Greetings! ScoreKeeper here forging my thoughts and iron-clad opinions on one of the more anticipated film scores of 2010. I'm an ardent admirer of John Debney's work especially for the previous two films in which he collaborated with director Jon Favreau: ELF (2003), and ZATHURA: A SPACE ADVENTURE (2005). You may count me among the disappointed when he was not assigned to pen the score for IRON MAN (2008). When I announced back in July of 2009 that John Debney had officially been hired to score IRON MAN 2 (2010) I was elated! It immediately spearheaded the list of scores I would look forward to most in 2010. Having finally seen the film and absorbed the weight of heavy-metallic orchestral music wrought by Debney, I stand between a division where some of my loftier expectations were met while others fell unexpectedly short. There is much to applaud and appreciate in Debney's raucous score for IRON MAN 2. If I had to award a blue ribbon for one particular aspect of the entire work, it would be the music associated with Whiplash (Mickey Rourke). Debney manages to weave uber-cool guttural explosions of distorted electric guitar and bleating trombones with the enigmatic timbres of an Eastern European style choir and orchestra. He nailed the aural characterizations of Ivan Vanko by combining a primitively gothic sound with that of advanced technology. The low brass writing during these moments (and throughout the score in general) certainly should be praised. Even during the quieter moments where Vanko is toiling away at his sinister inventions the music is brooding and boiling with the subtle confidence reflected in Rourke's eyes. Although the overall functionality of the score is relatively uncomplicated, there are certain key moments where Debney's narrative instinct is on display. Such a moment occurred when Lt. Col. Rhodes (Don Cheadle) steals the Iron Man Mark II suit and flies it to Edwards Air Force Base to turn it over to the U.S. military. To fully appreciate the success of this cue you have to understand the complexity of the narrative at this juncture and how important it was for Debney to provide the correct emotional signature. Rhodes, who is a dear friend of Tony Stark, and admired deeply by the audience, appears to turn traitor and serve the government machine which has already been established as a major antagonist. Favreau's intention was not to make Rhodes out to be a villain but rather a patriot. Debney composed a rousing patriotic anthem with a glorious theme during Rhodes arrival at Edwards. I did not succumb to the temptation to turn on Rhodes thanks in large part to John's music which delicately balanced the motive of his actions as a heroic gesture. In a film that is packed to the hilt with crunchy electric guitar and low brass-laden orchestral music, the ear welcomes the relief from several well-timed moments of intimacy within the score. Debney has a penchant for expressing volumes of emotion with a few simple musical gestures. The earthen tone of a solo clarinet balances well the relentless kinetic energy of the fast-paced action music. I wish there were more moments like this in the film, not merely from a musical vantage point but from a narrative one as well. One of the highlights of the score is a short source cue composed by Disney legend, Richard M. Sherman, entitled "Make Way for Tomorrow Expo." Known for his collaborations with brother Robert, the pair crafted memorial tunes and scores for films like MARY POPPINS (1964) and CHITTY CHITTY BANG BANG (1968) as well as the infectious theme-park standard "It's A Small World (After All)." This particular scene in IRON MAN 2 reeks of an homage to Walt Disney himself which makes the inclusion of Mr. Sherman delightfully apropos. Although Debney composed a mighty Goldsmith-esque theme for Iron Man and relies upon it periodically throughout the film, there isn't enough development to extrude it from its expositional form. I think this would have been perfectly acceptable if this were the first film of the series; however, since we are embarked on a developmental journey of already established characters, the music doesn't quite have the legs to keep up. It's a fantastic theme that embodies Iron Man well. I lament it was not developed more throughout the picture. At times the score was turned on or off with the flick of a switch. This is an attribute I fear permeates a lot of film music today. We're on. Now we're off. On again. Off again. One of the aspects of Debney's past work I appreciate so much is the seemingly effortless manner he weaves the organic flow of his compositions into the narrative. There were certainly a host of opportunities for this beyond the ones utilized that would have established the legacy of such a memorable theme. Perhaps it's a mild case of THE-DARK-KNIGHT syndrome but I can't help feel the film could've benefitted more from Debney's melodic magic and a little less of the bulldozing riffs. Before I wrap this up, I feel it pertinent to expose one of the more egregious missteps concerning the score and it has nothing to do with Mr. Debney. Films in general (especially high-octane action films) are rarely mixed well. I've accepted it as the status quo and will rarely mention it but in the case of IRON MAN 2, I feel compelled to reveal my disappointment with the film's mix. It befuddles me to no end that one would spend tens of thousands of dollars per minute for original music only to completely and wholly bury it under a deafening avalanche of sound effects. Film music literally ceases to function if the ear can not perceive its existence. Although I enjoyed the film as a whole I felt a perpetual yearning to connect with the narrative on an emotional level that never quite manifested. I'm not sure how I was supposed to achieve this when the primary ingredient designated for fulfilling such goals was completely obliterated from the sonic space it desperately needed to survive. Debney undoubtedly turned in a solid effort and there will be moments from this score that I will be listening to perpetually throughout the year. I believe it is a step in the right direction as far as resurrecting the intellectual complexity of the superhero score even if it's a smaller step that I might have expected. I have a feeling it'll be well received amongst the film music faithful even if some of my nitpicks are shared by others. If there is an IRON MAN 3 I would welcome Debney's return to the musical world he established in IRON MAN 2...I just hope my ears will be able to tell that it's there. The twenty-five track CD will be released by Sony Classical on July 7, 2010.

ScoreKeeper!!!