Bond theme music from Connery to Craig has been reinvented

In the 1995’s Golden eyeMrs. Judy Dench’s M stabbed James Bond with an appropriate description: “A sexist, misogynistic dinosaur and a relic of the Cold War.” Of course, she was right.

Published by author Ian Fleming Royal Casino, The first novel describing the exciting deeds of Agent 007 in espionage, took place in 1953, at the beginning of a period of tension between the United States, the United Kingdom, and the Soviet Union. No doctor 1962 was a few days before the Cuban missile crisis threatened the world. Although Bond’s aesthetic has changed with the changes of the times, the question has always been whether he can really change as a man, or whether he should change.

The same considerations apply to the music of the Bond series. Of course, there is also the theme of James Bond itself, Monty Norman and John Barry’s swagger and muscular blunt weapon accompanied by his incredible feat. Barry also established a style template for the score. Even more than 50 years later, the brass-driven grandeur is what fans expect from those selected to create the latest soundtrack.

However, the bigger debate is whether this is a realistic expectation or a healthy expectation. Music may provide a self-evident emotional undercurrent, but it is also a key factor in attracting audiences to the movie world and keeping them there, especially when the world is unfamiliar.Imagine the majesty on the lunar space station 2001: A Space Odyssey Without the intoxicating dream waltz of Johann Strauss’ “Blue Danube”, or the lush green of Shire without the earthy melodies of Howard Shore Lord of the Rings: Fellowship of the Lord of the Rings.

The difference from Bond is that he has only been to space once and never went to Mordor for a strange hike. He and we live in the same world every day, where we are constantly surrounded by huge music sounds, so it makes sense that some of them will affect his music. Over the years, some of them have had an impact. But accepting these changes is the key to understanding exactly what the audience wants from 007 music, good or bad.

Interestingly, one of the biggest reimaginings of Bond’s voice came from John Barry himself, who was free to play in 1969. About Her Majesty’s Secret Service And added an instrument that has just entered collective consciousness. In 1968, electronic music pioneer Wendy Carlos (Wendy Carlos) continued to design music scores Wave field — Reproduced the sacred music of the Baroque master Johann Sebastian Bach with a Moog synthesizer, creating a smash hit record Turn on BachTherefore, Barry followed suit and added this futuristic sound to his already exploded soundscape.Starting from the synthesizer replacing the barrel of the ordinary guitar, this is a brand new way of Bond music, and it is considered to be Best result in the series.

Then Bond went to the disco. In 1977, John Barry was unable to work in the UK due to tax issues, so Marvin Hamlisch came Spy who loves meHamlisch won three Oscars in 1974 with Scott Joplin’s adaptation score. prick And a dramatic soundtrack and title song Our wayOverall, his soundtrack is quite traditional, but for the previous title sequence, Hamlisch refers to the 1976 charts.

“I stole something from Bee Gees,” Hamlisch said in Jon Burlingame’s 2012 masterpiece James Bond MusicIn fact, his new arrangement “Bond 77” covers the driving rhythm of “You should dance” with a pulsation synthesizer.At the time, Variety said that the soundtrack “has no effect on the film”, but Bill Conti used a similar synthesizer-orchestral hybrid method in the 1981 film Just for your eyes, Hollywood reporters called it “appropriately versatile”, but there are still disagreements among fans. However, this is nothing compared to the controversy that broke out in 1995, when the audience was introduced to a new Bond, whose soundtrack had a very European feel, and it was indeed too much for some people.

Directed by Martin Campbell, Golden eye This is Pierce Brosnan’s first outing, and Bond chief Albert “Patty Cauliflower” has been dreaming of it since the late 1980s.John Barry is not there, so the composition work is handed over to Eric Serra, who has provided music for Luc Besson since 1983 Last battle, But gained fame through the success of Besson’s 1994 film at the time Leon: professionals, which one Golden eye Was temporarily tracked. But judging from the first paragraph of his gun barrel music, it is clear that Bond’s loyal audience is suffering from a culture shock.

Unfortunately for Serra, he is a person who is content to do his own thing instead of looking back, and his radical and quirky modernist voice is a far cry from John Barry in style. Some of his music is undoubtedly not suitable for Bond or movies, such as the harsh metal heterogeneous soundtrack between Bond and Famke Janssen’s Xenia Onatopp in the hilltop competition, or the frankly weird electronic jazz noodles The original clue to St. John’s Day. Petersburg tank chase. (The version of the film adapted by John Altman makes people feel that although it is full of traditional Barry Bond, it is somewhat inconsistent considering the rest of the soundtrack.) Despite its reputation , Serra’s music also has some outstanding moments, including some really exciting melody Bond and the scene material of his lover Natalia (Izabella Scorupco), as well as some exciting clips, it feels like the world today A prelude to the moody action soundtrack influenced by Stimmer (I will introduce him in detail later).

The variety show called Sierra’s score “disappointing”, and director Campbell agreed. Tell IGN In 2020, he was “disappointed with music. Our budget is not that much, and it is limited to what we can do.” Although in the 2006 TV special David Arnold (David Arnold) did have a bad Possible fans, but the score caused disagreement among fans James Bond hit singles Call it “very bold, unlike anything that has happened before… but I think this is one of those scores that the world is not really ready to accept.” Coincidentally, Arnold was chosen as James Bond’s next post. The composer, regarded as the legal heir by John Barry, suggested that he take up the job after contacting himself.

Arnold will be the in-house composer for the five photos of 007, including the first two works of Daniel Craig- Royal Casino (2006) and Quantum crisis (2008)-This introduced a more modern voice, at least in that era.Dance music became more and more popular in the 1990s, shortly before Arnold scored his first Bond film in 1997, the rise of drums, bass and electronic music appeared in the UK Tomorrow is a brand new dayArnold is as free as Serra to incorporate electronic music into his score, but the difference lies in his overall treatment of the 007 music tradition.

“I know how I want it to sound,” Arnold said James Bond Music“I want to do it with one foot in the 60s and with one foot in the 90s. This movie has 35 years of musical heritage and audiences need to hear it. Without this music, there would be no action movies, and no Bond. Movie.” This is something that Serra did not consider, and maybe Thomas Newman did not consider his two points. Heaven falls with ghost. But Arnold persevered, and then used electronic components more vigorously The world is not enough with Die another day , So much so that when rumors about the New Bond movie appeared, he was still the first name people mentioned.

Arnold’s formula of looking forward while looking back makes perfect sense, especially considering the rich heritage of John Barry’s music. But can you go too far?Hans Zimmer’s score No time to die Almost a celebration of Bond, the composer said type The Johnny Marr who often works with “want to bring the guitar back to the sheet music.” And they “just embrace our inner John Barry.” The score cites several previous themes from Barry and Arnold, which are largely driven by the story, but they happen to be more compelling than the original music he created for the film. Once you take these parts away, what is left is a standard memorable action score.

So the inevitable question is, what will happen next? As film music becomes more and more esoteric and open to new experimental avenues, when composers want to explore a brave new world of music, will James Bond fans stay alive or keep them alive, or they will Scream for David Arnold until the sky falls? For some people, the world never seems to be enough.