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应用名称：角斗士真实故事
应用版本：v1.0
应用语言：英文& &
发布日期：&&
应用大小：43.54MB&&
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小米亲测：小米1S MIUIv5(开发版)亲测
应用介绍游戏简介：
《角斗士真实故事 Gladiator True Story》是一款非常血腥暴力的格斗游戏，让你体验古罗马斗兽场的真实格斗的感觉，游戏玩法很简单，无非就是防御和进攻，亮点就在于那满地的红色。游戏基于历史事实。这是关于如何成为有史以来最伟大的角斗士的故事，没有任何内购内容，通过战斗削弱敌人，结果更高级别的武器和盔甲，带来更多的伤害，屹立在这血腥的战斗舞台！
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3、点击程序图标
4、运行软件
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京ICP证110507号 京ICP备号 京公网安备号Filmtracks: Gladiator (Hans Zimmer/Lisa Gerrard)
2000 Gladiator
2001 More Music from Gladiator
2005 Anniversary 2-CD Set
Composed and Arranged by:
Lisa Gerrard
Produced by:
Hans ZimmerKlaus BadeltAlan Meyerson
Additional Music by:
Klaus BadeltJeff RonaDjivan Gasparian
Orchestrated by:
Bruce FowlerYvonne MoriartyWalt
FowlerLadd McIntoshElizabeth FinchJack Smalley
Vocals by:
Lisa Gerrard
Conducted by:
Gavin Greenaway
Performed by:
The Lyndhurst Orchestra of London
Instrumental Solos and Synthesizers Performed by:
Heitor PereiraDjivan GasparianJeff RonaHans ZimmerKlaus Badelt
Labels and Dates:
(Gladiator)(April 25th, 2000)
(More Music)(February 27th, 2001) (Anniversary Set)(September 5th, 2005)
•••••••
Audio Clips:
Gladiator:3. The Battle (0:30):
(179K)9. The Might of Rome (0:33):
(189K)13. Barbarian Horde (0:29):
(168K)17. Now We Are Free (0:29):
More Music from Gladiator:4. Homecoming (0:30):
(147K)9. Rome is the Light (0:28):
List Price: $18.98Our Price:&$13.69You Save: $5.29 (28%)
Used Price:
Sales Rank: 76548
or read more reviews and hear more audio clips at .
& Compare Prices:
&2000 Gladiator:
(new and used)
(new and used)
(including eBay Stores
Buy it... if you seek fifteen to twenty minutes of beautifully
ethereal music performed by Lisa Gerrard for the film's scenes involving
the afterlife.
Avoid it... if you find Hans Zimmer's battle and fanfare music to
be too electronically grating on the nerves or too obviously plagiarized
to enjoy in any context.
Gladiator: (Hans Zimmer and Co.) Ridley Scott has
often been credited with reviving the genre of historical epic films
with his 2000 smash hit Gladiator, a film based very loosely on
the Roman emperor Commodus, the deranged son of Marcus Aurelius. His
sister, Lucilla, who likely suffered the same incestuous relationship
that Commodus inflicted upon his other sisters, was indeed implicated in
an senate-led assassination plot against her brother, after which
Commodus exiled and eventually executed her. Commodus also was the one
Roman emperor to actually enter the arena and fight as a gladiator,
though his death came at the hands of a wrestler and not in the famed
Flavian Amphitheatre at the heart of Rome. In Gladiator, a
handful of screenwriters rewrote history and each other, with even actor
Russell Crowe reportedly storming off the set when his script
suggestions were not granted. In any case, Crowe's character of Maximus
Decimus Meridius was a fictional combination of Spartacus, Cincinnatus,
and the actual killer of Commodus, Narcissus. For the purpose of a plot
centering on vengeance and redemption, the former great general Maximus
of the Roman army escapes his own execution and avenges that of his
family by working his way up through the ranks of enslaved gladiators,
eventually returning to Rome to play an integral role in Commodus'
demise. One of the film's unique qualities, and one that places it,
strangely enough, with the classic Patton, is the theme of
resurrection and the afterlife that was added to the third generation of
the film's script. While noted for its brutal battle scenes and glorious
CGI renderings (not only adding 35,000 extras to the scenes in the
Colosseum, but also bringing actor Oliver Reed back to life to finish a
handful of his scenes after he suffered a heart attack and died during
filming), Gladiator gained popularity due to its unexpectedly
optimistic outlook.
Despite some scathing criticism from some leading critics,
who mostly found the film's characters to be flat, Gladiator
earned more than it cost to produce in just two weeks, eventually
earning nearly half a billion dollars in international revenue. It won
five Academy Awards out of its twelve nominations, and was nominated for
119 awards between the Oscars, BAFTA's, Golden Globes, and other groups.
