Soundtrack Review: Quantum of Solace (2008)
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This is a review of the motion picture score for Quantum of Solace by David Arnold.
“While Quantom may not have as many explosive highlights of past Bond scores, we can take solace in the fact that Arnold’s more layered approach is almost as good.”
Whether this film equals Casino Royale’s superb mix of modern, blunt action and traditional sex appeal and wit will be determined in the coming weeks, but for us Soundtrack Geeks the task of seeing if Arnold could equal his fine return to form for that score can be handled now. The downside after multiple listens is obvious: this clearly is Arnold’s weakest Bond score, which, given the heights of the last outing, makes this somewhat of a disappointment. But just because the next “African Rundown” can’t be found here doesn’t mean the score is poor, indeed, Quantum of Solace contains many fine elements that are a real first for the composer.
Popish But Impresses
The first change is Arnold’s incorporation of the title song, which at first listen seems too popish and Alicia Keyesed but eventually impresses, especially with its opening guitar and trumpet volleying and the superb weaving of guitar, strings, brass, and Keyes at 2:20. Normally Arnold incorporates one or two lines from the songs into the score proper, but here he intelligently mixes numerous parts. The main theme is a six-note variation on the chorus line of “another way to die”, best called out on brass (end of “Time To Get Out”, 2 minutes into “The Palio”), though the orchestral relaying of “Talamone” is brief fun. The rolling line from the verses is slyly used by strings in “Camille and Green” and “Field Trip”, though at other times merely the first three notes create a sense of menace as with “Time to Get Out”. Other minor incorporations abound, and there’s another theme unrelated to the song that has a modern cool in “Inside Man”. While this tapestry of themes may leave the score without a dominant personality (something all the other Arnold Bonds had), the overall feel of the score is deep and resonant.
Action & Romance
Arnold also continues his intelligent applications of the traditional Bond themes. “Time To Get Out” unleashes the Bond chords at their boldest, brassy best, even doubling their tempo to propel the action, a technique that curiously and regretfully has never appeared before and doesn’t appear again. The theme is also uniquely plucked out at the end of the track. “Perla De Las Dunas” features a more methodical take but still just as strong take, with strings pounding out the chords amidst strong brass backup. “Bond in Haiti” features a distant take on guitar, while the last 30 seconds of “Pursuit at Port Au Prince” give off a cool vibe. The xylophone and flute work on “Field Trip” gives off a spying mystery that Arnold couldn’t really get at with his electronic approaches in earlier works. The second half of “Oil Fields” may be the best usage though, mixing the Bond chords in with slightly restrained brass flares.
The action and romantic material are still good, even awesome at times for the former, but stuffer slightly due to the heights of Casino Royale. “Pursuit at Port Au Prince” may have the most head-banging enjoyment and a great Bondian action climax, yet its “ROCK OUT!” approach seems slightly unsuited to the franchise, even for a reimagining. While “The Palio” may boast exciting string work, its last minute stylistically rehashes “Stairwell Fight”. “Target Terminated” and “Perla De Las Dunas” are certainly frenetic and propulsive but aren’t memorable. As for the love themes, while the film may not necessitate the grandiose structure of Bond and Vesper’s theme, the lack of development of the used themes is still somewhat bothersome. Only in “Forgive Yourself” does Vesper’s theme get any new development, while what appears to be Camille’s theme (an ethnic flute in “Camile and Green”) is not around enough to be substantial.
Conclusion
And yet it is Arnold’s new work that checks back some of those shortcomings. Check the work on the themes for the villain Dominic Greene. Casino Royale’s theme for LeChiffre was just four descending notes, and I was worried it set a standard for these new Bond films. However, Arnold manages to craft two six-note themes for Greene, one mostly called out on horn and the other plucked away on various instruments. The best example is “Night at the Opera”, where a harp plucks the latter theme against various uses of the former to near-hypnotic effect. The music may not have the menacing power of, say, Carver’s theme, but hearing Arnold produce an understated yet well-constructed villain theme is quite engaging. Also of note is the density of both “Bond in Haiti” and “Bolivian Taxi Ride”, as well as the beautiful guitar strumming to close out “Camille’s Story”. All these elements add up for a consistently strong listen. While Quantom may not have as many explosive highlights of past Bond scores, we can take solace in the fact that Arnold’s more layered approach is almost as good.
