Jason Bourne dodges a ruthless C. PG min Action, Adventure, Thriller. An expansion of the universe from Robert Ludlum's novels, centered on a new hero whose stakes have been triggered by the events of the previous three films. PG min Action, Thriller. The CIA's most dangerous former operative is drawn out of hiding to uncover more explosive truths about his past.
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Romantic Evening Sex All Themes. Articles Features Interviews Lists. Streams Videos All Posts. My Profile. Advanced Search. Track Listing. Main Titles. John Powell. But The Bourne Identity never wades into those waters. Unlike its title character, the movie knows exactly what it is: fun, escapist summer fare.
Fortunately, I can say the same for the score. In The Bourne Identity , as in most of his action scores, Powell follows the modern trend of using techno-influenced beats and synthesized percussion. While I find this trend overbearing in slickly produced Hollywood spy movies, it not only works in The Bourne Identity , but actually augments the movie's style.
The Bourne Identity feels grittier, more immediate, and in many ways as European as its setting. It is fitting, then, that the score evokes the continent's pop music and dance scene. The score opens with an English Horn solo floating over a synthesized string drone. The modality and ornamentation of this solo have definite Middle Eastern elements, but only enough to provide a bit of flavoring. This haunting melody is quite effective, but appears in only one other cue, "Bourne Gets Well.
Powell often sets up an effective theme, uses it once or twice, and then abandons it for a new idea. The theme introduced in the "Main Titles," immediately following the opening solo is one of the few recurring ones. It begins as a simple string ostinato with a leap up a fifth. From that perch, it walks down a minor scale to the tonic, decorated with a few upper and lower neighboring tones. Repetition is the order of the day.
In action sequences, John Powell establishes a theme as a ground bass, adds increasingly complex percussion, and then slowly layers other sounds, building intensity with the action on the screen.
It begins with an augmented identity theme, changed because Jason has learned more about his past. Slowly percussion and a pounding string motif are added until they finally reach fever pitch and disintegrate into an extended percussion break.
Unfortunately this cue, like most on the recorded score, ends too soon. The album is generous with short cues that individually leave you wanting more, but when listened to collectively and continuously begin to grate. By the time the last cue, "Drum and Bass Remix," is reached, most listeners will have turned off the player or switched over to a different recording entirely. Therein lies my biggest complaint with this score. There are many good ideas but there is little development beyond repetition until your ears bleed.
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