The surprising emotion revealed in the travels through Snape’s memories are reflected in the compositions as well.
One of the best pieces is the short but majestic “Statues.” It plays in the film during one of the most moving segments – the initial stages of the Battle of Hogwarts, where the dark forces seem to be overwhelmingly defeating the defenders and Harry, Ron and Hermione realize, perhaps for the first time, the magnitude of what they are trying to accomplish. Familiar components make a reappearance the beloved “Hedwig’s Theme,” for instance, which encapsulates the wizarding world in its innocence, can be found in “Dragon Flight.” Most notably, Desplat nicely struck the balance between majestic and despondent, moods between which the final movie quickly flickers. It seems for “Part 2,” Desplat did his research, understanding both what the fans wanted and what the film begged for. The pieces would have fit nicely into even a “Twilight” soundtrack – something that, for many “Potter” fans, screams blasphemy. His inadequacies were most evident in “Harry Potter and the Deathly Hallows: Part 1,” where the music was just there, but uninspired. His first composition for the series, the “Deathly Hallows: Part 1” soundtrack, was certainly beautiful, but lacking.ĭesplat’s greatest failure is his propensity to compose ‘generic’ pieces, rich in mood but lacking in discernible style. Joining the “Potter” crew as a successor to the legendary John Williams – who also composed the iconic themes for “Jaws,” “Star Wars” and “Indiana Jones” – Desplat was something of an underdog facing the scrutiny of millions of fans.
Fans expected the best of the final movie, and fortunately, composer Alexandre Desplat rose valiantly to the occasion, creating a nearly perfect soundtrack for an equally magnificent visual extravaganza. The soundtrack for “ Harry Potter and the Deathly Hallows: Part 2,” arguably the most anticipated movie of our generation, has been as important as the film itself.
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