Composing Greatness: #17. The Freshman Class of the 2010's - "Black Panther" (2018)

Scene from Black Panther (2018)

Welcome to Composing Greatness: a column dedicated to exploring the work of film composers. This will specifically focus on the films that earned them Oscar nominations while exploring what makes it so special. This will be broken down into a look at the overall style, interesting moments within the composition, and what made the score worth nominating in the first place. This will also include various subcategories where I will rank the themes of each film along with any time that the composer actually wins. This is a column meant to explore a side of film that doesn't get enough credit while hopefully introducing audiences to an enriched view of more prolific composers' work. This will only cover scores/songs that are compiled in an easily accessible format (so no extended scores will be considered). Join me every Sunday as I cover these talents that if you don't know by name, you recognize by sound.

*NOTE: Originally ran as part of Oscars 2018 Edition coverage

Series Composer: Ludwig Goransson

Entry: Black Panther (2018)

Collaborators (If Available): N/A

Nomination: Best Original Score

Other Nominees:

-BlacKkKlansman (Terence Blanchard)

-If Beale Street Could Talk (Nicholas Brittell)

-Isle of Dogs (Alexandre Desplat)

-Mary Poppins Returns (Marc Shaiman)

Track Listing

1. "Wakanda Origins"

2. "Royal Talon Fighter"

3. "Wakanda"

4. "Warrior Falls"

5. "The Jabari"

6. "Waterfall Fight"

7. "Ancestral Plane"

8. "Killmonger"

9. "Phambili"

10. "Casino Brawl"

11. "Busan Car Chase"

12. "Questioning Klaue"

13. "Outsider"

14. "Is That Wakanda?"

15. "Killmonger's Challenge"

16. "Killmonger vs. T'Challa"

17. "Loyal to the Throne"

18. "Killmonger's Dream"

19. "Burn It All"

20. "Entering Jabariland"

21. "Wake Up T'Challa"

22. "The Great Mound Battle"

23. "Glory to Bast"

24. "The Jabari Pt II"

25. "A King's Sunset"

26. "A New Day"

27. "Spaceship Bugatti"

28. "United Nations/End Titles"

Note: Listen to the score here.

Exploring the Music

The area of the column where I will explore the music in as much detail as I see fit for each entry.

What's So Great About It?

Despite being one of the premiere sources of entertainment, the superhero score hasn't quite gotten as much love as Ludwig Goransson's work here. Then again, few scores feel as revolutionary or exciting as this. Some credit should be given to the beast that is Black Panther feeling like every aspect exists in its own world. You're left in awe by the mix of percussion with trap music and even dubstep. What Goransson's doing here by blending styles on an epic scale is quite an accomplishment and shows his strength as a composer. This may be the most exciting nominee for the category since The Social Network's minimalist electronics. Mainstream audiences haven't heard a score this ambitious in quite some time, and it's likely that cinema on this scale hasn't produced another score this accomplished in such a unique tone.

What's So Bad About It?

While it may be controversial to say, I think that the music lacks the classical melodies and motifs that the other four nominees have. While I admire its use of percussion and horns, I don't know that I am able to recall a specific piece of music quite as well as the other nominees. It may be big and exciting, even revolutionary, but the simple question is: can you hum it? It's part of the magic of Danny Elfman and Hans Zimmer's work that separates Goransson from producing something as timeless. I still think that what he's doing will make him one of the best modern composers in time (unpopular opinion: his work on Venom is also very interesting). For now I think this is a great calling card that captures atmosphere very well, though its scope may be a bit too daunting and redundant as a singular piece of music.

Did This Deserve an Oscar Nomination?:
Yes

While I do think that there's aspects of the score that keep it from being timeless, I think that it still has a powerful impact over listeners. It's rare that genres and styles like this would blend so effortlessly, let alone get recognized by The Academy. It's powerful and Goransson's work is far more accomplished than any other score in the Marvel Cinematic Universe. By the end you're left feeling like you heard something new, and that's just what this category needs. Who knows if this will be the gateway necessary for more esoteric scores to get nominated, or just for superhero scores to get far more interesting than they currently are. I think there's too much going on that makes it accessible and perfect, but I think it helps to explain why Black Panther has been a singular behemoth in 2018. You feel triumphant listening to this piece of music, and that's good enough for this category.

Up Next: Hildur Guonadottir - Joker (2019) for Best Original Score

Best Theme

A ranking of all themes composed by The Freshman Class of the 2010's.

1. Trent Reznor & Atticus Ross: "Hand Covers Bruise" - The Social Network (2010)
2. John Powell: "This is Berk" - How to Train Your Dragon (2010)
3. Mica Levi: "Intro" - Jackie (2016)
4. Jonny Greenwood - Phantom Thread (2017)
5. Nicholas Britell - "Eden (Harlem") -  If Beale Street Could Talk (2018)
6. Ludwig Goransson: "Wakanda Origins" - Black Panther (20180
7. Johan Johannsson: "Cambridge, 1963" - The Theory of Everything (2014)
8. Mychael Danna: "Piscine Molitar Patel" - Life of Pi (2012)
9. Will Butler & Owen Pallett: "Sleepwalker" - Her (2013)
10. Gary Yershon: "Mr. Turner" - Mr. Turner (2014)
11. Ludovic Bource: "The Artist Overture" - The Artist (2011)
12. Justin Hurwitz: "Mia Gets Home" - La La Land (2016)
13. Johan Johannsson: "The Armored Vehicle" - Sicario (2015)
14. Terrence Blanchard: "Gone With the Wind" - BlacKkKlansman (2018)
15. Nicholas Britell: "Little's Theme" - Moonlight (2016)
16. Hauschka & Dustin O'Halloran: "Train" - Lion (2016)
17. Steven Price: "Above Earth" - Gravity (2013)