In the 1960s it took the world by storm, and today it is still regarded as one of the best-loved and innovate television series of the 20th Century. The daring adventures of the Tracy Brothers and International Rescue, selflessly risking their lives to save others, showcasing the work of special effect master Derek Meddings with cutting edge technology and equipment which even now is out of our grasp in the really real world.
A film version had the potential to be a 21st century TOWERING INFERNO, keying into the tragedies and disasters of recent years and providing hope and thrills to a new generation. So what went wrong?
It starts so well, with a fantastic revision of the series’ opening theme, the names of the cast integrated into a quirkily, retro-tastic style showcase, scored by wunder-composer Hans Zimmer. And then the Thunderbirds themselves roar into action at an oil rig fire. It’s dark, it’s intense, it’s thrilling. And it’s intercut with youngest Tracy Boy Alan and his bestest bud Fermat watching on TV at school. And that’s where it all goes a bit wrong. Instead of focusing on the selfless derring-do of the Tracy Brothers, they get shunted to the sidelines and it’s up to Alan and his tween-aged friends to save the day from villain The Hood, played with scenery-chomping relish by Ben Kingsley, and his one-dimensional cronies. At times, it looks less like a movie, more an advertisement for the theme park ride Universal likely had planned if the movie was a hit. Sadly, it wasn’t.
And that’s a shame, because somewhere in there, there is a good movie. There’s some great talent hidden away in the actors playing the Tracys. Just a shame they’re given so little to do other than act like douchebags to their little brother, the only one not allowed to fly.
The rest of the cast is brimming with potential. Bill Paxton’s Jeff Tracy rings true with the original, warm and fatherly but stern and commanding when he needs to be. Anthony Edwards’ Brains is almost pitch-perfect, if he does over-egg the sp-sp-speech impediment. And Sophia Myles as Lady Penelope is just inspired – a perfect English rose with killer thorns, and working a surprisingly good comedy double-act with Ron Cook’s Parker.
But let’s face it, the true stars of Thunderbirds are the vehicles. And this movie doesn’t disappoint. When they are actually on screen, they’re a wonder to behold – bold and beautiful with a slick modern look and a few new tricks, dominating the screen like the good old days, with only a few things not living up to expectations. FIREFLY, I’m looking at you.
But what really sells the film for me is the music. Hans Zimmer and Ramin Djawadi’s beautiful, majestic, sweeping score, with subtle understated use of leitmotifs and smartly integrated Barry Grey’s original themes. The final suite, approprately titled F.A.B., never fails to leave me on a high. It gets under your skin and uplifts you, leaving you ready for life’s next challenge.
I’ll let you make up your own mind on Busted’s end theme.
The film had so much potential, but somewhere it fumbled. If it stuck to its origins and hadn’t gone after the SPY KIDS crowd, it might have soared. As it is it’s a disappointment, but somehow, I love it. I love the madness of it, I love Ben Kingsley’s simmering insanity. I love the stupid fight scenes and the crazy capers. And I love how it makes me feel like a dumb little kid again. And at the end of the day that’s all that really matters.
