The electric guitar sounds lonely, clearly alluding to the distance between Mars and home, but is augmented by a gentle, mesmerizing string backing, counterbalancing the isolation with warmth and humanity. The score opens with stark, slightly oppressive synth chords and impressionistic processed effects, earmarking “Mars” as a cold, inhospitable place, but these quickly gives way to a hesitant performance of the score’s main theme, a recurring two-note motif that acts as Mark’s personal musical identity. Choral embellishments play an occasional part, and at several key moments the score rises to embrace epic orchestral majesty.
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Parts of it play like an easy-listening ambient moods album, full of soothing synth textures, while others are more urgent and dramatic, increasing the tension with more strident rhythmic ideas.
Stylistically, the score is a combination of Vangelis-style electronica combined with the more potent orchestral statements for which Gregson-Williams is better known. The combination of creative freedom and artistic inspiration clearly worked wonders for Gregson-Williams, who responded to these circumstances with what I personally feel is his best score in many years – at least since Prince of Persia in 2008, and maybe since Prince Caspian almost a decade ago. Thankfully, The Martian seems to have been generally immune to most of Scott’s musical foibles, with Gregson-Williams presenting a unified, singular vision for the film. Ridley Scott has had something of a spotty relationship with his composers he has worked with many different musicians over the course of his career, ranging from Howard Blake, Vangelis, and Jerry Goldsmith, to Trevor Jones, Hans Zimmer and, more recently, Marc Streitenfeld, but has also gained a reputation as someone who likes to mess around with the music: he famously replaced a fair amount of Goldsmith’s score for Alien with classical music in 1979, got into all kinds of musical issues between Goldsmith and Tangerine Dream on Legend in 1985, has licensed temp cues to fill gaps in several of his scores, and as recently as last year had three different composers – Alberto Iglesias, Federico Jusid, and Gregson-Williams – working on Exodus: Gods and Kings. The score for The Martian is by composer Harry Gregson-Williams, working with Scott for the third time after Kingdom of Heaven and Exodus. The film is anchored by Matt Damon’s excellent lead performance as Watney, which is at times surprisingly funny as he muses ironically at his situation and the bizarre things he has to do to survive, and is at other times spectacularly beautiful, taking every possible opportunity to present the barren Martian landscapes in all their austere glory.
The film is a superb combination of high action-adventure and intelligent application of real science, and will surely appeal to those with any interest in the realities of space exploration and the possibilities and problems it holds for those bold enough to do it.
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NASA officials Jeff Daniels, Sean Bean, Kristin Wiig, and Chiwetel Ejiofor announce Mark’s death to a shocked world – but, back on Mars, Mark has somehow survived the accident, and is now faced with a terrible double dilemma: how to survive on Mars with dwindling food and water supplies, and how to contact Earth so that they can come and rescue him. Unfortunately disaster strikes and the other members of his team – including Jessica Chastain, Kate Mara, and Michael Peña – are forced to blast off the planet, leaving Mark behind, presumed dead. Based on the acclaimed debut novel by Andy Weir, the film is a space adventure that plays as a cross between Castaway, Gravity, and Apollo 13 it stars Matt Damon as Mark Watney, an astronaut on the latest successful NASA mission to make a manned trip to Mars. His new film, The Martian, may set things back in the right direction.
The once-revered director of classics like Alien, Blade Runner, and, more recently, Gladiator, did not receive many good reviews for his last few films, which have included Prometheus, The Counselor, and Exodus: Gods and Kings. Ridley Scott has been in something of a career slump of late.
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