Besides a good original story, fine script, two Ian's, and New Zealand's
breathtaking scenery, the first film in the "Lord of the Ring" series
conquered on the strength of Howard Shore's symphonic, operatic, romantic,
sweeping score. Unlike some of his big-name colleagues, Shore also manages
not to call attention to himself, the music accompanies the work, but
it has a life of its own - just listen to it on a CD. In the upcoming
second chapter, "The Two Towers," the music got even better... unlike
the rest of the film.

(Iterations vary widely. In the current adult preoccupation with wizards,
elves, dwarfs and boy-toys, "Harry Potter-2" is funnier and better than
the first one, but against the excellence of the first "LotR," the new
one is confusing, a series of special-effect battle scenes - looking
like a new "Star Wars" episode - the human element is largely missing.
"James Bond 20" is just an extended commercial of itself; the first 20
minutes of "Femme Fatale" alone is many times better, and more inherently
Bond-ish.)

Shore's score for "The Two Towers" (what an unfortunate name!) is glorious,
even if it's "hidden" so much that you have to listen for it - but do,
it's worth it. Once again, the performance is by the full (96-piece)
London Philharmonic. Singers featured include Elizabeth Fraser & Ben Del
Maestro in "Isengard Unleashed" and Emiliana Torrini in "Gollum's Song."

Unlike new operas based on films, Shore's music should be extracted from
the movie and serve as the basis for a one-act opera. That could also be
the first work of musical theater in search of a libretto.

Janos Gereben/SF
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