Album (61:46)
1. Time To Get Out (3:30)
2. The Palio (5:01)
3. Inside Man (0:40)
4. Bond In Haiti (0:37)
5. Somebody Wants To Kill You (2:19)
6. Greene & Camille (2:15)
7. Pursuit At Port Au Prince (6:00)
8. No Interest In Dominic Greene (2:46)
9. Night At The Opera (3:04)
10. Restrict Bond’s Movements (1:33)
11. Talamone (0:37)
12. What’s Keeping You Awake (1:43)
13. Bolivian Taxi Ride (0:51)
14. Field Trip (0:44)
15. Forgive Yourself (2:28)
16. DC3 (1:17)
17. Target Terminated (3:55)
18. Camille’s Story (4:00)
19. Oil Fields (2:31)
20. Have You Ever Killed Someone? (1:34)
21. Perla De Las Dunas (8:09)
22. The Dead Don’t Care About Vengeance (1:16)
23. I Never Left (0:42)
24. Another Way To Die – performed by Jack White & Alicia Keys (4:23)
Listen to Quantum of Solace by David Arnold below:
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Film Review for Quantum of Solace
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Comments
Personally I think it is about time the Bond Producers gave another composer the opportunity to do the Bond Soundtrack. I mean, for me, Arnold has only ever tried to imitate Barry and during his tenure has hardly written anything as enduring or memorable. Even the much-maligned Eric Serra soundtrack for Goldeneye sounds more enjoyable, simply because it is different, as was the Michael Kamen effort, Licence to Kill. I also agree that the screenwriters are utterly lousy and they just appear to have run out of ideas. Even Casino Royale could have been better, and the only good things in that movie were the bits taken from the Fleming novel. All the original touches were just off the mark. They have delivered several lousy films such as Die Another Day, Casino Royal and Quantum of Solace (did they not do The World Is Not Enough as well)? When they rebooted the franchise, they should have realised that it is stale partly because of the mediocre writing of the films. The Bond producers should not give anyone a residency, and though someone with an overwhelmingly good track record should be brought back occasionally, Arnold is past his sell date, and his techno modern junk doesn’t always fulfill. He is harly ever involved with any other film franchise since no one wants him. Why do the Bond producers continue to stick with him?
Just to add to this debate, and stick my own heal into Arnold’s gullet, I remember seeing the original Bond movies in the 60s and when the audience left the theatre, the wonderful Barry soundtracks would be playing in our heads. It was very entertaining to listen to the wonderful orchestra’s, Barry’s nuanced style that so beautifully captured the moment the music corresponded with, and the style Arnold imitates was Barry’s signature. There is one difference however, and this is why Arnold fails. Arnold listens to the Barry sounds and just creates music that sounds like that, but Barry was not parodying himsef, he understood why certain music was used and he did not compose it to be Bondesque, but rather he recorded music in his own style. This is not necessarily a ‘Bond’ sund, but rather a Barry sound, and reproducing that doesn’t make the films sound anymore like James Bond, but more like Barry – without the real Barry, so the result sounds like a tribute act, with a few synth-flavoured modern sounds, typical ambience that any kind of composer from this age could come up with. In real life, I am yet to meet anyone who has ever said they were overly impressed with David Arnold, but it is strange hos detractors have not spoken up. Until fans make it clear they would like to hear a change, the producers ill never rid themselves of Arnold, and that needs to happen real soon.