Among the more controversial nominations was the Academy's "Best
Original Music Score" nomination for composer Hans Zimmer's music for
Gladiator. Despite sharing considerable credit with Lisa Gerrard
and Klaus Badelt for the writing of Gladiator, only Zimmer was
nominated for the Oscar. After Zimmer and Gerrard had shared the win for
the Golden Globe that year, Zimmer not only lost the Oscar to Tan Dun
(for Crouching Tiger, Hidden Dragon), but the situation
contributed to the Academy's decision to restrict the nomination of
scores by multiple composers for several years. The original soundtrack
album was a massive success for Universal and Decca, going platinum in
sales and prompting multiple album releases in the future. The score
would continue to generate publicity for Zimmer through the years,
especially in regards to a 2006 lawsuit alleging copyright infringement
in Zimmer's "inspirations" behind the more robust portions of the score.
Nevertheless, the Gladiator score, as controversial as it might
be, ranks among Star Wars and Titanic as one of the most
important in the modern age of soundtracks, bringing recognition to the
genre of music from the masses. Within the community of devoted film
score collectors, Gladiator has always played a polarizing role,
inevitably dividing listeners along familiar lines of perennial Zimmer
supporters and those who believe that his works are underachieving and
derivative.
In the weeks before the film became a massive success,
most professional film score reviewers rated Zimmer's Gladiator
music between average and good, with few offering the highest praises to
the work. The overwhelming success of the score within the film (for
most viewers), however, is what gave true life to the music, and
Gladiator has since become recognized as being, at the very
least, in tune with Ridley Scott's vision of the film. Additionally, a
fair amount of fans have adopted Gladiator as a "guilty
pleasure," much in the same way that Zimmer and Badelt's Pirates of
the Caribbean would accomplish three years later (though Zimmer was
contractually forced to remain uncredited for his involvement in the
composition of that score). On the whole, Gladiator remains as
fascinating as ever to study in retrospect, partially because of the
score's clear definition of Zimmer's stylistic maturation and partially
because of the lawsuit that has erupted because of Zimmer's process of
gaining inspiration. The original 2000 album of Gladiator
provided all the score's major cues on a one-hour product and mostly in
their film order. The 2001 companion album, also from Decca and
Universal, throws in a variety of outtakes and cues in lesser demand.
The same label would eventually sell both together on a 2005 "Special
Anniversary Edition" in Europe only (with no new content). For the
purpose of this review at Filmtracks, the first album will be used to
analyze the score itself since all of the major motifs by all the
composers are represented on that product. While compositional credit is
spread around between the several composers, Zimmer takes credit for
most of them. Of the major themes and motifs in Gladiator, only
Lisa Gerrard's "Elysium" theme marks a significant thematic contribution
to the two major and several minor themes employed by Zimmer throughout
the score, with many of Gerrard's passages shared in credit with Klaus
Badelt as well.
The score for Gladiator is clearly divided between
the world of Rome and that of the afterlife, and the film opens and
closes with the spirit of the latter. Zimmer's opening cue introduces
the ambience of the era with a nebulous motif often referred to as a
"calling of the wild" theme that would appear as a bridge between the
score's two primary identities. In "Progeny," Zimmer splits the
performances between three of his noted soloists: Djivan Gasparyan on
duduk, Jeff Rona on flute, and Tony Pleeth on cello. Lisa Gerrard's
"Elysium" theme, later to be combined with Zimmer's own "Earth" theme to
form the famous "Now We Are Free" ascension cue, is heard during Ridley
Scott's shots of wheat blowing in the wind, and thus is provided in a
short cue on its own. This cue is mixed directly into the start of "The
Battle," one of the score's surprisingly few action pieces. Zimmer has
claimed that this piece, along with its subsequent variant for the
gladiator battles in Rome, is based heavily on a classical Viennese
waltz and was the first part of the score written. The opening thirty
seconds of "The Battle" offers what would have seemed to be the primary
theme of both Maximus' life and the film, if not for the sorrows that
would befall the character. The rousing French horn theme is standard in
structure for Zimmer's career, its rising structures over propulsive
electronic percussion serving the role of "hero's anthem" as well as any
he has written before or after. Instrumentation in this theme mirrors
Crimson Tide, even down to the trumpet solos over the top of the
theme near the end of the first statement. From there, "The Battle"
becomes understandably muddied. A fluttering of Heitor Pereira's guitar
work foreshadows the Spanish influence to come later in the score,
though its usage seems misplaced here. Deep male choir is mixed under
echoing synthetic pounding effects once again from Crimson
The guitar returns in "The Battle" to open the 3/4 waltz
rhythm that would dominate the cue, eventually led by wildly demanding
staccato blasts from strings and brass. Shades of Gustav Holst become
evident in several passages within this cue, masked only by Zimmer's
attempt to heighten the battle's frantic pitch through dissonant,
electronically manipulated brass accents atop the churning movements.
