Gladiator [Soundtrack] [Import] [PR]
Hans Zimmer、Lisa Gerrard
レーベル： Decca U.S.
CD
発売日： 2001年2月27日(火)
画像： 大 中
◎関連『映画・ドラマ』タイトル
◎曲目リスト
- Duduk of the North
- Now We Are Free (Juba's Mix)
- The Protector Of Rome (featuring Russell Crowe as Maximus and Richard Harris as Marcus Aurelius)
- Homecoming (featuring Joaquin Phoenix as Commodus and Russell Crowe)
- The General Who Became A Slave
- The Slave Who Became A Gladiator (featuring Oliver Reed as Proximo and Russell Crowe)
- Secrets
- Rome is the Light
- All That Remains
- Maximus (Guitar by Heitor Pereira)
- Marikesh Marketplace
- The Gladiator Waltz (featuring Russell Crowe/Original synth demo version by Hans Zimmer)
- Figurines Yan Ching by Lisa Gerrard
- The Mob
- Busy Little Bee (featuring Connie Nielsen as Lucilla and Russell Crowe)
- Death Smiles At Us All (featuring Russell Crowe and Joaquin Phoenix)
- Not Yet (featuring Djimon Hounsou as Juba)
- Now We Are Free (Maximus Mix)
◎レビュー (Amazon)
If there's one thing film producers and record executives like more than Success, it's Success Part II. Thus when Ridley Scott's high-tech sword 'n' sandal epic Gladiator scored both Golden Globe wins and Academy Award nods for Best Film and Best Score, it was a sure bet that another volume of Hans Zimmer and Lisa Gerrard's music for the film couldn't be far behind. While not exactly leftovers, the tracks here sometimes point to the fact that there wasn't enough fresh material to fill this volume out, hence we get some remixed cues, a handful of familiar music with dramatic dialogue excerpts edited and superimposed (or misplaced, with decidedly mixed results), and even a beat-heavy, dance club mix of "Now We Are Free". With a little over half an hour of entirely fresh material and some souvenir dialogue snippets over the rest, there's enough here to please Gladiator die-hards. Also of note: guitarist Heitor Pereira's flamenco-flavored flourishes are better showcased throughout while "The Gladiator Waltz" serves up one of Zimmer's original synth demos (with a dash of Russell Crowe dialogue upfront), a dramatic amp-up of Holst's "Mars, the Bringer of War" that's a prime example of the composer's state-of-the-art digital orchestral conjuring. --Jerry McCulley
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