teamboy, an animated adventure film set in Victorian England, isn't well known in America—yet. But it should be. Scheduled for release here in the U.S. later in 2005, the movie is the latest piece of anime from Katsuhiro Otomo, director of the critically acclaimed cyberpunk film Akira, one of the darkest and most intense animated films ever made. Steamboy is a fast-paced science-fiction adventure based on a classic comic-book story by Sadayuki Murai. The movie reportedly cost $20 million to make.
It's the story of young Ray Steam, a Tom Swiftian character, third in a line of talented inventors. His father and grandfather have been away in America working on a top-secret project. Ray receives a mysterious metal sphere from his grandfather, and before he knows it he is sucked into a power struggle between American and British forces, both of whom wish to acquire the strange sphere for their own purposes.
Accompanying the derring-do is a delightfully energetic score by Media Ventures composer Steve Jablonsky. Steamboy is his sophomore solo effort, after the remake of The Texas Chain Saw Massacre. This score is much superior and deserves an appreciative audience.
The opening bars of the first cut, "Manchester 1866," recall George Martin's melodic introduction to Pepperland in Yellow Submarine. The theme Jablonsky uses for Ray is simple, understated and surprisingly appealing. Here it's performed by woodwinds and French horn. Steamboy isn't a psychedelic romp, however, and this first cue soon shifts gears and gets more exciting and intense, with the strings syncopated against pulsing percussion.
The disc's second track, "The Chase," ups the excitement another notch. It's a thrilling action cue similar to some of the music in Pirates of the Caribbean, which Jablonsky also worked on.
Other noteworthy cues include "Scarlet," which is just under a minute and a half long. It is absolutely enchanting, presenting another major theme in strings, woodwinds and—surprisingly—marimba. The theme returns later in the lovely "Crystal Palace Waltz." Closing the CD is a longer version of "Ray's Theme," which brings the disc full circle.
Swimming with Yellow Submarine
Steamboy is fun from start to finish, and Ray's theme really is catchy. Jablonsky's score is almost entirely orchestral, with some subtle electronics here and there. Passages of clicking drumsticks indicating tension add nicely to the feel of a mechanized society.
No, it certainly doesn't sound like a Media Ventures score. The portentous power anthems are nowhere to be heard, and the choir has taken the day off. In fact, there's hardly a hint of the usual Media Ventures action music here, aside from the powerful brass in "Fly in the Sky." But make no mistake—this good, old-fashioned orchestral score has plenty of innovative moments. Those critical of past Media Ventures scores might want to give this one a careful listen.
Steve Jablonsky is a protégé of Hans Zimmer, but he's left the Zimmer-style clichés behind. Other influences are occasionally noticeable in the Steamboy score. The action ostinatos are reminiscent of Michael Kamen. Some of Jablonsky's more meditative passages show traces of James Horner. There is also a distinct whiff of Yellow Submarine, as mentioned above—but that's barely noticeable and entirely appropriate. But hey—what's wrong with being influenced? Jablonsky is a young guy and has a promising career ahead of him. Steamboy is an excellent milestone. All he has to do is to get out from the shadow of Hans Zimmer.
And he has to get someone else to write his liner notes! The ones he did for this disc are pretty lame. Oh well—it's not fair to expect someone who is so talented in one area to necessarily be as capable in another. So don't read the liner notes—just go buy the disc.