The cue can be broken into several related pieces, one of which
providing significant inspiration to Zimmer and Badelt for Pirates of
the Caribbean. At 5:52 into the cue, Zimmer's faux-swashbuckling
style seems distinctly out of place in Gladiator, and this small
segment would return once in full later in the score. Previous segments
in the cue return for short restatements, including the Wagnerian
movements, until Gerrard's voice provides the first fragments of
Zimmer's gorgeous "Earth" theme in the final moments of the cue. Zimmer
obviously viewed this theme as being representative of death, and its
use at the end of this atrociously bloody sequence is outstanding. The
theme would receive further attention, not surprisingly, in the
following "Earth" cue. After providing an additional "mourning" motif to
represent the loneliness of the scene (with elegant trumpet), Zimmer
yields his first full statement of the "Earth" theme on cello and flute.
For "Sorrow," Gerrard's "Elysium" theme is expanded upon by Badelt for a
powerful vocal performance by Gerrard that serves among the highlights
of the score. Zimmer's desire to work with famed duduk performer Djivan
Gasparyan led to a handful of cues in Gladiator, none more moving
than "To Zucchabar." As the film's location heads south, Zimmer uses the
duduk to merge fragments of the "Earth" theme and two of the previous
smaller motifs into a exotic new theme owing some, surely, to
Gasparyan's own improvisations.
For "Patricide," Zimmer moves away from the synthesizers
and electronic manipulation of orchestral elements for a dramatic string
piece based on parts of the "calling" theme, though it is disguised by
significant dissonance. While this cue offers some of Zimmer's most
intelligently layered melodrama in Gladiator, it fails to really
engage the listener. The introduction of the Commodus theme marks the
latter half of the cue with choppy, over-demanding string statements. In
the subsequent "The Emperor is Dead," Gerrard and Badelt employ an
instrument called the Yan Ching that Zimmer discovered and offered to
Gerrard. It sounds like a zither, and in this cue if performs her
"Elysium" theme with class. Arguably the centerpiece of the score
follows, with "The Might of Rome" proving to be the most memorable cue
from the entire score. Two minutes of a slow percussive crescendo lead
to an exotic beat and choral chant aided by Gerrard until the three
minute mark, which is when Zimmer causes a significant amount of head
scratching. Zimmer has stated that he had the music of Richard Wagner
(and, more specifically, the Ring portions relating to Siegfried's
Journey to the Rhine and Siegfried's Funeral March from Gotterdamerung)
so clearly in mind when he wrote the latter half of this cue that the
music took only an hour to write. While the beauty of the cue in the
film, with the special effects by The Mill gloriously bringing the
ancient city back to life, is not questioned, the blatant use of Wagner
can't be overlooked. So awkward is the incorporation of Siegfried's
Funeral March alone that not even the remarkable choral outburst near
the end of the cue (which ironically, when combined with Zimmer's synths
in the cue, sounds surprisingly similar to what Vangelis would provide
for Alexander several years later) can help match what you hear
in these two minutes with the rest of the score. If the usage had not
stood out so blatantly, perhaps the cue's momentous impact would not
have been tarnished.
For "Strength and Honor," Zimmer uses bass region elements
to explore a minor key variant on his Commodus ideas in "P" the
cue is similar in mix and style to The Thin Red Line. As the cue
segues into "Reunion," Zimmer handles the sorrowful circumstances of
love that can never be realized in the story by allowing Gerrard and
Badelt to provide a simple vocal rendition of Gerrard's "Elysium" theme,
as pretty in its Eastern flavor as always. The rhythm and heightened
vocals at the end of this cue lead to the momentous "Slaves to Rome"
cue, a piece that once again treats the spectacular visuals of Rome but
without the obvious influences of before. Without that touch of Wagner,
though, the cue fails to muster the same level of dramatic anticipation.
As the climax of the film draws near, Zimmer once again skirts with
plagiarism problems in the lengthy "Barbarian Horde," the second of the
two major battle pieces in Gladiator. He opens with a restatement
of the "calling" theme from "Progeny" on flute, which seems to be
Zimmer's choice of motif for impending death (or another representation
for Commodus' influence, perhaps). Over the course of several minutes,
Zimmer proceeds to resurrect Holst once again, leaving no doubt of his
affinity for "Mars, the Bringer of War" from "The Planets." The usage
becomes so obnoxious in this cue that it is difficult to understand how
Zimmer can claim that his use of Holst, while he recognizes the
inspiration now, was largely "an accident" ( he claims that he
"was more conscious of striving after Stravinsky's sort of brutality").
