Gladiator (2000)
Track Listing
| 1. | Progeny | 02:13 |
| 2. | The Wheat | 01:03 |
| 3. | The Battle | 10:02 |
| 4. | Earth | 03:01 |
| 5. | Sorrow | 01:26 |
| 6. | To Zucchabar | 03:16 |
| 7. | Patricide | 04:08 |
| 8. | The Emperor is Dead | 01:21 |
| 9. | The Might of Rome | 05:18 |
| 10. | Strength and Honor | 02:09 |
| 11. | Reunion | 01:14 |
| 12. | Slaves to Rome | 01:00 |
| 13. | Barbarian Horde | 10:33 |
| 14. | Am I Not Merciful? | 06:33 |
| 15. | Elysium | 02:41 |
| 16. | Honor Him | 01:19 |
| 17. | Now We Are Free | 04:14 |
| Total Time: | 61:31 |
Awards
- ASCAP Film and Television Music Awards - Top Box Office Films (2001)
- Las Vegas Film Critics Society - Best Score (2000)
- Golden Globe - Best Original Score - Motion Picture (2001)
- Broadcast Film Critics Association (BFCA) - Best Score (2001)
- Satellite - Best Original Score (2001)
- British Academy of Film and Television Arts (BAFTA) - Anthony Asquith Award for Film Music (2001)
- Chicago Film Critics Association - Best Original Score (2001)
- Academy of Science Fiction, Fantasy & Horror Films - Best Music (2001)
- Grammy - Best Score Soundtrack Album for a Motion Picture, Television or other Visual Media (2001)
- Oscar (Academy Award) - Best Music, Original Score (2001)
- Motion Picture Sound Editors (MPSE) - Best Sound Editing - Music (Foreign & Domestic) (2001)
- Online Film Critics Society (OFCS) - Best Original Score (2001)
Ratings
|
User Average Rating:
4 Stars
Review Average Rating:
4.06 Stars
Reviews
4.06 StarsDan Goldwasser (SoundtrackNet)
"The score that Zimmer wrote is rather detailed - lots of action cues that are heavy on the brass, and are plainly inspired by the works of Holst and Wagner. But there are plenty of softer dramatic cues. This is where Lisa Gerrard clearly applied her talents. Her vocalizing in cues such as 'Sorrow', 'The Might of Rome' and 'Now We Are Free' is really enjoyable, and her talents are obvious from these cues."
Christopher Coleman (Tracksounds)
"Hans Zimmer and Lisa Gerrard combine their talents in producing a unique score that hints of the familiar spanning several genres and ages of music. The listening experience ranges from refreshing to exhilarating and is well worth the investment. If there is a failing with this release, it is that it did not go the double-CD route that both Zimmer and Gerrard had hoped for."
Christian Clemmensen (Filmtracks)
"What makes this album a curiosity, and even yet, a recommendation, is the music that isn't dominated by Zimmer's synthesized mode of operation. Outside of the occasional use of the deep male choral sound is the momentous announcement of a full adult chorus in the ninth track. In addition, the seventh track features a fully orchestral performance more reminiscent of classical origins, and this string-heavy performance puts the electronics to shame. Lisa Gerrard's role for Gladiator, meanwhile, was to capture the more ethereal moments of the film in her music. Whereas Zimmer's music is ominous and overbearing, Gerrard's atmospheric sequences are pure bliss. Her own vocal performances add all the necessary spirit lost by the harsh electronics and, in the end, they steal the show."
Aaron Kernaghan (Filmtracks)
"Ultimately this is a score that worked extremely well in conjunction with a quite noisy film. On it's own, the score demonstrates a sophistication in textural writing. Given that Zimmer's greatest achievements are not so much in the melody area but in the orchestral and textural presentation of them, this bodes well for Zimmer's future projects."
Soundtrack Express
"Gladiator is derivative, but diverse - elements of this and that run into each other like some rambling synth symphony, conjuring up moments of great drama, a few lighter moments, but also a few somewhat simplistic, but engaging battles. One thing that struck me about Gladiator more than any other Zimmer score was how much the music sounded like it was just being played and made up as he went along, most notably in the action pieces."
Paul Place (Music from the Movies)
"Zimmer's score will not please the enthusiast looking to relive Rozsa, Newman or Bernstein. It is an intensely exciting, at times poignant, and thoroughly contemporary score which is clearly in tune with the vision of the director."
Andreas Lindahl (Score Reviews)
"Sure, the brass and the drums are all there, but one cannot say it sounds very Roman. In fact, it sounds like a typical action score by Hans Zimmer - the kind of scoring we have heard in the composers' scores for The Rock, Backdraft, Crimson Tide and Peacemaker, albeit much darker. Wether it suits a film about Roman gladiators can be discussed, of course, but I find it hard to really dislike it."
Jonathan Broxton (Movie Music UK)
"It may seem anachronistic to say so, but Zimmer's powerhouse musical style actually suits Gladiator very well indeed. It's not that the German has actually altered his format in any way - its more to do with the way Zimmer's "guest artists" mix their respective talents with his own unique way of writing. The centrepieces of the score are inarguably the awesome 10-minute action cues 'The Battle' and 'Barbarian Horde', both of which see Zimmer once again dusting off his mammoth synthesiser banks, and plugging them in alongside a massive orchestra to create two of the most rampant, full-blooded sonic assaults yet heard from the master of the heroic anthem."
Ryan Keaveney (Cinemusic.net)
"GLADIATOR comes highly recommended. It may take a listen or two to appreciate, but patience is a virtue with the post-THIN RED LINE Hans Zimmer. His team-up with Lisa Gerrard has produced some interesting results (and thankfully their styles mesh - the album seems as a whole not mish mashed). While it won't knock over those looking for the next PHANTOM MENACE, MUMMY or 13TH WARRIOR summer score, it should prove to have staying power in your CD player."