If you believe the rumor mill Hollywood, so make the Hans Zimmer (undoubtedly lucrative) eternally knitted orders made by Bruckheimer has long been no more joy. Who could blame him since he he gets every score order from there, trying to shift to another composers of his (former) Media Ventures Studios: Whether Harry Gregson-Williams (who seems to have it all now, and fortunately outgrown), the forever go bobbing ex-guitarist Trevor Rabin, 'one hit wonder' Klaus Badelt ("Time Machine" - highly recommended) or Marc Mancina - they were all now the "honor" bestowed, Bruckheimer inflated its nullity the viewer successfully concealing epics with quasi one and the same music (read countless "Rock" -Nachgeburten) to accompany. And if the "master" himself even lends a hand, as in "Pearl Harbor" or recently "King Arthur", gets the result (not surprisingly) also tend to Fleissner as to persuasion. The first trailer of Pearl Harbor at that time was backed by the room really very good score to "The fine line." Thus Bruckheimer's decision, "Pearl Harbor" was to settle as close as possible to the previous music MV Studios, once solidified again very early. Rooms yielded obediently from music that contains everything that the right flat Media Ventures makes tone, only in contrast to his work on Ridley Scott surprisingly listless, seems almost go crazy. The simple love theme is similar to thick non-starter as the action music, which is often at least a guarantee of entertaining Popsymphonik was in room, but no structure or even a halfway thrilling variation is coaxed here. Even the best-sounding track on the CD ("Attack") suffers because he musically no longer admits the Japanese side than the usual Ethnogetrommel and a little pan flute - "Tora Tora Tora!" Jerry Goldsmith was in 1969 with obviously much (!) more motivated. In addition to a listless rooms also a downright treacherous speculative pop song, which once again shows the actual (unsuccessful) target of large-scale production, "Pearl Harbor": James Cameron's disaster spectacle "Titanic" to trump in every respect. Since its success, however, such calculated in any way and therefore was heartless as Bruckheimer plate (not risen), WWII'-Milchmädchenrechnung, and the song is surprisingly at odds with the film and is also purely formal hardly more than acceptable. Incidentally: What a shallow pop song in the 40s (war) to look years? Even with a love story? Since Celine Dion's song on the luxury liner but essentially harmonious, because it remains discreet, based on James Horner's "Love Theme" and a time illustrates, in there was the alleged innocence. "Pearl Harbor" is available on CD and as a film against a soulless product easier success patterns that thinks he can vary Hollywood infinite. That (for the money) makes Hans Zimmer good face on the matter, one should not condemn, however, after he leaves the listener feel his obvious weariness at least in every note and sets a sign -. if you want to see the room as a friend such a positive lens is considered "Pearl Harbor" namely simply a bad score.
