|1.||The Tale Of Viktor Navorski||4:12|
|2.||Dinner With Amelia||8:02|
|3.||A Legend Is Born||3:16|
|4.||Viktor And His Friends||4:43|
|5.||The Fountain Scene||5:33|
|6.||The Wedding Of Officer Torres||5:01|
|8.||Refusing To Escape||3:01|
|9.||Krakozhia National Anthem And Homesickness||1:49|
|10.||Looking For Work||3:17|
|12.||Finding Coins and Learning to Read||4:02|
|13.||"Destiny" ... "Canneloni" ... And The Tale Of Viktor Navorski Reprise||5:05|
|14.||A Happy Navorski Ending||2:47|
| ||57:51| Submit your review
I must admit that Steven Spielberg's latest opus really doesn't seem hugely ambitious or inspiring; the tale of a man who is on a flight to New York during an uprising in his country, leaving him essentially without a nationality, unable to enter America, yet unable to go home and so ends up living at JFK airport. The first thing I wondered was how come there's no one else from the fictional country of Krakozhia on the flight? I'm sure I'll see it when the film hits British shores, but for now John Williams' buoyant score is a charming, if untaxing pleasure. After the fairly eclectic, but brilliant score to the third Harry Potter, The Terminal is, like the film it accompanies, a less ambitious affair, but more than makes up for this in its delightful whimsy and a few memorable tunes.
The album opens with the obligatory, but welcome concert version of the main theme. It's not quite like anything else by Williams, but draws on the eastern european sound in its playful clarinet theme. For a tune that could simply be inane and perky, the Slavic accents and harmonic twists make it far more memorable. Curiously, as much of the actual score is a lot lighter in feeling, Navorski's theme stands out whenever it creeps in, but it makes a nice flip side to the lightly glowing tone adopted elsewhere. The score's second most memorable component is surprisingly similar to Hans Zimmer's perky theme for As Good as it Gets, first introduced in the extended Dinner with Amelia; it's rather too close to be coincidence and Spielberg has often praised Zimmer's music. Mind you, Zimmer in turn leaned heavily on one of the lighter themes from Herrmann's Citizen Kane, so the precedent is of the highest quality.
A number of the tracks are somewhat low key, notably the lightly jazz inflected, piano led Fountain Scene and some of the later tracks such as Gupta's Deliverance. However, there is enough variety to prevent it ever grinding to a halt. Some of the surprises include the alarmingly convincing Krakozhia National Anthem and an echo of Catch Me If You Can in The Wedding of Officer Torres. Not ever destined to be one of Williams' greatest works, The Terminal is still a lovely comedy/drama effort with - perhaps predictably - more going for it more variety than many similar scores. The lighter, jazzy side he deployed in Catch Me If You Can prevents it from becoming cloying, even in some of the more romantic passages and the rich Williams moments are dispersed to feel earned rather than forced and over the top. Lovely.
The music of this soundtrack was used in: RoboCop