As for the writers, I thought after GoldenEye, the franchise has just sen a hge dip, with Bond becoming the Roger Moor era superman gain, with corny one-liners and unbelievable plots. Anyone fond of the current writers, it was the current duo who came up with the stupid Icarus, the invisible car, and the absurd climax of Die another Day. The franchise was rebooted because it got ridiculous and it got ridiculous because of the writers, but if those writers remain, it shows the producers had no problem with them and their mediocrity, and just relaunched the franchise as a marketing gimick. Weirdly enough, the new Bond film, Quantum of Solace sounds just like the kind of crap these guys would churn out.
i agree with comment onwriters and Arnold. his Tomorrow Never Dies musics were nice, but since just rubbish, nothing memorable, like Shirley Bassey or Tom Jones. He just can’t write like barry, but if he could, it would bejust copy. the writers of the fims have been pretty bad since they started but few people complain about them so they won’t change. arnold and these guys will be here for a long time, so i hope they just change their approach.
Wow, I see a pattern among the commenters here. I’ve never been a fan of Arnold myself, but to me this score was quite enjoyable and Arnold’s best work on the Bond series. This is strictly a non-Bond fan writing, but a fan of film scores. I think that the power of the people can decide a lot of things and if you are serious about wanting a new composer, start a petition, a Facebook group, whatever it takes. Anyway, thank you all for the very insightful comments.
IT JUST PLAIN STINKS!!! David Arnold is making a soundtrack yo amuse himself: not the fans. “Lost” composer Michael Giacchino would be an ecellent natural heir to John Barry. I suppose Barbara Broccoli & Michael Wilson have no musical(ear) taste whatsoever!!
I tried summing up all the ideas presented here. I’ll point out no one has a reason WHY the score for Quantum of Solace is poor, and thus this general Arnold bashing really doesn’t seem to have much weight here.
Arnold is unimaginative
This is a very hard criticism to deal with because it’s very generic. If people could clarify what specifically is unimaginative about the music, or point out what they feel would count as imaginative, perhaps I could do a better job here. If we’re saying imaginative in the sense of incorporating the previous Bond themes, I’ll say Arnold has done a spectacular job of merging his bombastic action styles with Barry’s constructions. Casino Royale best demonstrates this, with the Bond chord hints in “Trip Aces”, “Bond Wins It All”, etc making for an intelligent listen. More obvious uses mesh well in the brass work in “White Knight”, the driving string line two minutes into “Ice Palace Car Chase”, and the nostalgia-inducing guitar references throughout most of the scores, just to name a few. Even in this score the additions are superb, but since those are already on this page I’ll save you the trouble of that rehash.
If we’re saying imaginative in the sense of creating new themes that exist within music we determine as “Bondian”, then I’d say all of Arnold’s main themes have achieved that standard. TND had it’s snazzy, sexy feel, TWINE used sweeping strings, DAD a brief, exciting brass motif, and Casino Royale engaging with what serves as a prelude to Bond idea. Even this score with its multiplicity of themes manages to have Bondian cool imprinted throughout, whether the guitar of “Inside Man”, the main brass theme sounding triumphant throughout…you get the idea.
If it’s action we’re addressing, then I’ll say no one has listened to any of Arnold’s recent efforts. “African Rundown” is unimaginative, eh? Snickersnickersnicker…I suppose this could apply to the slightly decreased action standards of this score, but that would overlook the exciting Bond chords of “Time To Get Out”, to give an example. Arnold’s action material has almost always been exceptionally orchestrated and thrilling. Even the increased techno material of TWINE and DAD had enough excitement and rarely trended towards the obnoxious levels.
I think the Shirley Bassey and Tom Jones criticism ends up as an unsuccessful attempt at humor.
Arnold imitates/parodies Barry
I believe people are confusing tribute with imitation. Clearly Arnold has to use previous thematic constructs or else we wouldn’t have a Bond score, as with Goldeneye. I’ll challenge people to find a statement of any of the Bond themes that comes off as typical, and I’ll probably even pay money to those who can find a part in any of Barry’s scores that is note-for-note exact to Arnold’s material. Arnold’s action material is certainly his own, his themes sound Bondian but aren’t ripoffs…this is just really confusing criticism to me, though I suppose given my avid love of Arnold’s scores that could explain it.
It certainly isn’t a parody though. A parody would amount to a mockery, and would probably make you laugh at some points, but Arnold’s music is almost always serious. Even lighter moments like “Company Car” are spirited and entertaining while remaining entrenched in the traditional genre elements. Want a parody? Take up “Johnny English”, or even Arnold’s action/self parody in “Hot Fuzz”.
