Composed by Hans Zimmer
The Prince of Egypt was Dreamworks’ ambitious attempt to break into the animated film market. While Disney adapted fairy tales and historical legends, Dreamworks went for one of the world’s most famous religious tales, the Exodus of the Hebrews from Egypt. Whoever’s reading this probably knows the story, but I’ll summarize it anyways. To control the exploding Hebrew population, the Egyptians enslave them for several hundred years. When the pharaoh attempts population control via the selected murder of firstborn sons, a mother sends baby Moses out onto the Nile in a basket. Incredibly he is found and adopted by the pharaoh’s daughter, thus growing up to be a prince. He eventually learns his true heritage, and then is tasked by God to be His messenger. God wants his people freed, and if Pharaoh Ramses, Moses’ adoptive brother, refuses, then there will be grave consequences.
Prince of Egypt is a wonderful and surprisingly sometimes forgotten animated feature. What makes it stand out in the various cinematic adaptations of Exodus is the portrayal of Moses and Ramses’ relationship as brothers. Commonly portrayed as enemies even before Moses learns the truth, this movie shows them tragically separated by circumstances. But this review is of course about the music, which fare well against the famous Disney soundtracks of the 90s. Hans Zimmer, who had years earlier composed the animated hit Lion King, took on scoring duties while Stephan Schwartz took charge of the songs. Apparently Zimmer was nervous about scoring a story that held great significance for three major monotheistic religions. As a Christian myself I have to say that he need not have worried, because I think his music wonderfully hits the right emotions for the Exodus event.
One potential source of criticism is the link between the songs and score. Not many of the songs’ tunes make it into the underscore (even less so on the main commercial album). However, Zimmer still provided his orchestra for Schwartz’s efforts, so the songs seamlessly fit in stylistically if not thematically. The orchestra also boosts the power and emotional effect of the pieces. As for the singing, Prince of Egypt had an all-star cast of voice actors. Since many of them were not exactly accomplished crooners, alternate voice actors did the singing. The selection of the vocalists pays off, as it’s completely believable that, for example, Val Kilmer’s Moses is both the speaker and singer. Some parts with far less to do in the songs are performed sung by the actual actors, with Ralph Fiennes participating in “The Plagues.” Fiennes does not have a commanding singing voice, but performs adequately enough for his handful of lines.
Before going into the score, let’s look at the songs. “Deliver Us” is the opener and in fact is a combination of score and song. It opens up with a horn melody that serves two lullabies later on in the cue. The first actual singing features the strained grunts of the Hebrew slaves. This segment ends with a taskmaster shouting “Faster!” The slaves then perform a verse crying out to God (called “Elohim”). This leads to the main chorus where they beg “Deliver Us.” Eventually Middle Eastern flutes segue into a mournful performance by Moses’ mother and more of the main chorus. When she gets the baby in the basket, she sings the River Lullaby. She follows up with hopeful wailing only for Zimmer to take over with a perilous section. The music calms down with another lullaby from Miriam and then a final reprise of the chorus. This is the only song to receive any significant attention in Zimmer’s score, with the main chorus serving as an oppressive identity in “Goodbye Brother.”
The next wonderful song is “All I Ever Wanted.” The track is actually two songs using the same melody. The first, the titular piece, occurs right after Moses is told that he is actually a Hebrew. Inspirational music plays as he rushes back to the palace, but he is not pleased with this claim as he sings about how he is a Prince of Egypt and quite satisfied. The second song is from Moses’ mother as she attempts to comfort him. Part of the River Lullaby appears at the end of this piece. “Through Heaven’s Eyes” is a true inspirational song from Jethro, the father of main love interest Tzipporah. It’s about how God always has a plan for you and finds nobody worthless. The song plays over a montage showing Moses adjusting to life during his exile and features a bridging tune that I believe is an actual Jewish folk melody, but I’m not sure. Anyways, this is another great piece from Schwartz.