After the lengthy repetition of Holsts' distinctive structures, Zimmer
returns to the several different sections of "The Battle" for
restatement. The awkward shift to the faux-swashbuckling music
foreshadowing Pirates of the Caribbean returns at about 5:30 in
"Barbarian Horde," followed immediately once again by the same somewhat
irritating low range chord shifts (with blasting electronic pulses over
the top) also from "The Battle."
At 6:35 into "Barbarian Horde," however, Zimmer allows a
s he hands the "Earth" theme over to the full
ensemble for one brief performance that would provide to be the only
large, orchestral identity for the theme in the score. While it sounds
great, its placement in this cue really doesn't make sense given that
the positioning and muscle of theme at that moment runs counter to the
theme's purpose. Following, however, is a delightful highlight of the
score. Menacing bass string meanderings for Commodus' motif lead to a
fully symphonic and choral performance of the Maximus theme heard only
before at the outset of "The Battle" and briefly in the Moroccan fights.
It's the moment of grand revelation in the film, and the return of
General Maximus is handled with all the pomp that Zimmer can provide the
theme. While this theme would not return again in full form, its
handling is extremely satisfying. Zimmer has stated that "Am I Not
Merciful?" is his favorite cue from Gladiator, because of the
emotional impact involved with the betrayal of Commodus by his sister,
Lucilla. Pieces of the "calling" theme and the calculation of
"Patricide" accompany Commodus' devastation, led by Jeff Rona's flute.
Zimmer once again bursts into Wagner territory with an obvious reference
to Siegfried's Funeral March, with deeper, more resonate tones and chime
banging that will make you wonder just how much of Crimson Tide
and The Peacemaker owe to Wagner as well. The final three cues on
album are obviously the highlight of the score both in and apart from
the film. In "Elysium," Gerrard lends her vocals to the first full
combination of her so titled theme and Zimmer's "Earth" theme, a process
that reportedly took quite a while to exact. The pleasant, streaming
representation of death and the afterlife in these moments lends a very
new age effect to the Gladiator, and, in conjunction with the
following cues, made the album the best-seller it was.
In "Honor Him," a choral and light orchestral presence is
added to Zimmer's "Earth" theme before moving directly into the famed
ascension cue, "Now We Are Free," that closes the film. The
electronically and percussion-aided cue features well-layered Gerrard
vocals, utilizing the best aspects of her voice in a performance of
lyrics that are, despite fans' hopes otherwise, meaningless. One of the
greatest misconceptions about "Now We Are Free" is that the lyrics are
formed from Hebrew or Latin or some other ancient language when, in
fact, they are simply fictional words. It's gibberish, so just enjoy the
music and don't go looking for sensical lyrics. The "Elysium" and
"Earth" themes are joined quite deceptively by major key variants on the
motifs from "Patricide" in "Now We Are Free," a cue which credits all
three major composers on the project. This cue would go on to propel the
album to its platinum status and lead to techno and dance-beat variants
that would climb the charts in European countries over the following
year. The album is, as usual for a Zimmer product, mixed so that several
of the major cues run together, regardless of whether they do so in the
film. In fact, the final thirty minutes of the first Gladiator
album are a continuous presentation. The second album, released a year
later by Decca/Universal, adds dialogue from the film into the mix, and
despite worries by film score fans that this intrusion would ruin the
album, it sold quite well on its merits. On "More Music from Gladiator,"
many of the notable cues missing from the first album are provided to
listeners, as well as outtakes and experimentations that never made the
final cut. At the outset of the album, Djivan Gasparyan's duduk
performances offer some of Zimmer's earlier compositions for
Gladiator, echoing some of the "calling" theme but giving the
idea far more life than the film and first album would have indicated.