A few moments noted that this tribute turns into typical ambience. First, how people who say Goldeneye is a decent score can say Arnold amounts to typical ambience must have their speakers on low, or just be so unwilling to like Arnold’s music that they refuse to accept logic (hey, I’ll never like the Cincinnati Bengals, though they make that easy on me). Very little of Arnold’s Bond scores can even count as ambience, with the only cue through five scores that goes nowhere being “Crew Killing”. And though no one went specifically after Quantum of Solace, I’ll say that none of this score counts as “ambience”, save for maybe some quiet parts at the end of “Perla De Las Dunas”. Why am I getting the feeling I’m the only poster outside of Jorn who’s actually heard this score?
The films are clichéd/Casino Royale was lousy
I think Casino Royale broke out of the tired stereotypes that dragged down the last two Brosnan films, reinventing Bond yet still keeping him the tough, suave, funny individual we knew from the past. If you all would point out what is clichéd about Craig’s performance, this would be easier for me to respond to, but in Casino Royale Craig avoided convention and embraced the idea of making Bond an acting challenge, resulting in the most complex incarnation of the character yet. Early reviews indicate the same complexity in the sequel film, though I’ll reserve judgment there until I see the film.
Goldeneye was better
Ha! How? Give me one cue out of that mess that ranks above any of Arnold’s…seriously, try. I’ll defend it makes the film worse, robbing it of any sense of sophistication, sex appeal, or even just excitement.
Arnold’s Techno modern junk doesn’t sell
What does this have to do with Quantum of Solace? The electronics are the most minimal of any of Arnold’s efforts here.
Nobody wants Arnold
The reason he hasn’t done anything like his epic 90s works is due to a) his relationship with Emmerich deteriorating and b) the financial failure of Godzilla, since even talented film composers who aren’t established yet and are tied to fiscal flops almost never succeed (Edward Shearmur post Sky Captain, anyone?). But that answer overlooks all the other works Arnold’s done since then, not to mention he has the epic score for Voyage of the Dawn Treader coming soon. He’s done the last four John Singleton movies, as well as a bunch of smaller minimal efforts. And Bond movie scores are big, time-consuming events. Composer preference is certainly an important factor here; we don’t question the ability of John Williams simply because he’s done one score in the last three years.
I have not met anyone who is overly impressed with Arnold
Neither have I, but hey, that’s the problem with communicating on message boards. I’d post a bunch of links to positive Arnold reviews on other sites, but then that wouldn’t do much for this site, now would it?
Then again, we’re all entitled to our own opinions. That is the beauty of music…and freedom I suppose.
EJH III, while I do love Giacchino’s work and think he could do a superb job (though MI3 would tell me otherwise), it’s painfully obvious you haven’t heard the score yet.
Ok, while I have been very akin to Bond music since I was 5 years old or so, my best approach to Bond music is whether the composer is using a motif or orchestrations that is in the title song or not. Lets take Tomorrow Never Dies, speaking of Arnold music, he sparked his score with the thematic development showed in Surrender sung by KD Lang. The World Is Not Enough which title theme was performed by Garbage also enriched the score in tracks like Welcome To Baku, Elektra’s Theme among others.
Casino Royale suffered from the same sindrome…showed in Miami International, Solange And Trip Aces, my point is, Arnold works better when he is involved in the title song.
Now speaking of the underscore, I must admit , it seems that sometimes Arnold has a hard time tuning a new melody but again, with such a rich franchise it is real hard to outrun the last one. In QOS I believe that some of his music was rather raw and edgier than the last ones, this time remember folks the movie is about personal revenge , not a service for the Queen Of England and so the music portraits a distracted vengeful Bond. In the end it seems the music is quite functional with the picture and while having its moments I think Royale was superior, not only because he penned the main song “You Know My Name” ; also he expanded Bond universe introducing 2 lovely themes and a motif “with LeChief character”.
