Both attempt to procure and re-iterate deep emotional moments de profundis (as it should have been), but the end result is a shallow dive and a hollow meaning that does little justice to the atrocity of Pearl Harbor and the injustices of love. If the subject matter is a travesty - so to are the media used to convey it.

For instance, the constant slow-mo with Zimmer's synth score (eg. "Tennesse") worked more like an MTV video and recalled similarly employed devices in Armageddon - another bad film and score. Oops... they did it again. Slo-moing a bunch of guys walking away from the hangars is hardly moving, so why indulge the moment. This style was so overly abused as to become ridiculously ordinary, thereby losing its impact. Timing is everything but apparently not here.

The romantic chemistry between Rafe and Evelyn was wholly unconvincing (thank God for Red and Betty) and so any accomodating music ("And Then I Kissed Him") became a waste of time - and it was. Rafe, the blunt rock blabbing on about the meaning of top secret (a truly hideous delivery in the history of cinema); Evelyn the crying statue who needs to move on with her life (is punished for doing so and cries even more); Zimmer with his soulless and empty vacuum. You can hardly blame Zimmer for not being inspired by the film, but the end result is one where the film and score ultimately deserve each other.

"The Attack" could have been a big moment, but sadly owes more to Gladiator and The The Thin Red Line than anything remotely self-defining. It appears that Zimmer had limited time in which to compose this score. If this was the case, he should have spent more time developing the themes between Rafe and Danny ("Brothers"); Rafe and Evelyn ("And Then I Kissed Him") - since these relationships are the principal core within the film. Unfortunately, both themes become mired in a sinking ordinariness worthy of quicksand membership. Again, that can't have been easy to do since those relationships are essentially under-developed in the film itself. Less on love and more on fe/male camaraderie might have worked better. Having said that, "The Attack" should have been more developed as well. It opens with a sense of burgeoning threat but ultimately fails to deliver.

The review at Filmtracks.com suggests the biggest error is the contemporary sound of Pearl Harbor, and a historically localized sound would have been more appropriate. Such a dreary crusade to temporally match music and image. S/he further laments the lack of instilled patriotism, which I am personally glad is not present, as its been done to death already. In my opinion, the gravest error is that this film and music is always trying too hard to render tearful emotion without always having reason to do so. It never rises to an occasion because each moment attempts to be a self-defining occasion in the first place. Furthermore, the film can't always be taken so seriously given the rather poor and often laughable dialogue. It's no wonder a parody of Armaggedon and Pearl Harbor is in the works. If you want to save youself from sinking, then lay this utter garbage to rest where it belongs and stick with The Thin Red Line or the parody. Address the issue of war seriously or comically, but never in-between.
 

Hans Zimmer has composed one of the most beautiful love themes. I would have liked to hear Lisa Gerrard's vocals included, but there are very little solo vocal parts, and those that exist are performed by Julia Migenes. Although she isn't Lisa Gerrard, she does a very good job. Although the love theme is amazingly well done, it takes up too much of the 46 minute total running time.

Tracks 6,7 and 9 are some of the best dramatic tracks I have ever heard in my entire life. "Attack" features the Japanese Theme which is dark and percussive, but after two minutes, the music leads into the great sound of the dramatic theme.

Steve Jablonsky, one of the additional arrangers on the album, wrote this piece which is close to being the best track on the album. It starts out very explosive and full of Julia Migenes' vocals backed up by an amazing orchestra. It then leads into very subtle and emotional music. At the end of the track, there is a more subtle version of the explosiveness heard in the beginning of the track.

"December 7th" is very, VERY emotional. It begins with a large orchestral piece with a wonderful cello part performed by Martin Tillman. Then the choir begins and continues for five minutes. Very dramatic and emotional.

"War" is the only action peice on the entire soundtrack (except for the Japanese Theme) and is very patriotic and triumphant. This too was composed by Steve Jablonsky.

"Heart of a Volunteer," another Steve Jablonsky track, begins like a slower version of "December 7th" and then leads into a darker version of "Attack." It ends the way the score began in "Tennessee" (only with more dominant vocals).

"There You'll Be," performed by Faith Hill, begins the entire CD. Although, like the film, many people do not like this track. I think it fits the film and CD very well. I also think Faith Hill did a wonderful job on it.
 

But, and this isn't to decry Mr. Zimmer in any way, during the "Attack," there are definitely Gladiator moments when I'm reminded of Ancient Rome somewhere in Morocco. Suddenly, wham-bam and there's Russell Crowe wandering through an orange market place in the North of the African continent. Zimmer could have used a new technique - there's nothing wrong with re-using good music, but not when the films depicted are set 2000 years apart... it just confuses the issue for avid moviegoers.

That said, the score is deeply moving and fits the film wonderfully - not that I like the film in particular, but if you want to either empathise the film or listen to some amazing music, this is the right CD for you. And although Zimmer re-used parts of older scores (James Horner and John Williams do it to death as well), this score is well-done. Good music remains good music even when repeated - why fix what's not broken??
 

However, as many have said, 1/2 of the score is missing in terms of the action pieces (The Approach to Pearl, Dory Miller's Triumph with the Brownings, DogFight - Rafe & Danny Strike Back, Tokyo Raiders, Crashing in China) and while it is true that war movies are about emotions, the main point in buying a score for a movie is to listen to the music from it. ALL of the music from it and not seven total tracks (excluding Faith Hill's vocal song) which is only 40 minutes out of a 180 minute movie.

I hope they release an expanded edition in the future, or than an import can be ordered.

Contrary to popular belief, soundtrack fans in the U.S. are ALSO interested in the scores and not just the vocal rock songs that are haphazardly thrown on a CD and called "the soundtrack."

Overall, very disappointed in what was given.
 

"Tennessee," the first track of score, is one of the most touching pieces of music written by Zimmer, which utilizes the soft piano solos heard in his previous Backdraft. The orchestra is medium-sized; his usual array of synth elements are used along with a refreshing amount of ethnic percussion to represent the Japanese. "Attack" is the crowning achievement in the film, beginning with pounding percussion and moving to an emotional solo vocal to underscore the horror of the Pearl Harbor attack. The best pronunciation of the main theme is heard in "War."

The Hans Zimmer we used to know (The Rock, Crimson Tide) is gone in this score. In his place is a style more similar to James Horner, which may not be all bad. Zimmer's brass music has matured to awe-inspiring.

Overall, this is Zimmer's best of this year. I welcome of new style and hope to hear more of this in future projects.