“Playing with the Big Boys” is the villains’ song. The two high priests spout the names of various Egyptian gods in a wonderfully musical manner. Comedians Steve Martin and Martin Short sing their characters’ lines, telling Moses that he’s got no chance and inviting him to come over to their side. During the most sinister reprise of the chorus other priests chant the gods’ names. Ironically, despite the pro-heathen vocal crescendo at the end, the film shows Moses’ staff-turned-snake devouring the Egyptians’ own serpents. “The Plagues” is another sinister piece for a montage of eight of the ten plagues that God threw against Egypt. Chanting promises various afflictions until the melody from “All I Ever Wanted” returns. This time it’s much more emotionally strained, with Moses lamenting that Ramses’ resistance results in the suffering of the Egyptian people. The last act of the song has Ramses join in until the characters sing over each other. This song also utilizes the famous line “Let my people go.”
Finally there is “When You Believe,” the big climatic number (though there’s still a significant amount of film left). It covers the freedom of the Hebrews, rising in power and glory. At the start Miriam and Tzipporah sing about prayers and faith. A child sings what sounds like another traditional folk melody. This portion of the song turns into a celebratory piece, finally climaxing in a grand reprise of the main chorus. For many this will be the best song and it indeed won Best Original Song at the next Academy Awards. As with the Disney Renaissance soundtracks, several songs get pop versions included on the album. I never find these to be as good as the actual in-story numbers, as they don’t have the full orchestra and singing characters.
Now on to the score. The main commercial album has about 28 minutes of pure Zimmer tracks. Unlike the Disney albums, which usually put the songs at the beginning, score cues in the middle, and pop reprises at the end, this album puts the score around the songs in mostly chronological order. This makes for a welcome narrative through-line, acknowledging that Zimmer’s instrumentals and Schwartz’s songs are working together to tell the story.
There are many themes and motifs, but it’s hard to nail all of them down. Also, the songs take over many of the most important scenes so several themes never really get to power up. The first pure score cue is “The Reprimand,” which introduces four of the main identities for the main album. The first theme is a melancholic and oft villainous piece for the dark side of Egypt. It bears some structural similarities to the famous tune from Tchaikovsky’s Swan Lake. The theme usually appears in this mood, but does break out into villainous action in “Red Sea.” Next is Ramses’ theme, another moody motif that signifies his fractured brotherhood with Moses. The main Prince of Egypt theme appears at 1:50. It’s an appropriately middle-eastern melody that evokes the setting. The theme appears semi-mysteriously with percussion in “Following Tzipporah” and amidst Ofra Haza’s wailing in the last part of “Goodbye Brother.” The final theme from “The Reprimand” is the exuberant Brothers theme. The Collector’s Edition features the actual first appearance of the theme in dashing fashion in “Chariot Race.”
“Goodbye Brother” starts off with the main melody from “Deliver Us” when Moses sees a taskmaster brutalizing a slave. At 0:45 it transitions into the Egyptian theme and dark rising choir. At 1:48 Ramses’ melancholy strings deal with the aftermath of a rash action by Moses. After a middle action passage typical of Zimmer scores, Ramses’ theme appears followed by Haza’s wailing over the Prince of Egypt theme.
These tracks are neat, but “The Burning Bush” is something else. This seven-minute piece revolves around the most powerful motif, a mystical theme for God himself. This theme appears right at the outset on soft and heavenly choir as Moses follows a stray sheep towards an unusual sight. About two minutes in a little brass helps out. At 2:18 the choir transitions into the Oppression theme as God tells Moses what he wants from him. When the protagonist refuses, God’s theme explodes at 2:45, only to calm down again. Over the 3:30 mark the theme rises again. The Prince of Egypt and God themes mix together when Moses finally assumes his proper role. God’s theme takes over triumphantly again. The track ends with Moses’ return to the Egypt with his and the Oppression themes.
