The Last Samurai review

The Last Samurai (2003)

Number of tracks: 11

Total time: 59:45

Overview:

Over the past ten years Hans Zimmer has produced some amazing works (The Dark Knight, Pirates 3, Sherlock Holmes) and just as many (or more) duds (Pirates 1-4, Pearl Harbor, Rango). Thankfully, The Last Samurai belongs in the former group and is quite possibly one of Zimmer's finest of the decade.

The film follows a Civil War captain (Tom Cruise) who is hired to train and modernize the Japanese army so they can wipe out the last remaining samurai. As the film progresses, the captain becomes more intrigued by the samurai way and ultimately switches sides.

The film was directed by Edward Zwick who had previously directed the epics Glory (1989) and Legends of the Fall (1994). Zwick's composer of choice, James Horner, was unavailable to score the 2003 film, so the director turned to Hans Zimmer.

Review of music:

The score is roughly split into three distinct styles, which rotate out during most of the cues. These three styles are restrained melancholy, mystical dissonance and finally all out action. Thankfully the dissonant passages are kept to a minimum, leaving the majority of the score to explore the melancholy and action music.

There are three distinct themes that run throughout the score: a meandering string piece (possibly the Main theme or a love theme...), a five-note "power theme" and finally a typical Zimmer two-note theme/motif with an ascending/descending structure. The first two themes are introduced during the opening track "A Way of Life" and reappear several times later on. The "power theme" is heard more sparingly than the Central theme, but is given two standout performances in "Safe Passage" and "The Way of the Sword".

The alternating two-note theme is first introduced in "Taken" and quickly becomes one of the central pieces of later cues. There are some other, lesser motifs (or orchestrations) sprinkled throughout the score including probably the earliest forerunner to the "Inception Brass Bellow" heard in the tracks "To Know My Enemy" and "Ronin".

As would be expected, Zimmer assembles an array of specialty instruments for the score including the standards such as the Shahukachi flute and Taiko drums. Various strings and woodwinds help to add a definite Eastern flavor... though always performed with a Western orchestral sensibility. Also as to be expected, Zimmer incorporates his usual synthesizers and bass enhancement to the score. Thankfully, the synths are kept to a supporting role for this score, allowing the organic instruments to shine.

The final two tracks on the album, "The Way of the Sword" and "A Small Measure of Peace", are arguably Zimmer's finest two closing tracks until 2008's The Dark Knight. The only minor gripe is that the final track just.... ends. It's a rather abrupt ending to a very melancholy and introspective piece. A final orchestral crescendo (like at the end of "Idyll's End") would have been much appreciated to close the album with a memorable end.

Review of packaging:

The CD comes in the oh so standard jewel case with a fold-out booklet. The liner notes contain extensive album credits and a few film stills, but little else.

The back of the album contains a picture of Tom Cruise's character in one of the film's battles with the tracklisting (no times).

Closing thoughts:

Even though it would have been interesting to hear what Horner would have done with the film, Zimmer more than adequately makes up for his departure. This is easily one of Zimmer's best scores of the 2000's and is a surprisingly much more restrained action score from the composer.

There are a few problems with the score that keep it from a perfect rating (it's somewhat repetitive, the tracks bleed into each other, etc), but this is still a score worthy to add to anyone's collection. Unless you have some deep hatred for the work of Hans Zimmer, I would eagerly recommend checking out this score.

Score:

4 out of 5