Soundtrack Review: Frost/Nixon (2008)
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This is a review of the motion picture score Frost/Nixon by Hans Zimmer.
“It’s a sub-standard Zimmer effort, but then again his standards are pretty high.”
Who here thought when they saw the scoring assignments for Frost/Nixon that there was a misprint somewhere? Hans Zimmer, the Remote Control Productions inspirational leader doing a historical drama movie is something you don’t see very often. Usually he does his own things and is perhaps knows best for his immense action scores. This movie is a dramatic re-telling of the Watergate scandal based on television interviews between Richard Nixon and David Frost. Does Zimmer have the dramatic balls to make this more interesting, just because he is Hans Zimmer?
Track List
- Watergate (****)
- The Numbers (***)
- Hello, Good Evening and Welcome (****)
- Pardon the Phlebitis (****)
- Status (****)
- Beverly Hilton (****)
- Money (***)
- Frost Despondent (***)
- Insanely Risky (***)
- Cambodia (***)
- Research Montage (***)
- The Final Interview (***)
- Nixon Defeated (****)
- First Ideas (**)
Zimmer Drama
First of all, forget about Pirates of the Caribbean, Gladiator or Madagascar, this is a whole new ball game as Hans Zimmer steps on unproven grounds. The movie is apparently very dramatic and interesting but the 43 minutes soundtrack is not that dramatic, and far less interesting than one would hope. I applaud Zimmer for giving this genre a try and I sincerely hope he does more of these in the future, I really do, but please give us something to think about!
Light and Dark
We already start at the famous Watergate with the cue ‘Watergate‘ which is one of the best cues of the soundtrack. It has a light and fast violin motif with a darker underscoring. It set an uncanny pace which Hans Zimmer struggles to maintain, at least in the latter parts of the score. The main theme heard here and later in cues like ‘Nixon Defeated’ is unfortunately bleak at best which is a shame because Zimmer can do amazing themes. ‘Hello, Good Evening and Welcome’ is a very good cue in which the pacing is as fast as ‘Watergate‘, at least halfway. It has a whimsical sound to it, almost like a light comedy. ‘Beverly Hilton’ continues on the same premise as ‘Hello, Good Evening and Welcome’. It’s relatively fast paced and has that same whimsical feel to it.
There is a fine mix between the light and the dark on this soundtrack, but so far we have only explored the lighter side. The darker side is most clearly heard in the cue ‘Pardon the Phlebitis’ and also the best cue on the album called ‘Status‘. ‘Pardon the Phlebitis’ is like a Dark Night light. It uses some electronic instruments, although it has to be said that this score is mostly orchestral. ‘Status‘ is perhaps the best cue on the Frost/Nixon soundtrack. It starts in ominous fashion with a darker motif which then goes on to be perhaps lighter than Zimmer had thought initially.
Nothing Special
As you get really into this score wondering if there is anything special about it, then you sadly realize that there isn’t. It is quite an anonymous effort by Mr. Zimmer and I’m not saying that because I like action-Zimmer. I do like this kind of score when it works, when it’s something I can really feel, that carves up emotions. This score doesn’t do that, but struggles to find its own identity. Cues like ‘The Numbers’ and the almost 10 minutes long ‘First Ideas’ illustrates the problem with the Frost/Nixon soundtrack. There simply isn’t enough to care about. I personally feel that Hans Zimmer has let me down a bit and I just know that for example Carter Burwell would have delivered a much more solid score.
Conclusion
When all is said and done, there’s nothing to see here, move along. Hans Zimmer has delivered a score which hardly touches the surface of the interesting and exciting story of Nixon/Frost. I have to say (with a saddened heart) that it’s a sub-standard Zimmer effort, but then again his standards are pretty high. If you want a more dramatic Zimmer, a moving and emotional one, you should get The Thin Red Line instead.
Listen to Frost/Nixon by Hans Zimmer below:
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Comments
I think this score accomplished what it needs to. It doesn’t stand out too much and lets the narrative do its thing. But if you want some proof of mastery, listen to the end credit music (not sure exactly which cue this is).
On the side of the Newman comment, if it was Randy you were suggesting, that would be pure genius (the movie would enter an entire other odd realm if that were the case), but if Thomas… not so much. Thomas Newman is great, but really a bit too ambient and looming for something of this nature (although I was really impressed with the break away from his usual with Wall-e). This score, however. was an adequate amount of suspense and filler without the over-emphasis of unease or awe usually found in Newman’s pad-work.
Addressing the overall review: Moreso, I think it warrants mentioning that a soundtrack taken out of context is hardly as satisfying as the sync to pic (at least in my opinion), and in many cases the goal is not to write a memorable theme, but rather a fitting one. This isn’t my favorite score by Zimmer, but there are a few quality cues in there, and stripping it down to merely a CD does it an injustice. It’s meant to work with the film. By itself, it’s not a complete thought, nor does it necessarily need to be, though those scores tend to be the ones we seek out.
Jorn Tillnes Reply:
March 31st, 2009 at 7:40 pm
I see where you’re coming from regarding the review. In my opinion, a score that only works in the movie is by definition seriously flawed. That being said, I think this score is an ok on, but nothing more. I always try to base my review as disconnected from the movie as I can. I feel that is most fair as I can judge the music on its own…
Technically that doesn’t work very well as a film score is more than just music. It’s so strongly tied into the movie itself that it’s hard to separate the two.
I’ve realized that I like to hear the score before I watch the movie and I prefer to write and read reviews on the music itself.
