1997 - The Lost World: Jurassic Park - The Hunt
To say Williams' output following Jurassic Park was a disappointment is an understatement.
Williams did not score a film in 1994 and 1995/96 saw two years of mediocre scores to mediocre films.
Williams finally returned to form in 1997, although it was his pair of dramatic scores (Amistad, Seven Years in Tibet) that were the more accomplished works.
Nevertheless, Williams' score to the mega-hyped Jurassic Park sequel, The Lost World, was the most exciting action material we had heard since the original.
Like the film, Williams' score is considered something of a letdown, if only for its understandable abandonment of the original's wondrous themes. The Lost World is far more of a horror/suspense film than the original.
For what it is, however, The Lost World is a good score and a unique one in Williams' career. It's a violent, percussive score with a main theme that is far more mysterious than his trademark fanfares.
The Hunt is a great piece of action scoring that was mostly unused in the final cut of the film. In a baffling move, Spielberg decided to track in portions of the main theme instead of utilizing the finest action cue Williams composed for the film. Even the best directors drop the ball sometimes.
The Hunt is a very satisfying, propulsive cue that is a good representation of the score's more ominous nature. In it, the main theme is cleverly rendered almost unrecognizable by Williams.
The exotic percussion is a staple of the score and is utilized to great effect here.
The Hunt is a great example of Williams' more mature, suspenseful action style and is very worthy of being our fifteenth entry.