A soft melody on flute and piano with backing strings represents the budding relationship between Ann and Kong. You have to wonder how many tense cues in a row you have to endure before you can finally calm down and breathe - lucky for us, this album is not in film sequence! "Beautiful" is a tender moment between Ann and Kong as they watch the sun set.
This track has a nice brass chord motif that feels adventurish amidst the orchestral cacophony. A rescue party is sent out to find her, and in the process they get caught in the middle of a dinosaur stampede ("Head Towards the Animals"). When they get to Skull Island, however, things do not go as planned - Darrow is kidnapped by the locals, and "sacrificed" to Kong. Big epic orchestral moments herald Kong\'s arrival just as her rescue party shows up ("Something Monstrous. None of the music in those scenes made it on the album. After they\'re rescued, they go back to the ship - but Ann is kidnapped by the natives and brought to be sacrificed to Kong. This cue is another tense track, with a variation on the Skull Island Theme popping up. At least, it\'s empty until the natives show up and attack his party. This is the kind of music that makes your palms sweat - especially in the theaters with the accompanying visuals.ĭenham and his film crew depart for the island, and find that it is an empty ruin ("It\'s Deserted"). A very exciting sequence ensues as they try to get away, but the waves keep pushing the ship around until it\'s stuck against an outcropping. As the ship approaches Skull Island, it almost crashes into a wall, hidden by the fog bank. "Last Blank Space on the Map" is where the pounding action begins. Howard makes good use of the orchestra, bouncing motifs between various sections. It\'s a lush track that leads into "Two Grand", a playful yet tense track that appears when Denham tries to stall Driscoll and keep him on the ship. "It\'s in the Subtext" has a sweeping version of the Skull Island Theme, played almost as a love scene between Darrow and screenwriter Jack Driscoll (Adrien Brody). Bits of it are heard in "Defeat is Always Momentary", and we\'ll hear more of it later on. Howard wrote a jazzy number to represent NYC and Anne\'s career as a vaudeville performer.
The former being a more emotional track, and the latter being playful. Most of this music is presented in the tracks "A Fateful Meeting" and "Defeat is Always Momentary". When his lead actress is suddenly unavailable, he discovers Darrow, and convinces her to come on the voyage. He has a map to an island that is rumored to have prehistoric creatures on it, and he plans on shooting his film there.
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The film starts out in 1933 New York City, where movie producer/director Carl Denham (Jack Black) is about to lose his funding. Once the main title for King Kong appears, we hear the ape\'s motif - four brash low descending chords. The album opens the same way the movie starts - the art-deco opening titles of the film are displayed over the mysterious Skull Island Theme. Coming in at the last minute was composer James Newton Howard, and with only five weeks to write nearly 3-hours of music, his result is surprisingly resilient and effective. Peter Jackson\'s latest epic - a three hour re-telling of King Kong - needed music that would support the story and provide an emotional backbone to the relationship between Ann Darrow (Naomi Watts) and the 28-foot tall ape.
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