‘Iron Man’ track, with its metallic riffs shooting out during the films final credits. Although an inferior sequel, Iron Man 2 was still unadulterated eye-candy and the kind of brash, boisterous film that AC/DC’s music seemed tailor-made for. Featuring a total of 15 AC/DC tracks, including Black Ice’s ‘War Machine’ (fitting as Iron Man 2 introduced ally character War Machine), for me the soundtrack was made all the sweeter for being released only a mere two months before I got to witness these true rock gods make their long overdue return to Donington Park.
Even lesser entries in the Marvel film universe have featured some fantastic rock tracks including Fantastic Four (featuring ‘Come On, Come In’ by super-group Velvet Revolver), Daredevil spin off Elektra (featuring ‘Save Me’ by Alter Bridge) and Ghost Rider (featuring a cover version of Johnny Cash’s ‘Ghost Riders In The Sky’ performed by Australian rock group Spiderbait). I think it’s safe to say the world of Marvel has flourished on the big screen thanks to the inclusion of some hard rock, post-grunge, rap metal tracks that appeal mostly to the comic book film demographic. Punchy rock music and Marvel film productions seem to be a marriage made in Hollywood heaven. The question is, does Marvel’s latest, Thor, continue down this well trodden route?
Well, first things first. For those of you who are still in the dark regarding the story of Thor, here’s your weekly film synopsis to bring you back into the light. The mighty Thor (Chris Hemsworth) is an imposing yet arrogant Asgardian warrior whose reckless actions reignite an ancient war. Cast down to Earth by his father and ruler of Asgard, Odin (excellently portrayed by Sir Anthony Hopkins), Thor is forced to live amongst humans as punishment for his insubordination. Once here, Thor meets beautiful young scientist, Jane Foster (Natalie Portman), and learns what it takes to be a true hero. The project for a film adaptation of Thor had been in development-hell for several years. I remember reading about Thor’s progress way before Robert Downey Jr donned the Iron Man suit for the first time and recall speculating what songs might appear in the finished film. The source material and folklore inspired fantasy narrative simply screamed out heavy music such as battle metal based around Norse mythology. Songs such as ‘Let The Hammer Fall’ by Hammerfall, ‘Twilight Of The Thunder God’ by Amon Amarth and Manowar’s perfectly fitting track ‘Thor’ from fourth studio album Sign Of The Hammer would have been a metal mosher’s wet dream come true.
Fast forward several years and I’m now sat in the cinema, finally watching Thor do battle on the big screen, wondering when (or if any) pre-recorded songs will resonate and shake the cinema’s built-in surround sound speakers. For all the adrenaline-secreting action exploding out of the screen, not a single song resounds (or at least none that I recall). Hell, there’s not even a single blast of ‘Thunderstruck’ resonating by thunderous rock gods AC/DC, which I was sure would make a bold appearance. Actually, I take that previous statement back (the one about not a single song resounding) as I spotted a very faint hint of The Foo Fighters recent track ‘Walk’ from shiny new album Wasting Light resonating in the background of a key scene in which Thor (now marooned on Earth and stripped of all powers) retreats to a New Mexico roadhouse to drink the night away with sceptical new friend Dr Erik Selvig (Stellan Skarsgard). It’s a perfect addition to augment the film’s narrative considering the songs lyrics are all about being a million miles away from home and learning to walk again (thus becoming a true hero).
Sadly this is where the rock tunes, or any pre-recorded tunes for that matter, reach an abrupt end. It’s no secret heavy metal has a tendency to turn off at least 90% of mainstream audiences, so with that in mind, I knew hearing bands such as Manowar and Amon Amarth were the longest of long shots. Dave Grohl and his merry band of Foo Fighters sit comfortably at the far end of the rock-friendly music spectrum so their inclusion comes less of a surprise. The lack of further tracks is a bit of an enigma though, especially when looking back at other hugely successful Marvel adaptations. Perhaps it has something to do with Shakespearean actor and director Kenneth Branagh at the helm or the fact Thor’s source material requires a Destroyer-sized amount of credibility to elevate it above what could have been (with the inclusion of lyrical songs) a ham-fisted sci-fi fiasco in the vein of Flash Gordon. Either way, Thor flourished without the inclusion of songs and I never thought I’d say this of a superhero film but, I’m glad those in charge chose to avoid including popular sing-along songs and instead stuck primarily to a rousing, beautiful and sweeping orchestral score.
The classical composer accepting the daunting task of creating the score for Marvel’s Thor was Scottish born, Academy Award nominated, and long time Kenneth Branagh collaborator, Patrick Doyle. During pre-production of the film, a quick glance over Doyle’s action-starved C.V. would have been enough to raise serious doubts as to whether he’s the man to musically score Thor to life. After all, with the likes of Sense and Sensibility, Hamlet, Love’s Labour’s Lost and Bridget Jones’ Diary stamped on his worksheet, scoring a fast-paced, action-packed, superhero summer blockbuster would be a different beast altogether. Luckily, there was one film he scored successfully (which would go on to convince all non-believers); a little known fantasy film about a courageous young boy wizard.
Doyle was responsible for scoring the magical soundtrack for Harry Potter and the Goblet of Fire which was proof enough he had the skills and imagination for the truly grandiose. Just like Thor, The Goblet of Fire featured romance, suspense, villainy, heroism, magic, mystery, otherworldly realms, and an abundance of action. In comparison to legendary composer John Williams’ earlier trio of Potter scores, Doyle’s was, in my opinion, an inferior product, but his score for Thor more than makes up for it in grand majestic style.
It’s gracious (heard during ‘Chasing The Storm’), dramatic (resounding through ‘Banishment’ and ‘The Destroyer’) and seeped in emotion (a la ‘My Bastard Son’ and ‘Letting Go’). Even with the daunting task of scoring a film taking place on present day Earth as well as the mythical realm of Asgard, Doyle makes the combined distinction, perfectly. Also, similar to the two dissimilar settings, Doyle enriches the score with an engaging melodic heartbeat, expressing the opposing themes of both Thor and his brother Loki (Tom Hiddleston). To talk more would be to give away the film’s full story. Seriously, if you detest plot spoilers, stay clear of the Motion Picture soundtrack until you’ve caught the film, as the title of each tune presented on the album is listed in full narrative order and will no doubt explain to you the whole amazing story of Thor. My advice is to see it first, then enjoy the soundtrack!
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