Needless to say, thematic continuity not being Marvel’s modus operandi, Mothersbaugh created his own theme for Thor, the character’s third in as many movies. The eclectic score was originally conceived by composer and director to be an all-electronic 1980s throwback, but the studio insisted it should have an orchestral base, and the result is an entertaining mixture of the two styles, not surprisingly closest in tone to Tyler Bates’s two Guardians of the Galaxy scores in terms of this cinematic universe (but it’s better than either of them, with both the electronic and orchestral elements being delivered with greater verve).
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(I was probably not alone in thinking he was at serious risk of following more closely in the footsteps of Carter Burwell, the original composer attached to the previous film.) As a film and tv composer Mothersbaugh is best-known for his work on the earlier films of Wes Anderson and on Rugrats, and he’s never scored anything remotely like this. If Taika Waititi was an unlikely choice of director for a film in the Marvel Cinematic Universe, I think if you had asked film music fans a year ago to write a list of the film composers most likely to score this film, and forced them to carry on writing until they guessed successfully, most of them would still be writing now, with Devo’s Mark Mothersbaugh an extraordinarily left-field choice to follow in the footsteps of Patrick Doyle and Brian Tyler.
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The film’s tone makes it a unique entry in this series and it will be interesting to see how the filmmakers revisit the character in future. As if that’s not bad enough, Asgard is threatened by the Ragnarok, which as all Old Norse scholars will know is based on the old warrior Ragnar Ok. Marvel goes all-out comedy in Thor: Ragnarok, the third in the series focusing on Chris Hemsworth’s Thor’s battles with his brother Loki (Tom Hiddlestone) and, this time, still greater foes as he finds himself caught up in all sorts of problems, not least being forced into gladiatorial battles against the Hulk.
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