“Cry” focuses on the unpleasant reunion between Moses and Ramses. It starts off with light-hearted material, but starts to grow somber with Ramses’ theme. The tension slowly ratchets up towards the Egyptian theme after the 2 minute mark. The theme climaxes with a couple choral blasts. The rest of the track sees the Oppression theme on soft choir and an appearance of God’s theme. “Rally” is a brief transitional cue into “The Plagues.” It simply plays the Prince of Egypt theme on light-hearted flutes before the Oppression motif takes us into a much more tense song. “Death of the Firstborn” lays on the violins for one of the emotional low points.
“Red Sea” transitions out of “When You Believe.” God’s theme appears on peaceful choir, only for a horn call to herald the arrival of Ramses’ army. At 0:55 the Prince of Egypt theme confidently underscores Moses’ next involvement in a miracle. This miracle comes at 1:30 with God’s theme, backed by choir, bells, and rising, swirling strings. 2:20 sees the Prince of Egypt theme reoccur on choir with the assistance of God’s theme. The deity’s theme continues on its own on more angelic choir. After the 3:30 minute mark we get a blast of action with the Egyptians theme. This is soon cut off by yet another glorious blast of God’s theme. Despite the climax, this track has a bit of an open-end feel, with the aforementioned pop recordings of songs serving as the album’s conclusion.
A Collector’s Edition album was later released with less than half an hour of music. Four of the tracks are more alternate covers of songs from the movie, but there are a couple score cues. “It is Only Beginning” starts with an instrumental of “When You Believe.” This is followed by the music from the water turns to blood scene. The Oppression and Egyptian themes as well as a bit of action appear before God’s theme comes in on choir (though not to the grand heights of “Burning Bush” or “Red Sea”). “Chariot Race” is actually two cues merged together. The first is the wonderful light-hearted action cue from the titular scene. The Brothers theme blasts forth on trumpets and horns as Moses and Ramses engage in some very dangerous play. There are moments of peril aided by the Egyptian theme. The second half, the finale of the film, begins with an instrumental/choral reprise of “Deliver Us.” Ramses’ theme shows up at 4:18 as Moses finally severs his adoptive familial ties with Egypt. An instrumental of the Hebrews folk melody from “When You Believe,” followed by the main Prince of Egypt theme and brief iteration of God’s theme, cements his full commitment to leading God’s chosen people. Any remaining music can be found on a bootleg score, albeit not always in top quality.
Rating: 9/10
Tracklistings
Main Album
- The Prince of Egypt (When You Believe) – performed by Mariah Carey & Whitney Houston (5:04)
- Deliver Us – performed by Ofra Haza & Eden Riegel (07:05
- The Reprimand (04:05)
- Following Tzipporah (01:00)
- All I Ever Wanted (With Queen’s Reprise) – performed by Amick Byram & Linda Dee Shayne (02:51)
- Goodbye Brother – Vocals by Ofra Haza (05:33)
- Through Heaven’s Eyes – performed by Brian Stokes Mitchell (03:41)
- The Burning Bush (07:17)
- Playing with the Big Boys – performed by Steve Martin & Martin Short (2:52)
- Cry (03:50)
- Rally (00:42)
- The Plagues – performed by Ralph Fiennes & Amick Byram (02:40)
- Death of the First Born (01:07)
- When You Believe – performed by Michelle Pfeiffer & Sally Dworsky (04:55)
- Red Sea (05:14)
- Through Heaven’s Eyes – performed by K-Ci & JoJo (05:05)
- River Lullaby – performed by Amy Grant (03:57)
- Humanity (04:32)
- I Will Get There (A Cappella) – performed by Boyz II Men (04:20)
Collector’s Edition
- It is Only Beginning… (3:44)
- Freedom – performed by Wynonna (4:41)
- The River – performed by CeCe Winans (3:53)
- Humanity – performed by Various (4:33)
- Through Heaven’s Eyes – performed by Brian Stokes Mitchell (3:37)
- Chariot Race (6:27)
raymondusrex 