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Published on Feb 20, 2009
This would be considered Jerry Goldsmith's best score of 1999 and considered by many to be his last great score. His work in the following years would be weak by comparison and his re-usage of his own material would become even more apparent. It's quite evident here in this score that most of his material is from other scores. Traces of Legend creep in with the long slur but that's forgivable since a trombone slur can be used to represent anything that's intimidating. However some of the more obvious cues that Goldsmith re-uses such as the Arabic theme that presented through out the score was also heavily used in The Mummy soundtrack and Goldsmith practically does a copy and paste of it here. There is also the case of the main theme which is very fun to hear but it does sound like it was molded after Hans Zimmer's Crimson Tide. This was a trend through out the 90s for Goldsmith however it was never quite as blatantly obvious as it is here and it does foreshadow how Goldsmith would score projects in the next few years.
A lot of trouble plagued this film and that includes the score for the movie. Originally Graeme Revell was hired to score this movie and in all honesty I think he created a better score if you get down to it's technical merits. It's more original and at times it can be a more interesting score than what Goldsmith created. That being said he did score a much different movie from what I've heard. There are several reports as to what the length of the original cut of the film really is and some say that it was nearing 3 or 4 hours which is massively long when compared to the theatrical film (90 Minutes). So, it's not really a fair comparison when you have a score which does have plenty of atmospheric tracks to one that has more rousing and action oriented pieces. Still though Goldsmith's work is the more entertaining and I doubt anyone would argue that and in that I believe that Goldsmith does create the better overall score simply for it's sheer ferocity.
It's hard not to get caught up in tracks like the Fire Dragon, Horns of Hell, and Valhalla Viking Victory. Goldsmith was brought in on short notice by Michael Crichton and after John McTiernan was fired. Being friends with Crichton was one of the reasons why Goldsmith was brought in and a bit surprising he did accept the offer since after Air Force One, Goldsmith did say he wouldn't want to take another project with such a short time span to score.
This is from the Bootleg score of the 13th Warrior. It's when all the warriors are being named.