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Im new to this board and I have to agree with the popular reviews on this one…
It’s OK, but by no means surpassing The NIghtmare Before Xmas. I’d be surprised if this wins and Oscar for best anything…It would have to outdo NBX in more ways than one. Best Animated film? Probobly, but it doesn’t have any competition, save Wallace and Gromit, so it’s a no-brainer if it does end up winning.
I thought the songs tried too hard, were more OINGO BOINGO-like in rhythm and rhyming scheme and less Dr. Suess-like as in NBX. I didn’t catch a THEME – at least nothing as obvious as NBX or even Charlie’s CoCa Factory. The score just meanders in alot of places…
The addition to the Jazz-motif was an interesting choice and, at the same time provides a sort of tribute to New Orleans and their famous Land of the Dead…But how that figures in with a 19th Century English city is beyond me…
But as far as the movie was concerned, it was predictable. If you know Tim Burton well enough, he expresses himself personally through his films (maybe the in-joke is his EXPRESSIONIST tastes), and the general message seems to be that he is writing his last love letter “send off” to his “lost loves” or “Old Flames” and embracing his present reality with Helena Bonham Carter (ie – the Corpse Bride’s fate). If you look closely, you can see it inbetween the seams. If that be the case, I find it kind of weird that Helena would be the “voice of his past”…
Just the same, Charlie was the equivalent of the outcast conforming to society. “It’s OK to join society and stop being a weirdo.” The message was there…If nobody saw that, then what can I tell you? Maybe you should check out the fate of Burton’s previous characters. (you’ll see insights with his last girlfriend, Lisa Marie in NBX and Ed Wood)
Ultimately, Burton’s happiness, as well as Elfman’s is good for them, but i don’t think it’s very good for us, as apparently their suffering in the past has yielded the heft of the fruits of their labor (hard to be dark when you’re not feeling that way, know what I mean?). So the question really is wether or not we can get used to this new style of theirs – or “lull” in their creative genuis ( if you’re expecting some sort of dark epic piece from these two madmen). Make no mistake – it’s definitely not the same as in the past…
Speaking of which, Sleepy Hollow and Planet of the Apes were the last films to really show off their dark sides…I think they are in the wane. Just my opinion. Don’t like it? Grab your torch and pitchfork. I sure as hell don’t care…(Resultingly? I’d be alot closer to their mindsets and characters than you, if you did that).
Being an outsider is FUN…
From a musical standpoint, I actually think this score is one of Elfman’s best in a long time. There is most definitely a theme, the one heard in “Main Titles,” that recurs frequently. “Into the Forest” is as terrifying as anything in “Sleepy Hollow ” or “Red Dragon,” and “The Finale” calls to mind the emotion of “Edward Scissorhands.”
The jazz numbers are a specialty of Elfman’s. He started out transcribing Count Basie scores; he has said so in interviews regarding the movie “Chicago.” And his jazz pieces here are fantastic. They are ver reminiscent of “Crime Spree” in “Dick Tracy.”
And with the exception of “Tears to Shed,” I find the songs fantastic. They’re not as rough or madcap as those in “Nightmare Before Christmas,” but Danny Elfman is delving into the musical styles of the time in “According to Plan” and “The Wedding Song.” The former is fantastic in terms of rhythmic rhyme–Albert Finney and Paul Whitehouse really stand out. And “The Wedding Song” is like “Making Christmas” as written by Arthur Sullivan. I laugh every time I hear it. “Remains of the Day” is, of course, just Elfman fun.
Although I enjoyed the “Charlie…” score, I thought it was more reminiscent of his recent works; electronic and without a theme to rally around. “Corpse Bride” has moved into my top ten Elfman scores without hesitation.
As far as he and Burton being in a “creative lull?” Maybe they are. Maybe they’ve realized that the business they’re in does demand some financial success, and maybe they’ve toned down their bizarreness…but I don’t think so. I think they are now at an age where their emotional maturity complements their far-out imaginations. No one else around does what they do, and I’ll be sticking with them till they’ve both gone and joined the Land of the Dead. I think that they’ve grown from that tasty grape juice into a fine wine .
The songs were still blaz-ay, though…Not exactly songs you’d want to advertise to people you actually listen to on a regular basis…
Not exactly songs you’d want to advertise to people you actually listen to on a regular basis…
Well, it’s a soundtrack. It’s advertised to people who like the music from the movie.
I dont classify them as such anymore, considering their mainstays and success and popularity. They were the bomb when they were struggling mavericks…Now they’re institution.
well thats definatly an opinion, because we can both agree that spielberg and williams are more institiution that burton and elfman. i would say they have gained more respect due to their hardships of being outsiders, they have stayed strong not commercializing themselves. 20 years ago they could have never made corpse bride, spielberg could have made war of the worlds.
20 years ago they could have never made corpse bride, spielberg could have made war of the worlds.