Orlando Gonzalezs last blog post..S&M By Metallica And Michael Kamen
It is sad to see people bashing Arnold like they are, and the first question that comes to my mind is: can you compose something better? If you can’t, then don’t criticize. I have heard the soundtracks of all Bond movies, even though I must admit not all of them with detail. I love Licence to Kill’s and The Living Daylights’s soundtracks, one of those two is by John Barry, I believe it is Living Daylights, and it is by far his best, and that is the soundtrack you have to pin against David Arnold, since it is his latest too. The other movies are far too old to pin them against soundtracks of today, even though there are memorable songs that dont get old as times keeps going by. When it comes to Eric Serra in GoldenEye, I think it was a mistake to hire him. Sure the movie has a cold war feeling, but it is far too dark and “electric”, it is almost like a soundtrack for horror movies. As for Arnold, anyone who doesn’t enjoy Tomorrow Never Dies, The World is not Enough, the unreleased tracks of Die Another Day, and Casino Royale, just hates Arnold out of anger. His best by far is Casino Royale, followed closely by TND, then it is tie for me between DAD and TWINE, because both of them have really strong tracks (sometimes stronger than TND and CR best tracks), while they also have many weak ones, but with all of them I can imagine what is going on. I cant judge Quantum of Solace yet, even though for now it seems like the weakest (since the Bond theme isnt included enough for my liking, and because I still dont like the title song Another Way to Die) but once I see the movie and see how the music suits the film, and once I warm up to the title song, then I will judge this soundtrack better.
Jon Reply:
November 13th, 2008 at 8:35 pm
Neither you nor I can compose a film score, so I don’t see how we get the position of authority based on others suffering a similar plight. Sorry, but I’ve never been a fan of that logic. It is sad to see immediate Arnold bashing without regards to the merits of this score though. Even composers we don’t find great can surprise us. Klaus Badelt’s fully orchestral “The Promise”, Brian Tyler not being overlong in “Eagle Eye”. How about Radiohead’s Johnny Greenwood doing “There Will Be Blood”, the most out of left field assignment ever? I know that many composers can be derivative or entrenched in previous styles and thus it is not always possible for each score do be a completely, wholly original and new entity, but bashing a composer’s past works is never justifiable criticism against new ones.
I love David Arnold’s bond work. I think he does a good job of integrating the old brass and guitar that makes the franchise unique. Eric Serra tried something new and it didn’t work. Stick with the history.
I agree with the last poster that when he’s involved in the title track the soundtrack works better. When he uses the motifs blended with the score those are my favorite DA moments. Look at the mess that was Madonna compared to that great Title track from TND.
Another favorite of mine is the track Going Down Together from the DAD soundtrack. Very reminiscent of those old great Barry motifs.
I for one LOVE Arnolds work!
Those who are expecting a Barry score can dream on…Bond has evolved and Barry would not fit into the Bond we know today.
Arnold has the tracks down pat and knows how to make Bond music at its best.
Please Keep him on for as many films as possible!!
it will be easy to make Quantum of Solace spoofs… every where this Bond goes he breaks glass, he can’t get a gallon of milk from the store without it turning into a chase scene, and every time he punches someone in the face, they die
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There is a track in the film, during the end credit roll that isn’t in the soundtrack. Does anyone know the the track?
Jon Blough Reply:
November 25th, 2008 at 5:42 pm
It’s called Crawl, End Crawl and is by electronic artist Four Tet. A release date is undetermined, though according to commanderbond.net it will be out on ITunes at some point in time. That plus the powerful rendition of the Bond theme in the credits need to be released!
Personally I think they should change the Bond composer. Arnold is unimaginative and is content on imitating Barry (badly), while the real Barry is still alive and even on a bad day could probably produce something far more rousing, enjoyable and powerful than this mutton headed retard. The Bond producers just stick with the same team. I also feel the two screenwriters should go too. They are just lousy, their screenplays are so prosaic, cliched and out of touch that it is actually embarrassing to sit through Bond movies. The producers should realise that sometimes changing the regular crew can refresh the franchise. As it is, with the likes of Arnold, Bond will never become anything more than a parody of himself.
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