The cue ends with a full blown "Spanish" theme that was eventually
d minus Pereira's guitar, the theme foreshadows the
Kraken theme from the second Pirates of the Caribbean
The "Now We Are Free" version that appears on the second
track on this album was among the many attempts by Klaus Badelt to merge
Gerrard's "Elysium" and Zimmer's "Earth" theme into the famous new age
piece. Given that Badelt did so much work on this highlight track, it's
surprising that he didn't receive more screen credit for his overall
effort on Gladiator. This "Juba's Mix" would prove to be too
upbeat for the film, and features a heavier African influence in
background vocals that eventually dominate the track. The cue "The
Protector of Rome" actually features an alternative take on a
conversation between Maximus and Juba about family, though the album
overwrites dialogue between Russell Crowe and Richard Harris for
listenability. The "Homecoming" score cue (which did appear in the film)
was a very last minute composition by Zimmer and even the composer would
admit that its aimless urgency doesn't particularly relate to any other
part of the score. It is, really, a throw-away track with the exception
of the dialogue that occupies the cue's latter half. An alternate desert
journey track is provided for "The General Who Became a Slave," with
similarities in tone to "Strength and Honor" on the first CD until
segueing into a more recognizable variant of "To Zucchabar" (without the
enhanced role for the duduk). In "The Slave Who Became a Gladiator,"
Zimmer's early training and fighting music in the desert is synched with
a Crowe and Oliver Reed conversation from a bit later in the story. The
cue ends with pieces of "The Might of Rome" from the first album due to
the correct sequencing of music in the film. In his comments about
"Secrets," Zimmer reveals that his "calling" theme is indeed a
representation of Commodus, which is acceptable to a degree but doesn't
explain some of its usage earlier in the film.
A highlight of the second album is "Rome is the Light,"
an improvisation that Gerrard and Zimmer used as a template for the
combination of their "Now We Are Free" efforts and for which Badelt
pumped in some percussion. The standalone theme presented in this cue is
not only one of the more compelling compositions for the film, but also
one of the more satisfyingly original ideas. Gerrard's vocals are
exquisite in this cue, and it's a shame that parts of this material
weren't used in lieu of some of the Wagner inspirations for the
CGI-laden scenes. The following two tracks are disappointingly mundane.
After some minimal duduk experimentations with Gasparyan in "All That
Remains," a slight performance of the "Earth" theme on guitar by Pereira
barely stirs any interest. Source music featuring Rona's flute over
percussion in "Marrakesh Marketplace" represents the North African
scenery and is an unnecessary inclusion. In "The Gladiator Waltz," we
hear the totally synthetic demo version of "The Battle" that Zimmer and
Scott used to set the tempo of the pivotal early scene. Once again,
shades of Holst in this piece overshadow the waltz structures, as well
as the sequence of fragmented ideas that together as a suite form the
battle music. Hearing this piece in its synthetic form is interesting in
that the demo doesn't sound too much different from the final orchestral
and synthetic rendering together, a disturbing revelation that begs for
comments that will come later in this review. Maximus' dialogue at the
outset of this
to hear the plagiarism in this cue
with only Zimmer's synths as substance is nearly unbearable, though.
Gerrard's solo performance of the "Earth" theme on the zither-like Yan
Ching instrument in "Figurines" is another throw-away track. A Morocco
fight sequence cue that made the film is "The Mob," and while early
chanting portions are little more than an annoyance, a brief statement
of the infrequently used Maximus theme in the low regions (with Yan
Ching for accent) is of interest near the end.
The track "Busy Little Bee" was written by Gerrard and
Badelt in secrecy and was used in the film for the creepy conversational
scene for Emperor and sister. It's a largely non-descript string cue
with only faintly mixed Gerrard vocals of fragments of the "Earth"
theme. In "Death Smiles at Us All," the last major conversational piece
of the film receives striking treatment by B taking ideas from
"Patricide" and adapting Commodus' theme by Zimmer's direction, Badelt's
cue uses its percussion and bass strings with a masterfully suspenseful
result, and the cue would have been great to enjoy without the Crowe and
Joaquin Phoenix dialogue (albeit appropriate). The "Not Yet" cue was one
of the many recorded attempts by Gerrard to grasp Zimmer's "Earth" theme
for the final cue. This particular performance was "magical" enough, as
Zimmer says, to have harmony added to it later and press it to this
album. The dialogue by Djimon Hounsou is as appropriate as the
implication in the cue title applies to Gerrard's attempt, though the
cue once again would be good to hear without that dialogue. The last
track on the second album is a "Maximus Mix" of "Now We Are Free" that
worked towards the di Zimmer apparently had nothing
to do with this remix, thank goodness. There is no less an irritating
way the album could be concluded. Despite some reports to the contrary,
the two commercial Gladiator albums do not contain anywhere near
all the music recorded for the film. Common sense, of course, told
collectors that Zimmer's endless number of alternate takes, along with
unused material by Gerrard and Badelt, meant that there was more music
available to hardcore bootleg collectors. Indeed, within five to six
years after these albums' release, 3-CD bootlegs of a more complete
nature have surfaced on the secondary market. Casual listeners should be
aware, though, that the mass of important material from Gladiator
is still available on the first commercial album.
