Chapter 5: Fighting One Another. To paraphrase Monty Python's Meaning of Life. A little bit of Python humour might have made Kingdom of Heaven a bit less unremittingly tedious. After Alexander, Troy, King Arthur and probably others I have attempted to forget, the supposedly revitalized historical epic genre has once again fallen onto its sword. Many hoped that after doing bringing it back to life with such gusto in Gladiator, Ridley Scott might give it another kick with Kingdom of Heaven but I can't say I was in the least bit enthralled by the story of a metalwork student who discovers his lordly ancestry and a knack for diplomacy, religious tolerance and shredding people with a sword (if the first two fail). Still, nice that Alexander Siddig can get some work after Deep Space Nine (and, in truth, he was excellent here and better than drippy Bloom who should stick to blond wigs). Seeing the film before hearing the score happens to me very infrequently and so it's quite a pleasant novelty getting to grips with Harry Gregson-Williams' score in context without the benefit of picking out the themes and ideas after half a dozen listens to the CD.

I was surprised that much of Gregson-Williams' music made little impact on me watching the film, indeed the most memorable part seemed to be Vide Cor Meum by Patrick Cassidy, which Ridley Scott also used in his outing with a serial killer, Hannibal, but here makes for a nice piece of expressive, Verdi-lite coronation music. Gregson-Williams' own Coronation cue is similar, but not as melodically strong as Cassidy's, but is still suitably stately and really rather lovely. Indeed, the terrific choral writing is the score's strongest aspect; occasionally epic but often surprisingly introspective and much in mock-period style, similar to Barry's classic The Lion in Winter. This works wonders, being expressive and providing a little period atmosphere (even though it is really nothing of the sort, but at least it feels right). A little ethnic wail creeps in occasionally, notably for The King, but the use is deft, with the benefit of being, for once, entirely appropriate.

For a bloody epic, the action is surprisingly sporadic and is somewhat less interesting; yes, it's exciting enough, but Gregson-Williams falls a bit too heavily back onto his Media Venture upbringing and some cues, notably A Better Man, pull the listener out of the otherwise fetchingly realised sound world with some hyperactive percussion. Initial impressions were leading toward a rather take or leave it view on the score - despite receiving much praise elsewhere, Gregson-Williams' work generally strikes me as aurally impressive, but fairly unmemorable. However, it is the subtlety and wealth of material that makes Kingdom of Heaven so much more admirable. Melodically, not a patch on Gladiator, but in many ways more interesting and with far more discover. Only the action needs some more refinement, but the drama is handled with care and, surprisingly for an epic, the intimate moments are those to savour. Given Zimmer's recent run of epic scores, maybe it's good that he went to Madagascar to leave Gregson-Williams to write what is likely a much more compelling work. Impressive, most impressive.

Rating ~

1. Burning the Past (2:48)
2. Crusaders (1:41)
3. Swordplay (2:01)
4. A New World (4:21)
5. To Jerusalem (1:38)
6. Sibylla (1:49)
7. Ibelin (2:05)
8. The King (5:45)
9. The Battle of Kerak (5:36)
10. Rise a Knight (2:43)
11. Terms (4:29)
12. Coronation (3:03)
13. Better Man (3:29)
14. An Understanding (4:13)
15. Wall Breached (3:43)
16. The Pilgrim Road (4:07)
17. Saldin (4:44)
18. Path to Heaven (1:38)
19. Ibelin Reprise (2:11)
    Performed by Natacha Atlas

Total Time ~ 62:04