Zanobard Reviews

John Powell tries to improve upon perfection with his score for the live-action How To Train Your Dragon movie, to honestly some pretty impressive results. A crisp, refined sound to the orchestration and some utterly stellar cues – including the new “Test Driving Toothless” and an absolute treat of an end credits suite – make this soundtrack a genuine joy to experience, no matter how you feel about remakes.

It’s an interesting dilemma, the soundtrack for a live-action remake film. The inevitable comparison back to the original of course goes without saying, but it’s the thought process you have while listening to the new one that determines a lot in terms of enjoyability, I find. There’s basically two ways to approach it; the first – the less fun one – is with a determination to dislike, because it’s “just” a remake of the iconic original score and the original will always and forever be better. But the second approach – which is where I try to be – is an acceptance of the above, but with the added optimism that the composer has maybe not only recaptured the magic of the original work, but also – given all the musical experience they’ve gained since that time – maybe even added to it too, resulting in a net gain of excellent new music in the vein of the original score that can also be enjoyed alongside it. And that more hopeful possibility in remaking music as well, a reimagining and even expansion of the iconic original score, is happily the one that John Powell appears to have taken for scoring the live-action How To Train Your Dragon too. The memorable moments from the original that we all know and love are indeed recreated here, but the orchestral sound feels fresh and vibrant and so alive, and there’s enough new material here too to keep things interesting. The very best of both worlds.

So with all that said, let’s waste no further time – and dive straight into Powell’s old and new score. The album begins with “This Is Real Berk”, and the score doesn’t dither whatsoever in getting re-acquainted with the iconic sound of the series, as noble brass notes play the opening notes of the fantastic flying theme from the original 2010 film. Gentle percussion then slowly starts to elevate the pace, with the playful theme for Berk also reprising alongside the flying theme until a sudden burst of wonderfully boisterous orchestra fully kicks things off. The Berk theme plays loudly and proudly until the Dragons theme dramatically takes over in the back half in a manner very much akin to that of “This Is Berk” from the original score, but the style is noticeably modernised; the orchestra has a slicker, refined feel to it, and while I’m not sure I’d go as far as to say it sounds better, overall it certainly sounds different enough in its newer orchestrations and frequent structural departures from the original cue that it’s really damned enjoyable all on its own. Cold, eerie vocals then overtake briefly in “I Hit A Night Fury” before intense vocal chanting and bold brass return to the Berk theme both here and in “Conference Of The Tribes”.

A gently thoughtful rendition of the flying theme plays in “He’s Not That Boy” before “Searching The Woods” kicks up the pace again with a determined rendition of the Berk motif before things start to turn darker and moodier in the back half of the cue. Bagpipes then thunder into fray in “Home In The Ring” with a proud rendition of the Berk theme playing alongside until tensions start to build in “First Dragon Training” with wary strings and percussion rising in intensity until the full orchestra and the Dragon theme come into emphatic view in the back half. The flying theme then plays in unusually moody form alongside the Berk motif in “Our Most Valuable Possession” before action practically explodes into centre stage with “I’m Beginning To Question Your Teaching Methods!”; frantic strings, brass and pounding drums are prominent here, with leaping interspersions of both the Berk and Dragon themes frequently crossing over eachother. “A Really Forbidden Friendship” is then of course a recreation of the incredible cue from the original film, and it comes in at a slightly longer runtime with new orchestral & stylistic additions and flair, overall sounding different and modern enough to be more than a simple copy, but also just as wonderfully magical as Powell’s original piece.