So, in the end, how good is the Gladiator score?
Zimmer's career and sales numbers have proven through the years that his
most popular scores aren't necessarily his best, and Gladiator is
no exception. There really exist four sides to the Gladiator
score: the ethereal atmospherics, the battle waltzes, the suspenseful
conversational cues, and the Moroccan (and other ethnic) textures. The
last two are adequate, merely average in Zimmer's career, with "To
Zucchabar" offering some decent usage of the duduk and "Patricide"
elevating the drama. Ultimately, though, these cues are significantly
overshadowed by the other two sides to the score. There is no doubt that
Zimmer's greatest success with Gladiator comes with the
individual statements and eventual merging of the "Elysium" and "Earth"
themes. His employment of Gerrard's voice to represent the afterlife is
nothing less than fantastic, pouring a depth of soul into the film that
Ridley Scott's original vision didn't contain. From the mournful
"Sorrow" to the beautifully redemptive "Elysium" and "Honor Him," these
thematic explorations make Gladiator a worthy score by
themselves. The final eight minutes of the score, encompassing a cue in
"Now We Are Free" that successfully balances the gravity of the event
with the spirit of heaven, are among the best ever to come from Zimmer's
career. When you take all of these Gerrard performances and merge them
with the unused "Rome is the Light" cue from the second album, you have
about fifteen minutes of must-have music. Unfortunately,
Gladiator's final side is so obnoxious that it washes out the
ethereal elements in the overall memorability and functionality of the
score. Zimmer's waltz structures and blatant plagiarism in the battle
sequences and "The Might of Rome" are extremely dissatisfying. Their use
in the film is marginal at best, distracting from scenes that could have
very well benefited from more thoughtful music for the era.
And thus, the conversation about Zimmer once again turns
to his work ethics. Why exactly were the large-scale cues in
Gladiator so irritating? You'll get several different answers,
including a few that will simply state that Zimmer really didn't do
anything wrong. The apologists for the composer, however (and Zimmer
certainly suffers from a most ardent group of what film music collectors
identify as "fanboys"), need to recognize that Zimmer brings most
criticism along the following lines upon himself due to his insistence
in forcing a film to adapt to his sensibilities rather than adapt
himself to reach greater heights. This argument has been raised several
times more recently than Gladiator, but several circumstances
point to this score as a good starting point to discuss these issues.
The first reason the major action pieces in Gladiator don't work
is because of Zimmer's style of electronic manipulation. The great irony
in many of Zimmer's works is that his orchestral material sounds
frighteningly similar to his synthetic counterparts, and the reason for
this is because when Zimmer does indeed go to London and record with a
decent ensemble (as was the case with Gladiator), he usually then
takes that recording and merges it with his synthetics or, even worse,
manipulates the orchestra's sound to give it the more masculine edge
that his synthesizers produce by default. You reach a certain point when
you can't tell if a burst from the French horns is actually being
rendered by the horns or by the samples meant to imitate them, and such
is the pitfall of Zimmer's persistent acoustic mangling of the orchestra
in the post-production of many of his scores. In efforts like Crimson
Tide and The Peacemaker, the resulting brazen sound, sharp
around all the edges, suits the contemporary matter well. But in
Gladiator (as well as in the Pirates of the Caribbean
scores), the audacious, jabbing style lacks the elegance to smoothly
convey the era. Even in the structures of the "Earth" theme, there are
lazy similarities to Zimmer's early score for Backdraft.
Zimmer argues, of course, that nobody really knows what
Roman music sounds like, and he is correct. But he uses that argument as
an excuse for his lack of effort in scholarly research, and this is the
second failing of Gladiator's action pieces. Several times in his
career, Zimmer has decided not to examine previous film composers' works
to evaluate how and why they worked so well in a given context. As he
said in a Dreamworks interview from 2000, "I did not want to compete
with other great composers. Plus, I am a big procrastinator and never do
my research." Whether it's Danny Elfman's brilliant identity for
Batman, the classic Erich Wolfgang Korngold flair for the
swashbuckling precursors to Pirates of the Caribbean, or the
massive Golden Age works of Mikl&s R&zsa or Alex North for
Roman epics, Zimmer insists on re-inventing the wheel. There's nothing
wrong with trying to re-inventing the wheel... unless, of course, you
can't do it. Or do it well enough, as is the case with Gladiator.
