APOCALYPTO

JAMES HORNER

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As Heard in the Film review by Clark Douglas: To my knowledge, the fall of Mayan civilization has been largely untouched by filmmakers. The setting is ripe for drama, history, and intrigue, it was only a matter of time before someone decided to make a major film about it. Most directors probably would have opted for a sobering history lesson, an explanation of why a civilization self-destructed, and some political references that apply to today's world. However, let be said that Mel Gibson is not most directors. Oh sure, Mel includes the aforementioned elements, but they are side items, mere trimmings around his carefully-prepared action buffet. This is not a history lesson, nor is it a historical romance, or a political propaganda speech. It's a both-barrels blazing (or should that be both-blades swinging?) action film that begins at heart-pounding and escalates from there.

The hero of the story is Jaguar Paw (Rudy Youngblood), a nice young guy with a wife and a child. The plot is a lean, bare-bones affair. Jaguar Paw is captured by a war party, almost sacrificed to their gods, escapes, runs, and fights. That doesn't sound terribly interesting on paper, I know, but Gibson's unique direction turns this thin idea into a stunning two and a half hours of cinema. Gibson seems to hold the belief that nothing in life is earned without enduring a great deal of physical torture, and that belief has never been more evident than in "Apocalypto". Just about every character in this movie endures some kind of horrible treatment. People are stabbed and beaten by all kinds of weapons. Human heads are tossed down the steps of a pyramid to the glee of murderous masses, beating hearts are torn out in human sacrifice ceremonies. The jungle Gibson creates is so intense that you're just as likely to get killed by a wild animal of some sort as you are by a human enemy.

In addition to the graphic violence, Gibson has created numerous obstacles for himself. The film is in subtitles, as all the characters speak a Mayan language, which may deter some viewers. Gibson's own racist remarks earlier this year will inevitably drive certain groups away. The film's length may keep others from coming. The fact that the characters getting tortured aren't named Jesus will probably ditch the majority of Gibson's "Passion of the Christ" crowd. Oh, and did I mention the film cost $75 million to make? It's almost as if Gibson is applying the torture theory to himself.

Despite these obvious obstacles, the film is a stunning achievement. The action is remarkably staged, the last hour is one of the most remarkable pieces of action cinema I've ever seen, perhaps the most impressive physical spectacle since Gibson's own "Mad Max" movies. Thankfully, Gibson avoids numbing the viewer by using careful modulation, slowly increasing the intensity level as things progress (admittedly, he starts at "very graphic", so you can imagine how things finish).

Technical aspects are also very impressive, as Gibson creates an incredibly realistic historical world. I, for one, was totally convinced by the setting, and rarely felt like I was watching a staged film. All the performances are raw, but very effective. Dean Semler's cinematography is another terrific asset, soaking in the natural beauty that surrounds this bloodbath.

James Horner, who scored Gibson's "Man Without a Face" and "Braveheart", turns in one of his more eclectic efforts here. The emphasis is on percussion, with woodwinds, synthetic strings, and the vocals of Rahat Nusrat Fateh Ali Khan (who also performed on Horner's "The Four Feathers") adding flavor. The score is highly atmospheric, and highly unconventional. I'm quite sure opinions will be diverse on this one. On the one hand, it offers very little traditional ideas or memorable thematic material, fans of "The New World" may be scared away by Horner's uncompromising approach. On the other hand, the score is extremely effective within the context on the film, and creates a strangely hypnotic musical world. How well it works on album is another matter to discuss, but in terms of Horner's approach to scoring the film (his first and foremost responsibility), he's done a fine job. It's a creative, fresh work, even if it's not particularly easy to digest.

Obviously, this isn't going to be a movie for everyone. Anybody looking for a reason to skip "Apocalypto" will inevitably find one. This is understandable. Be forewarned, this is the most violent movie since... well, "The Passion of the Christ", so the fainthearted may want to pass. However, in a Hollywood era that embraces formulaic movies made by interchangeable directors, this is a breath of fresh air. Maybe this is what Mel was thinking of when he was stretched out on a rack yelling "FREEDOM!" This an uncompromising film that bears the mark of it's director with intense pride, defying convention with blazing passion. Want to know what fearless filmmaking looks like? Check out Mad Mel's Masochistic Mayan Masterpiece.

Click here to read Jonathan Broxton’s review of the Apocalypto CD.

Track Listing: Running Time: 60 minutes 39 seconds

Hollywood Records D000015802 (2006)

Music composed by James Horner. Performed by James Horner, Tony Hinnigan, Jan Hendrickse, Robert A. White, Guo Yi, Gary Kettel, Frank Ricotti, Ian Underwood and Aaron Martin. Special vocal performances by Rahat Nusrat Fateh Ali Khan and Terry Edwards. Recorded and mixed by Simon Rhodes. Edited by Jim Henrikson and Dick Bernstein. Album produced by James Horner and Simon Rhodes.

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