Most of the music ranges from frenetic martial arts cues to moments of wisdom, with commendable comic material flung from both angles. It is Zimmer handles the ancient, respectful broad strokes of the thematic material concerning the Dragon Warrior, while Powell chose to compose the livelier, quirky panda suite, his proficiency in cartoonish writing not having diminished one bit over the years. The lack of clear identity between the composers and the tracks garners mild annoyance, but one who has become accustomed to their styles shouldn’t find it too difficult to dissect. The resulting collaboration is one that yields strong harmonic music, integrating Western orchestral tradition with Eastern culture and history, occasionally relying on contemporary instrumentation to infuse an energetic nature. The last time these two men had worked together was on The Road to El Dorado, and directors Mark Osborne and John Stevenson approached them for their hyperactive, deep style of writing.
Even more so was the inclusion of his close friend John Powell, once a former pupil of Zimmer who now holds several creditable scores to his own name, having a successful career too with a rather active year delving mostly into animation. 2008 marked a workmanlike year for the composer, with his sequel scores The Dark Knight, Madagascar: Escape 2 Africa and a restrained, intelligent score for Frost and Nixon garnering mixed to mostly positive reception. Zimmer arguably achieves his strongest result in animation since his glory days long ago, for The Lion King and The Prince Of Egypt.
KUNG FU PANDA 3 FULL SOUNDTRACK SERIES
Marked as a hugely successful venture, the success of Kung Fu Panda led to a studio plan for 6 films, as well as a TV series based on the concept, and several video games to go with them.Īs was the case, the collaboration between Dreamworks Animation and veteran composer Hans Zimmer would continue with this film. Though holding plenty of cute, lively handling of the characters onscreen, the film didn’t resist in subtly inspiring children using themes of perseverance, determination and humility to paint its canvas. Indeed, the panda’s surprising relation to the audience becomes clear, as his progression from harmless enthusiast to self-respecting protector serves as the strength behind the tale. Using the anthropomorphic template of animals with human voices and characteristics, Kung Fu Panda focuses on a clumsy but well-intentioned panda, Po, and how his innocent, ardent admiration of a respected martial arts group, The Furious Five matures into him unwillingly becoming a prophesied force for good to defend the Valley of Peace from Master Shifu’s rogue protégée, Tai Lung- a snow leopard whose questionable vengeance stems from mislead ambition. Simply by harnessing the tools of satisfying narrative propulsion, and masterfully integrating it amongst a vibrant package of colour and sound, one could not fault the widespread fondness for Po the Panda, as unlikely a candidate he may be for the esteemed title of the seemingly revered Dragon Warrior. Produced By: Hans Zimmer and John Powell.Īs much as animation films are orientated for younger audiences, the gravity of storytelling is infinitely superior in KUNG FU PANDA than most live-action films, regardless of their genre. Coleman, Jane Antonia Cornish, Jake Parker, Germaine Franco. Orchestrated By: John Ashton Thomas, Dave Metzger, Kevin Fliesch, John A.
Recorded At/ By: The China National Symphony Orchestra, with assistance from The London Voices If the duel between the action and comedic material proves an outwardly haphazard moulding of presentation, interrupting the fluency. If you like your animations scores rich, wild and entertaining, this particular product combining styles of contemporary and Eastern oriental harmony and energy to synthesize an admirable product.
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