Zimmer's Viennese waltz for the battle sequences, in conjunction with
his awkward instrumental masculinity in the synthetic realm, simply does
not function to any degree in Gladiator the way R&zsa's
music did in Quo Vadis, Ben-Hur, or El Cid. He,
along with Bernard Herrmann, would probably be horrified by Zimmer's
Roman music (not to mention its popularity). R&zsa did extensive
research for those scores, and that's the reason he is commonly
considered the best of the Golden Age composers. Zimmer instead will
often write based on what his gut tells him is right, and unfortunately
his gut doesn't always make the right choice. You can't definitively say
that a R&zsa score would have functioned as a good temp track in
Gladiator. It likely would not have worked at all with Scott's
modern style of direction. But there must exist a happy medium between
the success of the past and contemporary expectations in which a classic
score can reside. Zimmer had a chance to do that with Gladiator,
and on the ethereal aspects, he flourished. The battle sequences,
however, especially with his four or five motifs successively pounding
without any much thought for refinement, are extremely untempered.
And then there's the third and most disturbing reason for
the failure of Zimmer's large-scale cues in Gladiator:
plagiarism. At the time of its release, educated cross-over collectors
of soundtracks and classical music easily identified several sources of
"inspiration" for Zimmer in these cues. Zimmer has admitted that the
adaptation of Wagner's music (and specifically Siegfried's Funeral
March) played an integral role in a few places, though he initially
claimed that his use of Holst's "Mars" in the battle scenes was
accidental. Either way, the music speaks for itself, and Zimmer would
eventually admit in interviews and notation that these influences are,
among others, all present. In a May, 2000 interview with Ian Lace of
Film Music on the Web, Zimmer referred to "The Might of Rome" by
stating, "Yes, the Wagner was a very conscious choice. I managed to
assume the style of Wagner so easily that I was able to write that piece
in an hour." Half a year later, Zimmer would acknowledge the influence
of Holst in his own liner notes for the second Gladiator album.
He writes that he used "the same language, the same vocabulary, if not
the same syntax" as Holst. He has made similar statements in other
interviews as well, likely due to his pride in knowledge of classical
music while never himself being classically trained. From his point of
view, there probably is no harm in admitting such inspirations. After
all, John Williams employed pieces of ideas from Wagner, Holst and
Stravinsky in his first Star Wars score, and few people blinked.
Another argument could extend from here, involving the merits of
Williams' ability to adapt classical pieces with skill far exceeding
that of Zimmer (and you could probably throw James Horner into the
discussion as well), but there are very few knowledgeable film score
fans who will claim Zimmer's talents superior to Williams' at any time
in the past few decades. Part of Zimmer's problem stems from his
inability to adapt these pieces intelligently, as opposed to leaning too
heavily on their actual, more obvious constructs.
Perhaps not surprisingly, Zimmer seemingly forgot --in
the process of rambling off his inspirations-- that the London-based
Gustav Holst Foundation still owns the copyrights to the 1915 Holst work
in question. With many classical works, copyright infringement is absent
because the music now falls in the realm of the public domain. But in
April of 2006, Hans Zimmer was personally sued by G&I Holst Ltd. and
music publishers J. Curwen & Sons and G. Schirmer Ltd. in a complaint
regarding infringement of the opening to "Mars" in Gladiator.
Also sued were the various Universal entities that either own the music
or are involved in its distribution on album. A spokesperson for the
publishers indicated that they attempted to resolve the issue directly
and privately, possibly explaining the reason for the six-year delay in
the filing of the suit. In their statement from June of 2006, they
claim, "After a considerable period of discussion between the two
parties it has become necessary to ask for the assistance of the
courts." A defense lawyer for Zimmer responded by asserting that "Mr.
Zimmer's work on Gladiator is world-renowned and is not in any
sense a copy of Mars. Just listening to the two works is enough to tell
any listener this claim has no merit." Supporters of Zimmer have also
claimed that one of the few reasons the suit was filed so long after the
score's release is due to the album's platinum status. Because sales of
Gladiator remain strong so many years after its initial offering,
the Holst Foundation stands to make millions of dollars off the suit.
While as of late 2007 the suit still is not resolved, it's difficult to
see how Zimmer could be considered favored in the battle. Despite what
his attorney states, there are distinct similarities to Holst's "Mars,"
and those similarities come at the pivotal moments in the film. It
appears as though Zimmer's own flapping mouth could be his demise, but
even in the worst case scenario, don't expect him to have to file for
bankruptcy even if he loses.
And so the discussion continues. Gladiator is
one of the most important scores of the 2000's, if only because it
exposed the relatively small world of film music once again, like
Titanic before it, to the masses. Zimmer to this day feels robbed
by his Academy Award loss to Tan Dun that year, and another interesting
side note to Gladiator is the fact that Zimmer, after receiving
his Oscar win for The Lion King and several nominations
throughout the late 1990's, has not been nominated for another Oscar in
the subsequent six years since (while John Williams, for comparison
sake, has received another six nominations during that time, even with
two years absent of any activity). A messy legal battle over the profits
of Zimmer's Media Ventures enterprise, leading him to spin it off under
a new name, also dragged on in the years following Gladiator.