This is just a personal choice and I know a lot of people disagree. It’s a very interesting discussion however and I’m happy to discuss it 
Tim Reply:
April 2nd, 2009 at 7:26 am
Right on. To each their own, I suppose. On second listen I’d have to say I feel a bit more like you do, but I still hold strong on the fact that a score is just that… a score for a film. That’s not to say that it shouldn’t stand well on its own, but, personally, context is a major consideration when I analyze a score. Like you said though, it’s a choice.
Cheers, look forward to reading more from you.
KK Reply:
February 4th, 2010 at 10:56 pm
The purpose of a score is to accentuate the images of a film. IT IS HOW IT WORKS WITH THE FILM THAT IS IMPORTANT. And I honestly think you have been quite harsh on this score. This is one of Zimmer’s BEST!
Never has he even touched this genre. The music may be themeless but it is the rhythm that really builds up the score. This is probably Zimmer’s most intellectually rich score of the decade. His masculin bomb blast and his common themes are absent from this score.
This deserves at least an 8 or higher. Burwell could not have accomplished this. You must remember, the movie surrounds an interview, dramatic scores is truly inappropriate for the film. Most composers would have no choice but to create an unappealing dull score, because that is all the film demands.
BUT, zimmer has outdone himself, he has created an appealing score with actually intellect unlike his action scores. Now I understand how most zimmer fans would be disappointed since many fanboys are addicted to a lot of his action themes(his repetitive motifs and not neccesarily always great). I love zimmer, but many of us must agree that some of his action scores sounds similar, but this is completely different!
For the zimmer action addicted fans, this is an intellectual score that may not appeal to all fans. But it is of great quality, and let me remind you this is the BEST any composer could have done. The score worked beautifully with the film and even burwell could not have accomplished this.
Once again, I repeat, this is one of Zimmer’s best of the decade.
Jorn Tillnes Reply:
February 6th, 2010 at 4:22 pm
Yes, the purpose of the score is to complement the images of a film, that’s true, but when has that been a measure of how a good the score is? Have you heard The Hurt Locker by Marco Beltrami & Buck Sanders? Absolutely hard to listen to on it’s own, but watch the movie. Wow the score is intense and matches the film perfectly. Does it make it a good score? No chance (in my opinion of course).
I do enjoy your comment though based on what you think of the music. You are probably dead on when it comes to Burwell scoring it, but that’s another matter.
I know you are trying to make a point here that the composer is making music for the film and his hands are tied due to that fact. That is perfectly true, but I am not reviewing the movie, nor reviewing the score as heard in film, but a review from the score itself.
I respect your opinion and you obviously love this score. Best of the decade? Wow, your words not mine, but I am truly thrilled you enjoyed it so much. Nothing is better than to listen to a wonderful score
KK Reply:
February 6th, 2010 at 6:46 pm
You misunderstand me Jorn, I meant to say it is one of ZIMMER’S best of the decade. NOT the best score of the decade. I say this, because this is one of Zimmer’s most original scores for the last few decades. Of course it cannot match up to Gladiator, but I think its better than a lot of his scores which sound way too familiar (with hints of POTC). Its not the best of the decade, but its definitely ONE OF HIS most original and unique scores of the decade, but I must point out that thwere were many more better scores. All in all, Frost/Nixon is one of Zimmer’s Better acheivements!r
Jorn Tillnes Reply:
February 6th, 2010 at 10:05 pm
You are entitled to your opinion of course. I think scores like Angels & Demons, The Dark Knight, King Arthur and The Last Samurai deserves to be over Frost/Nixon
KK Reply:
February 7th, 2010 at 12:19 am
I agree with you.Angels & Demons, The Dark Knight, King Arthur and The Last Samurai are beautiful scores and surpass Frost Nixon except for The Dark Knight which is devoid of intelligence. But I believe Frost Nixon surpasses his other popular scores like Pirates of the Carribean, Madasgcar or even Black Hawk Down. I loved Angels and Demons, the Dark knight was addictive was addictive but was not as rich in intelligence as Frost/Nixon. The Last Samurai was brilliant combination of cultural themes of Japan and King Arthur was also good as well. Still Frost Nixon deserves to be on his top 10 list of the decade.
I still love your reviews and I look forward to further comments
Jorn Tillnes Reply:
February 7th, 2010 at 9:24 am
Hmm I don’t think Frost/Nixon would be in my top 10 Hans Zimmer scores of the decade, actually I’m pretty sure. I tried to make a top 10, but it’s really hard. I just can’t choose!
Disappointing to hear about the score but I am looking forward to the film.
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Soundtrack Seek
Having a more dramatic score would have been woefully inappropriate for the film. Zimmer’s effort here is quite good and probably the best score that could’ve been written for the material. We could’ve had a quirky Newman score or a darker Berwell score, but all might have felt a bit manipulative. Outside of the film, the consistent rhythm throughout the score makes for a very consistent, propulsive listen. Nothing terribly memorable, but far better constructed and more intelligent (ticking sound, sense of purpose and momentum) than I or most others expected.
Reply
Jorn Tillnes Reply:
March 31st, 2009 at 3:08 am
You are right about the score being right for the movie. That alone doesn’t make it a great score though. Burwell wouldn’t have been a bad choice. Not sure that Newman (are we talking Thomas?) would be right for it. Outside of the film (which the review is based on) it’s ok, but nothing more. It’s neither memorable or very dramatic, but that’s me
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