Well, theoretically, they could have made Corpse Bride then. Burton did make Vincent years prior to Pee-wee.
Corpse Bride, however, would just be a lot different (no Johnny Depp, digital effect, and so on.) Though, it would have been feasible.
Eh whatever…pick what institution you like best…Still an institition – you already know what to expect.
I thought the songs tried too hard, were more OINGO BOINGO-like in rhythm and rhyming scheme and less Dr. Suess-like as in NBX. I didn’t catch a THEME – at least nothing as obvious as NBX or even Charlie’s CoCa Factory.
If you can’t catch a theme in Corpse Bride, you are RETARDED. I’m sorry, but that’s the nicest way I can respond to such nonsense.
I actually wasn’t expecting the jazzy aspect of this score. It was a pleasant surprise!
You want to talk “classic” Elfman, this is it, going way back to his first influences; being the big band stuff, Cab Calloway, etc and his Mystic Knights days, but combined with his over 20 years of film score experiences.
I’ve been an fan since Pee-Wee, since I was ten, and the reason I’ve stayed interested, been a fan for so long is because he changes and evolves every couple of scores. The changes aren’t always pleasing to me, but as he incorporates what he’s learned form the past scores and integrates his experiences in his current score, I think he gets it right far more often then he misses.
I haven’t seen the movie yet, but I’ve listened to Corpse Bride enough that my 6 year old son knows ‘Remains of the Day’ and is frightening his classmates with it.
I’m seriously enjoying this one!Hey lumpling…there’s no real theme because it sounds too much LIKE Charlie and Frighteners, Sleepy Hollow and a cheap bastardization of NBX. You wanna hail Elfman’s earwax can cure cancer? Go right ahead…But i know what I hear, pookie.
Kiss kiss. Takes one to know one, pee wee.
I know! I hate Danny’s insipid, banal, derivative music. You think that I would make better use of my time rather than talking about it dubiously on message boards.
…there’s no real theme because it sounds too much LIKE Charlie and Frighteners, Sleepy Hollow…
So, it’s not a theme anymore if you think it sounds like another?
…cheap bastardization of NBX.
A cheap bastardization? Really? In what way, in that they’re both scored with an orchestra?
You know, you SAY you’d rather spend your time doing something OTHER than rant about crap on the web, and yet, you’re still playing footsies with me…
You can stop anytime you want to. My opinion still stands. If it doesn’t fit your high-and-mighty opinion, that’s your business.
…and what’s with the cut n’ paste? I’m intelligent enough to understand your reference, as well as am I intelligent enough to expect one to understand my reference, and not bother cutting and pasting quotes…
I’d tell you guys to quit the arguing, but the last time I got into an angry argument here I made a friend out of it. However, it did not consist of Elfman bashing. Sure, you can choose not to like some of the stuff he produces, but at least come here as a fan of his music in general.
i like his stuff as much as i hate it…He does a service – but not all the time.
He’s good for rampage music and oom-pa-pa waltz..oh and choral stuff.
thats all i need him for: to maintain the highs and lows.
I gotta admit. though i’m tired of his oompapa waltzes already…too wacky.
Citing your text is for clarity, and is not meant to project animosities toward you or anyone. It’s just a helpful tool — I think.
My opinion still stands. If it doesn’t fit your high-and-mighty opinion, that’s your business.
Here’s my problem with your opinion: I don’t understand it. Help me out. In what way is Corpse Bride so similar to Nightmare that it could possibly be considered a cheap bastardization? Give examples.
Well…NBX set the high watermark. Corpse Bride falls well below it. Really, if you look at it, it’s not very inspired, the storyline is the same, the characters are the same, and the music mirrors the same…it’s on a lower tier than NBX, therefore it’s a cheap bastardization in my book. Danny’s good at what he does, but what he did here is nothing new to me. I’ve listened to Danny since Boingo (and even then they kinda matched Queen and Styx’s styles), and this isn’t that great. I’ve already seen this movie and heard this music before. It’s like putting Batman and Dick Tracy together and trying to pick the best one. Or Edward and Darkman and Nightbreed and Batman and Dick Tracey. Or Batman Returns and NBX…So far this year he’s done Charlie and Corpse Bride…and that looks like it’s gonna be it for the rest of the year. Its disappointing. He should either be a film composer or a in a rock band. This year he seems to mix them both up, and i’m not amused by it, because both venues suffer from his combination and lack any potentcy when performed.
Hey – i’m just tired of his shtick – or his OLD shtick, which is what he’s referring to with this music. I just don’t dig his kiddie-styled tunes, anymore. And his best work flows from his struggling and suffering, like any great artist (which he is presently not). Elfman’s not hungry anymore, and it shows. I’m happy that he’s happy, but really it’s a catch 22 because when you become content, it tarnishes your creative drive, somewhat. I mean, look at Spielberg…
That’s my two cents – I don’t care what ya do with it.
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