Quantum Of Solace

by Justin Bielawa   ·    November 16, 2008

Agent: Arnold. David Arnold.

Assignment: Score the first ever direct sequel to a James Bond movie.

Objectives: Maintain Barry-esque approach while still reminding the audience that Bond isn’t quite 007 just yet.

Mission Details: Arnold, who became Barry’s official torch-bearer some time ago, had the classic Bond sound down and detailed ages ago. Even during the series more intolerable movies he was able to create a charming moment or two (Die Another Day‘s “Going Down Together” worked out beautifully). Arnold knows exactly what the series needs and asks for and he’s delivered it time and again. While Quantum Of Solace is an interesting and new approach to the Bond series, you’re going to have to prepare yourself for a big departure, even further than Casino Royale.

The big trick of it is that Barry’s, er, Monty Norman’s Bond theme is cut up and fragmented through out the whole score. On Casino Royale, Arnold had twisted the brass fanfare lines from the 007 theme and adopted it into the movie’s title song before cutting it loose in the last track. This time, Arnold once again hints but never delivers it in full. Its mildly frustrating, especially considering that the score features some of the most explosive action music the series has ever seen.

Arnold’s flourishes in ambient electronics (“The Palio”), rock and roll orchestra (“Pursuit at Port Au Prince”) and gentle guitar notes (“Somebody Wants To Kill You”, “Camille’s Story”) may not be to the liking of traditionalists. It’s schizophrenic material never really gives way to a solid melody or groundwork and perhaps part of that is due to the fact that Arnold was not asked to help pen the Bond theme once again. If one looks back, two of Arnold’s best James Bond scores are where he wrote the song and in the case ofTomorrow Never Dies, despite the replacement of the k.d. lang song with the (painfully boring) Sheryl Crow, the melody Arnold wrote beautifully shapes the film into a whole.

Instead, the song “Another Way To Die” is amongst the poorer of the Bond songs. It’s not Madonna’s “Die Another Day”, but its in close company. Yet where Madonna’s better days are behind her, Jack White and Alicia Keys are in their creative prime, so all more the pity that the song is so awful. Yes, the horns are there and theres some weird synth rhythm that is probably popular with the cool crowd but the jumbled mess never connects and is only remembered because the end result is so close to noise.

(However, Arnold does work in a five note ascending theme for the villain (and the film), best used in the most romantic cue on the album, “Night At The Opera”, which would fit well on any of John Barry’s classic Bond albums.)

Quantum Of Solace is a middle of the road fare for Arnold. It ranges from the quietly romantic through to one unrelenting action number (“Target Terminated”) that rivals Independence Day for sheer scale of orchestral destruction. The rather short play time at just under forty minutes gives way to a lot of smaller romantic cues and a wide range for the action so perhaps the movie’s title fits the album quite well. Smallest measure of peace indeed!

TRACKS

2. Time To Get Out
4. The Palio
6. Inside Man
8. Bond In Haiti
10. Somebody Wants To Kill You
12. Greene & Camille
14. Pursuit At Port Au Prince
16. No Interest In Dominic Greene
18. Night At The Opera
20. Restrict Bond's Movements
22. Talamone
24. What's Keeping You Awake
26. Bolivian Taxi Ride
28. Field Trip
30. Forgive Yourself
32. DC3
34. Target Terminated
36. Camille's Story
38. Oil Fields
40. Have You Ever Killed Someone?
42. Perla De Las Dunas
44. The Dead Don't Care About Vengeance
46. I Never Left
48. Another Way To Die