ith the able assistance of the London Metropolitan Orchestra and emerging jazz artist Jane Monheit, composer Edward Shearmur has pulled out the stops on a score that kicks some serious musical keister. If Shearmur's name isn't more familiar to the filmgoing audience, it isn't his fault. At the relatively young age of 38, the former Royal College of Music student has an impressive resume.
He got his start in films by playing keyboards on Michael Kamen's score for the James Bond film License to Kill. Later, he helped orchestrate for such films as Die Hard, Lethal Weapon and Terry Gilliam's The Adventures of Baron Munchausen. Shearmur debuted on his own in 1991 with his critically acclaimed music for The Cement Garden. The music for Sky Captain and the World of Tomorrow is no letdown—it's exciting, muscular and in places downright thrilling.
There's nary a false note on the disc, which is so energetic in places that it seems to want to leap out of the CD player. Shearmur gets things started with a rousing if slightly tongue-in-cheek opener, The World of Tomorrow, which introduces the brassy Indiana Jones-ish theme that he weaves through the rest of the selections. Yes, there would seem to be similarities to the work of John Williams here and there, but Shearmur is his own man. His sure touch brings vivid color to the strings and wistful longing to some of the quieter passages. But there are few of those—it's an action-packed movie, and the score does it perfect justice.
Listen in particular to the way he uses high notes on the flutes to top off the most pulsating passages. From the exotic strains of Flight to Nepal, where one can almost see the mountains, to the clapping, relentless percussion throughout Manta Squadron and Flying Serpent, the disc makes great driving music for the car.
Over the rainbow to the Sky
The music here is almost as proudly derivative as the film itself of motifs from the 1930s and 40s, but it's produced and arranged with unflagging panache and a real mastery of dynamics. Shearmur has delivered a delightful score that really entertains with its sweep and appropriately epic feel.
And the inclusion of the vocal track from Jane Monheit, who bravely and confidently tackles the song that essentially defined Judy Garland's career, Over the Rainbow, doesn't detract one bit from the festivities. In fact, it almost feels like dessert after a very pleasing meal. Ms. Monheit brings some new feeling to the tune and even takes a few melodic liberties here and there. Listen to the breathless strings behind her in the opening bars; purely delightful! Judy would approve.
It's not only the music that stands out here—the disc has been beautifully produced by Shearmur, with Teese Gohl and Steve McLaughlin. The engineering is likewise excellent. In fact, there is very little to complain about, aside from the CD's packaging. More biographical information about Shearmur would have been appropriate, especially given his interesting film background. Also, when one considers the innovative nature of the film's visuals, it's surprising that a better selection of images wasn't made available in the booklet. Still, it's nice that Sony went so far as to list all the musicians in the London Metropolitan Orchestra; they've acquitted themselves so well here that they don't deserve the usual fate of anonymity accorded most film score performers.
