Pearl Harbor [Music from the Motion Picture]

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 『アルマゲドン』のスタッフが、再び世界に放つ2人の若き陸軍航空隊パイロットと美しき看護婦の愛と友情のストーリー。そのサウンドトラックである本作は、『ライオン・キング』『グラディエーター』『ハンニバル』でおなじみのハンス・ジマーが音楽を担当している。
   ストーリーの壮大さを思わせるオーケストレーションを多用した、荘厳で広がりのあるサウンドは見事の一言につきる。また、グラミー賞最多3部門を受賞した主題歌、フェイス・ヒルの『永遠に愛されて～パール・ハーバー愛のテーマ～』がオープニングを飾っている。（多田ライコウ）

Amazon.com

According to a Hollywood tradition that stretches all the way back to From Here to Eternity, there's never been anything quite so romantic as the idyllic days and hours before torpedo and dive bombers from the Japanese Imperial Navy blew the bejesus out of the unsuspecting U.S. fleet anchored at Pearl Harbor. Far be it for producer Jerry Bruckheimer and director Michael Bay to, er, rock the boat. Just as Bruckheimer and Bay did with Armageddon (where romance blossomed in the idyllic days and hours before a Texas-sized asteroid threatened to blow the bejesus out of Earth itself), they've again turned to über-hitmaker Diane Warren to set the tone; as sung by Faith Hill, "There You'll Be" strikes the perfect balance of apocalyptic bathos, as instantly inviting--and ultimately hollow--as an 89-cent chocolate bunny. Composer Hans Zimmer fares a bit better, though his piano dirge and orchestral score occasionally get mired in the syrup as they build toward the inevitable. The action sequences themselves are somewhat subdued (especially by previous Zimmer standards), with "December 7th" even echoing Platoon and Barber's Adagio for Strings. Crucially, Zimmer evokes the tragic loss that goes hand in hand with heroism, often no mean feat in a modern computer-effects-laden, megabudget blockbuster-in-waiting. --Jerry McCulley