Hans Zimmer with a touch of inspiration

Ron Howard, director of the Da Vinci Code was, well aware that he, regardless of kreavtiven result, the most explosive film of this year would bring in the cinemas. The setting of Hans Zimmer brought him possibly at least one safety factor. Not only because the two have worked well together before, but also because probably everyone more or less knows what he can expect from the room.

However, this does not mean that the good Hans therefore had less pressure. Again totally independent of the artistic end result was certain that his score would be scoured particularly meticulously.

As he himself said, a too obvious religious music would violate some viewers (which I personally can not understand, but that's in the film discussion), but he had this component somehow capture.

To make a long story short, Hans Zimmer, it is largely managed to solve this rather difficult task.

Some, or quite a lot, authorities have unmistakably spiritual undertones, and rich musical saw back a few years.

The skilful insertion of all types of choirs (male, female, mixed, or solo) helps clear here. Virtually every piece of it exists, particular emphasis would be "Malleus Maleficarum".

"Chevaliers De Sangreal" accompanies the final scene of the movie, and I must admit that I drove in the movie the odd shiver down my spine.

So what is wrong with the Da Vinci Code? Well, as it is unfortunately common in the room, he puts himself on purpose. On the one hand brings room where other composers develop their own sound for the film, its 08/15 soundscape into play. And that applies not only to instrumentation, but also on thematic similarities. Lest anyone get me wrong, the main theme of The Da Vinci Code ("Chevaliers De Sangreal") is quite original and fresh, but the rest around it can feel too, somehow just another Media Ventures free-for-all Soundtrack heard ( although the one room Only project here).

An astonishing number of elements seems rooms of Harry Gregson- Williams' Kingdom Of Heaven assumed to have, above all, the electronic violin for Silas.

In addition an incredible resemblance to Munich and Memoirs of a Geisha in some places. Intentionally or not, it is distracting.

In addition, Hans Zimmer takes over the strings ostinato from Batman Begins note for note.

Raised the issue with the Da Vinci Code in a nutshell: rooms make it a regular basis, his music make his mark, but unfortunately it works almost never the film itself.