Hans Zimmer & Friends: Diamond in the Desert: some thoughts....
Welcome to a treat of a film! A diamond indeed, it is an absorbing, stirring, soaring celebration of the extraordinary talent of Hans Zimmer, and the musicians and collaborators who bring his music alive. One of Hurtwood’s most famous sons, he has rightly become a household name over the years, creating iconic film scores that capture the narrative essence of brilliant stories. This is powerful stuff: just ensure that you have the luxury of a big screen with a top-notch sound system, and stand by for a welter of praise – which is my attempt to do justice to the sheer creative energy on offer and the genius that is Hans Zimmer.
Having shared last April with some 20,000 others, in the collective privilege of an O2 live performance, I had high expectations of the film. What we had experienced live, collectively, was a multi-dimensional soundscape, a totally absorbing symphony of emotions from an extraordinary array of remarkable musicians on stage. For much of the show Hans tantalizingly provided on-screen overview ‘from his studio’ in the US; would he be joining us in London? You could feel audience expectation. We did not hope in vain: when he appeared on the O2 stage for the last part of the show, finally at the heart of his creativity, it was truly electric. So what would this film offer? I was of course hoping for something of the same charged magic, albeit virtually. I was categorically not disappointed, and I was not alone. Who would think that mixing media like this, blending a massive arena performance in Dubai, along with more cinematically staged moments, interwoven with intimate discussion and analysis with collaborators and friends, could be so moving so impressive, so illuminating? The film was a feast for the senses: mixed-media storytelling, through a mesmerizing choreography of music-making energy.
An early interlude introduced us to the vast band of musicians: a vibrant Ukrainian orchestra and choir whose passionate commitment to this music was unmistakable, and surely reflected something of the poignancy of their country’s circumstances. Add a raft of performers, of quite unique and breathtaking accomplishments, stand back and watch the magic begin.
Glamorous, unapologetically sexy musicians of all ages swept us along with all the pure joy of collective performance. With the driving heartbeat of drums various, from full-on battle-attack to more intimate and subtle pulsing, we were swept up in epic emotions from exultant celebration to almost unbearable pathos. It’s hard to convey the intensity of emotions evoked as the cameras sweep across the passionate performers, totally absorbed together, as they pound out the rhythms. This is a feast for the senses and food for the soul. More rock concert than orchestral performance, with possibly more black leather, sequins, flesh and sweat than is decent: surely this is the future of so-called ‘classical music’? Think Led Zeppelin meets Mahler? No. Nothing quite covers it.
From Dune to Inception, Superwoman, The Dark Knight, Gladiator: we swept through the melancholy and longing of the human heart, celebrating the highs and lows of life, love and family in The Lion King, and the joyful, cheeky, anarchic irreverence of Pirates. Orchestrally, guitars here play second fiddle, if you’ll excuse the pun, to other instruments. These gigs redefine the possibilities of strings: the ‘burning violins’ so evocative of the gypsy origins of so much music, alongside the joyful eloquence of the old squeeze box. What Tina Guo draws out of her performance is simply extraordinary. Exhausting and exhilarating in equal measure. Phew. You just have to see her.
All this, and in between, in quietly meditative interludes in black and white, we learned more about the power of collaboration. Directors, musicians and actors alike(Christopher Nolan, Denis Villeneuve, Billie Eilish, Pharrell Williams, Timothee Chalamet, Zendaya to name a few) all spoke with real warmth of how Hans’s work had brought out the best in their own performance. The easy informality and mutual respect between such variously talented performers clearly facilitated illuminating insights into artistic endeavour and outcome. We witnessed a clear meeting of minds in the exploration of our relationship with music, and the knotty question of what the composer and musicians are always striving to achieve. What Hans made clear was how each piece, from first to last, is wrung out through blood, sweat and tears. From a man of innate humility and understatement, this stood out. He also expounded his driving aim which is to entertain, to open up narrative worlds in his music, to provide an escape from the daily grind of survival. He uses his own imaginary generic audience member, calling her Doris: his aim is to produce musical narratives worthy of her hard-earned cash at the end of a long working week. If this film is anything to go by, it is job done. Fellow Hurtwood fan Mike Niland took a group of lucky Hurtwood students to a first showing of this film in Guildford. For many it was an initiation; for all it was a thrilling treat, and they loved it.
So, interlude of words over, the show roars on, taking us all (no wriggling, shuffling or boredom in this audience) across vast imaginary swathes of time and space. All this from one of Hurtwood’s earliest sons, generous in his praise of the supportive creative education he found with us in the experimental seventies, just as Richard’s educational dream was taking shape and moving from the bohemian origin days at Leith Hill Place to its rightful home on Holmbury Hill.
Thank you, Hans, for so generously acknowledging, as you have, the support Richard and the school gave you: how proud we are to have played a small part in your story. And so bowled over by what you have achieved and the incredible pleasure you have given to so many. Who knew one could have so much fun, in the company of so many? In a troubled world, let the genius of your music bring us together. Art is the highest form of hope – so, please: play on.
