![]() If you want to take in the music of the final ‘The Force Awakens’ trailer without all that. The Force Awakens is far more complicated: Star Wars seen through a mist of fear and uncertainty a surprisingly unsettling meditation on our Star Wars past. About 57 seconds in the John Williams influence really breaks in with heavy percussion and bass. Wasn’t this movie about the constancy of good and evil, about reuniting with allies and facing old enemies? About remembering Star Wars? Wasn’t it nostalgic? Not according to John Williams. ![]() ![]() There’s something uncanny about this, in the same way that Rey’s flashback-the return of the repressed! a morally fuzzy Luke!-is uncanny. Through this lens, the thematic core of the score is that stately, symmetric “Burning Homestead” theme. In another, it’s not: Luke has just experienced a formative trauma has Rey? (Solo’s death?) And what about that feint toward Kylo Ren’s theme? It almost seems like Kylo Ren’s theme was reverse-engineered just for this moment. In one sense, the meaning is obvious: Rey, like Luke, is accepting a rebel’s destiny. As it plays in A New Hope, Luke drops his head, wounded as it plays in The Force Awakens, Rey (if memory serves) looms, looking defiantly toward the horizon. This is the music that plays as Luke regards the burning skeletons of his aunt and uncle on Tatooine (wait a few seconds you’ll hear it). (I would link to a recording, but this moment somehow didn’t make it into the official soundtrack.) It’s the “Burning Homestead theme” from A New Hope, verbatim, same orchestration, same key. Instead, the suspicious interval opens into a concise, regal melody in the horns.
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