With the 2006 suit by Holst Foundation, Zimmer continues to be a
lightning rod in the industry, and usually not for the better. The
quality of his scores was not immediately diminished, with the years of
2003 and 2004 offering several high quality entries both within and
above the classification of "guilty pleasure." But outside of a
questionably reasonable score for The Da Vinci Code in 2006,
Zimmer's output from 2005 through 2007 has been both weak in assignments
and weak in production, including his uninspired results for the lower
quality Pirates of the Caribbean sequels. Whether you consider
yourself a fan of Zimmer's work or not, his career since
Gladiator has not maintained the level of promise and respect
that any film score collector would have hoped for. As for the
Gladiator score itself, your enjoyment of its contents will
depend on whether or not you can forgive Zimmer's plagiarism and tired,
rehashed electronic manipulation and enjoy the softer, ethereal portions
of the score. Lisa Gerrard's voice is the easy selling point, as it
would once again be in a brief contribution to Zimmer's Mission:
Impossible 2 later in the same summer. All of this said, though,
there are fifteen to twenty minutes of Gladiator music that are
not to be missed by any film score collector, regardless of Hans
Zimmer's unscholarly tendencies. &
Music as Written for Film: ***
2000 Album: ***
2001 'More Music' Album: ***
2005 Anniversary Album: ***
Overall: ***
Bias Check:For Hans Zimmer reviews at Filmtracks, the average editorial rating
is 3 (in 87 reviews)
and the average viewer rating is 3.02
(in 263,150 votes). The maximum rating is 5 stars.
& •&& Brendan Cochran
-- 5/26/14 (10:26 a.m.)& •&& Guy Noir
-- 8/22/13 (6:49 p.m.)& •&& Guy Noir
-- 8/22/13 (6:35 p.m.)& •&& Guy Noir
-- 8/22/13 (5:07 p.m.)& •&& Nate Jackson
-- 3/12/12 (11:01 p.m.)
&Track Listings (Original Album):
Total Time: 61:38
• 1. Progeny (2:13)
• 2. The Wheat* (1:03)
• 3. The Battle (10:02)
• 4. Earth (3:01)
• 5. Sorrow** (1:26)
• 6. To Zucchabar*** (3:16)
• 7. Patricide (4:08)
• 8. The Emporer is Dead** (1:21)
• 9. The Might of Rome (5:18)
• 10. Strength and Honor (2:09)
• 11. Reunion** (1:14)
• 12. Slaves to Rome (1:00)
• 13. Barbarian Horde (10:33)
• 14. Am I Not Merciful? (6:33)
• 15. Elysium** (2:41)
• 16. Honor Him (1:19)
• 17. Now We Are Free**** (4:14)
* Written by Lisa Gerrard
** Written by Lisa Gerrard and Klaus Badelt
*** Written by Hans Zimmer and Djivan Gasparyan
**** Written by Hans Zimmer, Lisa Gerrard, and Klaus Badelt
&Track Listings
("More Music from Gladiator"):
Total Time: 55:56
• 1. Duduk of the North** (5:35)
• 2. Now We Are Free (Juba's Mix)** (4:39)
• 3. The Protector of Rome*/** (1:28)
• 4. Homecoming* (3:38)
• 5. The General Who Became a Slave** (3:05)
• 6. The Slave Who Became a Gladiator* (6:14)
• 7. Secrets (2:01)
• 8. Rome is the Light** (2:46)
• 9. All That Remains** (0:57)
• 10. Maximus** (1:11)
• 11. Marrakesh Marketplace (0:44)
• 12. The Gladiator Waltz*/** (8:27)
• 13. Figurines (1:03)
• 14. The Mob (2:24)
• 15. Busy Little Bee* (3:50)
• 16. Death Smiles at Us All* (2:32)
• 17. Not Yet*/** (1:33)
• 18. Now We Are Free (Maximus Mix)**/*** (3:49)
* Includes dialogue from the film
** Contains music not heard in the film
*** Remix by Fred Jorio and Eric Calvi
&Notes and Quotes:
The original 2000 album's insert includes no extra information about the score,
but the 2001 'More Music' album contains very lengthy notes from Hans Zimmer about each
cue and a short addendum by Lisa Gerrard. The 'More Music' album also contains bonus
features as an enhanced CD.}