“He Has A Way With The Beasts” opens with some truly tremendous orchestration, with bursts of the flying theme playing on leaping woodwinds and triumphant brass. The next track though is the moment that, let’s be honest, we’ve all been waiting for – “Test Driving Toothless”. The sheer power of the orchestration and the flying theme that thunder through immediately as the track begins still take my breath away with the original track, and in this new version even more so – the brass is refined and impeccably grandiose, and the music simply soars for the first ninety seconds or so of the track, with even a little extension of the flying theme to boot. From the ninety second mark though things start to differ fairly dramatically, with echoingly tranquil vocals killing the pace. The track then sort of wanders for a little before kicking back into gear with a refined version of the original “Test Drive” finale before crashing to a sudden close. All-in, if it wasn’t for the pace-killing new vocals at the halfway point – I’d genuinely say this is better than the original, and I don’t say that lightly. The triumphant Berk theme then overtakes on its usual bold brass and vocals in “Top Slayer” before a solemn flying theme on strings then rounds out the track.

The love theme performs in spellbinding style through “A Romantic Flight”, with frankly gorgeous strings and vocals opening the cue before the full orchestra practically explodes into soaring romantic colour with the flying theme too in tow for the remainder of the track’s two and a half minute runtime. Moody tension then starts to retake the reins in the subsequent “Taken To The Dragon’s Nest” before the love theme briefly returns on twinkling strings and woodwinds in “Should We Tell Your Father?”. Aggressive brassy bursts, chanting vocals and deafening orchestra then thunder through tense action setpiece “The Trial Of Flame” with brief, anxious interspersions of the flying theme playing until said motif turns forlorn and melancholic in the subsequent and indeed rather downtrodden first half of “You’re Not My Son”, though – restoring spirits slightly – an imposingly grandiose playthrough of the theme for Berk then steps firmly into centre stage alongside a renewedly determined flying theme towards the end of the track.

The battle against the Red Death begins in “Meeting The Queen” with a crash of percussive thunder and tremendous bagpipes. Tense renditions of the flying, dragon and Berk themes then dance frantically around eachother for the track’s four minute runtime, with the subsequent “Allied Forces” continuing in much a similar anxious vein until just past the ninety second mark as the flying theme soars into centre stage on heroic orchestra. The action reaches its thunderous conclusion with “The Wings Of The Beast” as deafening vocals, tense strings and brass build to crescendo, with “Finding Hiccup” then lowering the pace and volume quite dramatically as a quietly solemn rendition of the flying theme takes the forefront for the first half of the cue. It doesn’t take long though for triumphant orchestral hope to find its way again, with the track ending in a gently peaceful manner as a result. “We Have Dragons” then thunders the score to a close with a happily grandiose rendition of the flying theme à la “Coming Back Around” from the 2010 film, with a curious actual song following in “You Are My Homeward”. The true treat for the finale of this wonderful album though is the surprise inclusion of an end credits cue “..and finally, the End Credits Suite” (yes it’s genuinely called that), a fantastic and happily lengthy reprisal of the score’s major themes.

Overall, John Powell’s score for the live-action How To Train Your Dragon feels like a modernised and revitalised remake of his iconic original 2010 work, with a few new musical cherries on top too. The orchestration has a crisp, refined sound and it just feels so rich as a result; take “Test Driving Toothless” as a good example, the absolute power of the flying theme as it genuinely soars all across this fantastic track is truly something to behold, and for me if it wasn’t for that annoying pace-killing bridge in the middle, honestly – I’d prefer this version to the original “Test Drive”, and I don’t say that lightly. That’ll sound like heresy for some, but remember; this is just what I think. Ultimately, whether or not you prefer the original cues to this remake is up to you, because make no mistake, this album absolutely is a remake of the original score. It’s got new bits here and there but on the whole it follows the same beats as the 2010 film, so if you expected any different you’re going to be disappointed. From my side though, I try to appreciate this for what it is, which is John Powell trying to improve upon perfection, and doing a pretty damned good job of it too. You can’t tell me that “Test Driving Toothless”, “A Romantic Flight” and “This Is Real Berk” don’t sound amazing here, but again – if you prefer the original cues, then fair enough. Nobody will take that away from you. Just don’t be afraid to enjoy this for what it is either.

Remakes have been described as soulless before, but honestly – this one is anything but. We even get a fantastic treat in the new and indeed Standout end credits suite. What more could you want?

Score: 8/10

Standout Cues: Test Driving Toothless/..and finally, the End Credits Suite

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