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 [log in to unmask]