飙创影史最高制作的电影，直袭心灵深处的浪漫史诗。2000年全美冠军曲"Breathe"国民天后费丝希尔献唱电影金曲创作才女黛安华伦抒情力作"There You''ll Be" 《神鬼战士》、《人魔》奥斯卡音乐家汉斯季默一篇燃烧真情指数的肺腑之作。 1941年12月7日清晨7点55分,珍珠港军事行动摧毁了四艘战舰,扭转了二次世界大战的局势,划下20世纪美国历史上关键的一页,却也牺牲了近两千五百条人命,60年后的2001年,迪士尼集团旗下的正金石制片厂斥资一亿三千五百万美金摄制的夏季强档钜片《珍珠港》缅怀这个荣耀与悲伤交织的日子。 以「悍卫战士」、「赤色风暴」、「空中监狱」、「全民公敌」...等14部片缔造全球近34亿美金票房保证的制片巨子杰瑞布鲁克海默协同广告视觉界出身的新锐导演麦可贝,两人继「绝地战警」、「绝地任务」、「世界末日」后四度合作,与「梅尔吉勃逊之英雄本色」金奖提名编剧家蓝道华勒斯藉由两位情同手足的战斗机驾驶员与一位战地护士之间的三角恋情,辉映出大时代的雄心壮志与儿女情长。参与这部影史斥资最高电影演出的阵容有:「世界末日」性格小生班艾佛列克、「强迫入境」清秀女星凯特贝琴萨、「爱在地球尽头」新进小生乔许哈奈特、「怒海潜将」金奖得主小古巴古汀、「猎杀红色十月」男主角亚历鲍德温、「全民公敌」老牌演员强沃特、「抢救雷恩大兵」男配角汤姆塞斯摩、「魔鬼克星」男主角丹艾克洛伊。 《珍珠港》电影主题曲"There You''ll Be"是抒情金曲才女黛安华伦(Diane Warren)继"Because You Loved Me"(因为你爱过我)、"How Do I Live"(空中监狱)、"I Don''t Want To Miss A Thing"(世界末日)、"Can''t Fight The Moonlight"(女狼俱乐部)后,又一电影歌曲创作,2000年以抒情榜17周冠军曲"Breathe"风靡全美,2001年囊括3座葛莱美奖、3座全美音乐奖、3度入选People杂志娱乐界最美可人儿的乡村跨界国民天后菲丝希尔(Faith Hill)真情呼唤的歌声将一份永驻心头的依偎情谊自然涌现。80年代末期为好莱坞电影音乐工业注入新动力的音乐家汉斯季默(Hans Zimmer)继深受全球音响发烧友最爱的「绝地任务」后,再度为麦可贝执导的影片创作音乐,著名创作包括:奥斯卡得奖作「狮子王」跟「雨人」、「埃及王子」、「神鬼战士」等7度获奥斯卡提名的汉斯季默紧接着年初「人魔」烹调惊悚片型典雅精致品味, 《珍珠港》以古典浪漫气质乐音为核心,从柔情似水的钢琴音调里缓缓的带出悲壮悠扬的古典弦乐,剎那间,如John Barry与Ennio Morricone一般的欧陆浪漫典雅气息盎然飘荡,默默地为这个烽火连天的有情天地献上最诚挚、最写意的祈祷,而季默多年的外向影音传动催化驾驭力,成功的向内凝聚成一波直击心灵的伤感,"Tennessee"、"Brothers"展现季默回归古典音乐的浪漫情怀,而在写意感性之余,也在一些乐段燃烧着战火炼狱里慨然悲壮的胸襟。 此番招兵买马的精英包括:爱尔兰皇家音乐学院毕业,拥有辛辛纳提大学硕士学位,拥有30年丰富作曲编曲历练,担任过「终极警探」、「金色豪门」电影音乐指挥与管弦编曲的Fiachra Trench; 有着希腊/爱尔兰/波多黎各家族背景,执着于欧美剧场界钟情于戏剧与舞蹈演出,84年与多明哥合唱「卡门」的纽约女高音Julia Migenes;精通中提琴、五弦琴、曼陀林、吉他等乐器, 跟过bluegrass、摇滚、蓝调、雷鬼、爵士、居尔特等各类型乐团演奏的德州小提琴跨界奇葩Craig Eastman;创立Hiroshima乐团,担任作曲与制作的长笛与Shakuhachi高手Dan Kuramoto;曾与Ella Fitzgerald、Frank Zappa、Quincy Jones共事,参予过「捍卫战警」、「龙卷风」等原声带管弦编曲工程的洛杉矶长号乐手Bruce Fowler;来自瑞士苏黎世,古典音乐出身,却选择跟B.B.King、Beck同台,甫在「人魔」绽现风采的大提琴家Martin Tillman; 「神鬼战士」担任原著音乐制作、创作与编曲等工程的Klaus Badelt跟「落跑鸡」、「小蚁雄兵」幕后音乐人才Steve Jablonsky、Geoff Zanelli与「急冻任务」里初展电影音乐长才的James S. Levine及「赤色风暴」音乐剪辑Bob Badami。 This one isn't too hard to figure. Big-budget action film producer Jerry Bruckheimer, looking at the receipts for Titanic, must have had his staff search the history books for another big disaster that could be turned into a similar romance-with-special-effects, and they came up with the 1941 Japanese attack on Pearl Harbor. Perfect: That allowed for war footage akin to Saving Private Ryan. The hiring of director Michael Bay must have seemed obvious, at least to Bruckheimer, who had him handle Armageddon, which also featured Ben Affleck, here moving up to above-the-title star status. And finally, there's the soundtrack album, which had to feature a big end-title ballad in which a woman sang to her dead lover. Who else to write it but heartbreak ballad queen Diane Warren, and who else to sing it but diva-of-the-moment Faith Hill? Mix the elements, open it on Memorial Day weekend, and wait for the receipts to pour in. Not surprisingly, however, Pearl Harbor is no Titanic, Hill is no Celine Dion, and "There You'll Be" is no "My Heart Will Go On," though all of them do reasonable enough imitations to get by. Like the Titanic soundtrack album, this one has just the one pop song, followed by excerpts from Hans Zimmer's score. Zimmer is no James Horner, either, but his music is relentlessly slow and wistful, suggesting a film in which the action is a long time coming. Four straight tracks of dirge-like orchestral music topped by the wordless vocals of Julia Migenes go by before "Attack" signals that the fight has begun, and even that track falls off into a becalmed passage before long. Just before the end, "War" works up some martial pacing, but only to give the score an appropriately majestic sendoff. Like the film, the music seems recycled.