Jurassic World Rebirth
Music composed by Alexandre DesplatJurassic Park Theme by John Williams
Music conducted by Alexandre Desplat, Solrey
Music orchestrated by Alexandre Desplat, Conrad Pope, Jean-Pascal Beintus, Bill Newlin, Larry Rench, Nan Schwartz
Music recorded at Abbey Road Studios
Total album running time: 101 minutes
Available on Back Lot Music
We return to the Jurassic World universe in this semi-reboot sequel. Alexandre Desplat reunites with director Gareth Edwards after 2014's Godzilla. Known more for his French films and intimate dramas, Desplat brings out the imposing orchestra and choir for this larger-than-life action film.
John Williams' original score containing a big adventure theme and main Jurassic Park theme often used for the awe-inspiring dinosaurs. Desplat uses both themes but also crafts his own themes that fill these same roles, often using the same starting notes of the Williams originals. Desplat also wrote a subdued theme for the stranded family that gets added to the dino-drama. He also has several motifs for the danger of the dinosaurs.
The prologue flashback is covered in Opening Lab brings out a dino motif in the low brass among the swirling woodwinds, strings and percussion. The low choir introduce another dino motif saved for the largest of the predators. Tension is built with stabbing strings and rising dissonance for another dino motif. The track ends with a brief, dark statement of his adventuring theme. Bridge of Deal is a short cue of sighing strings.
Natural History Museum begins with his adventure theme which expands and shifts from light to ominous. A horn solo repeats the theme with hints of Williams' main theme before splashing into a big statement of Williams' adventure theme to close to the cue. Team Gathered is light and flighty with a pizzicato version of JP theme. Voyage gives a big statement of the adventure theme - used a lot in scene transitions and location shots. Flutes and piano give a bit of mystery with a bit of the JP theme snuck in.
Dart Show is a charming short cue, with strings keeping time with bursts of muted trumpet. As they discuss their pasts, Zora and Kincaid gives them a piano solo. Mosasaur Attacks Yacht introduces the mosasaur motif with trilling brass and eerie choir which gains momentum through rushing strings. Zora and Loomis Chat is a quiet moment for the main characters which includes the gentle JP theme (which really makes no sense in the spotting of these scene). Mayday continues the quieter side with featured harp, strings and tension-filled piano chords before ending with Desplat's new theme for the inspiring dinosaurs. Mosasaur Bumps Boat keeps suspense in the lower register, adding in the mosasaur growling motif.
Boat Chase is one of the best action cues in the score, full of energy overlaid with the mosasaur brass growls. Fast paced strings and woodwind flurries lead with 90s style brass fanfares. We hear his two main themes for the inspirational side and adventurous side. Fins Attack–Part 1 repeat the dino motif from the opening, providing some danger among the repeating percussion and churning strings. More Stravinsky-esque pounding keep the momentum and I love the little marimba and flute moments that can still be heard. Fins Attack–Part 2 adds more percussion, choir and mosasaur growls. This cue reminded me of his work for Deathly Hallows.
Lovely writing appears in the calmer Cave Swim, introducing the gentler theme for the marooned Delgado family. Jungle drums carry much of Hurry with double tonguing flutes playing the dino motif. Walking the Swamp has the adventure theme on horn and more atmospheric tension. rising tension and brass stings continue in The Pistol/Scare in the Trees. Do the Job adds a new motif on piano for Dolores, the Aquilops that follows the Delgado family. Dino Lovers brings the wonder as the team encounters the Titanosaurus. Naturally, we hear the major new themes with tender reprises and even a clarinet solo performed by actor Jonathan Bailey. Dino Spectacle continues the awe with a large reprise of the JP main theme, bringing back the nostalgia of the original brachiosaurus scene.
The danger of the T-Rex comes in with the pounding percussion and trilling brass in What's This Smell? Flutes flutter over the low string rumbles. Crossing the River/T-Rex is another highlight with low male voices, plenty of dino motif statements, quiet stealthy tension before thunderous reprises of the adventure theme among the jungle drums. The orchestra really shines with each section getting their moments in the busy orchestration. Clifftop offers a brief moment for the family, and we hear their theme on flute followed by the inspirational theme.
Climbing the Wall offers more danger with woodwinds adding to the drama - it's definitely a feature of Desplat even in blockbuster mode. The inspirational theme comes at the end of the cue. Bird Strike (in reality the dangerous Quetzalcoatlus) hammers away with anvils and furious string writing with his large adventure theme added in.
Let's Go Home and Gentle Boat Ride give us some calm with the Delgado family, utilizing their gentle theme with piano and choir. But don't get too comfortable, there's still a bit of lurking danger throughout. The action continues in Mutadons Fly In with frenetic writing with an interlude of the Delores motif above unsettling strings and close woodwind harmonies.
The Old Lab returns to the style of the opening sequence, growling brass and low male choir. Tunnel/Helicopter builds and builds to some great orchestral highlights including the bass clarinet version of the adventure theme. Run to the Gate keeps the energy up with powerful brass dino motifs. Bella and the Beast starts with the adventure theme and then rises with full orchestra and choir and later some heart-wrenching string writing. A long statement of the inspirational theme gives a sense of relief and majesty at the end of the cue. Ending the album and film, Sailing Away has an arrangement of the JW main theme on piano, later joined by the orchestra.
The album, even though it's long, conveys more of what Desplat's intentions were than in the film, mainly because you can hear the intricate writing and orchestration without the dinosaur roars and family screaming. Like the film, the writing is safe with a little bit of unexpected changes. Unfortunately in theaters or on the album, h is new main themes don't leave much of an impact. A few effective action moments and the John Williams themes stick out as highlights of the score. It's still nice to see Desplat in the big blockbuster action mode which he hasn't done in a while.
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