- This topic is empty.
- Posts
This is really just to tout my own horn (or whatever it’s called), but I just wanted to say that I’ve written a comprehensive Danny Elfman Buyer’s Guide in what came to be the FINAL printed issue of Film Score Monthly (out now!). Some of this may be very familiar for fans like yourselves, but there’s some obscure information there as well. The second part of the guide (covering the years 1996 back to the late 70’s) will run in the PREMIERE release of Film Score Monthly ONLINE. Go to http://www.filmscoremonthly.com for more information.
Thanks. I now bring you back to our regular schedule.
TJ
Score! Congrats, Thor!
I have to say I only lurk around the FSM boards because some of the people there scare me a little. You truly are one of the best members there.
I don’t think FSM is too friendly to Elfman fans. It seems more for old people who mostly only like music from the past.
Are you kidding? FSM was one of Elfman’s biggest proponents in the late ’80s, early ’90s when all those nasty rumours were swirling. They still love him to this day.
Ryan
Good stuff, Thor. Your review guide will be very helpful to the Elfman novices. We pretty much see eye-to-eye – Flubber notwithstanding. I love the silly score for some reason.
I thought – being home from school, and frankly, bored – I would offer a few comments, perhaps crass comments – or maybe riffs, rather, on the Danny Elfman Buyer’s Guide, Part One:
>>It continues to amuse me that some people, especially older film score fans, still label Danny Elfman an up-and-coming composer. The red-haired husband of Bridget Fonda passed 50 a couple of years ago, and has been an established film composer for almost 20 years. He’s actually older than John Williams was when Williams scored Star Wars.
So it is only natural that we do an Elfman buyer’s guide and showcase the amount of work he’s done since the late ’70s. Yet it is not his prolific output that makes this guide a daunting task, but rather his decision to try out as many different media as possible. Should we also include his radio jingles and TV commercials? How about the music he’s written for Internet movies and computer games? The TV themes? The themes he’s written for films that were primarily scored by others?
What about the scripts he’s written? Not to mention his work with pop group Oingo Boingo (now referred to as just Boingo)…
Boingo is still referred to as Oingo Boingo.
…and all the films that have had its songs in them. And then, obviously, there’s his recent concert work and two uncompleted musicals. This guide will try to cover as much of this as possible, but in some cases, we will have to be selective. (In particular, the Boingo material is really suited for another magazine.)
Much has been said about the “old” vs. the “new” Elfman, with preferences in both directions. This guide will attempt to trace some of the transitions that cause this debate. I have decided to make Mission: Impossible the defining moment, but that’s not necessarily the definite answer. In terms of the grades, we have tried to follow the set-up from previous guides. We have not rated the unreleased material, nor the TV themes (many of which aren’t even available).
Reading the Ratings
While it’s called a buyer’s guide, this feature is really a listening guide, with mention of unreleased music. These ratings are relative to the rest of the composer’s oeuvre, and do not compare directly to the ratings in our SCORE section.
**** A must-have. One of his finest works; belongs in every soundtrack collector’s collection.
*** Highly recommended. Close to being a classic, with lots of replay value.
** Recommended with reservations. A score with representative moments but not a consistently enjoyable listen.
* For completists only. You’re unquestionably an Elfmaniac!
Charlie and the Chocolate Factory (2005) *** Warner Bros. 72264 • 1 21 tracks – 54:14
Roald Dahl and Tim Burton were a match made in heaven, as both share a sense for the burlesque. Burton’s version of Dahl’s classic children’s book pays tribute to the author’s colorful descriptions by using gaudy contrasts and a creepy Johnny Depp as factory owner Willy Wonka.
Elfman, on his end, is finally allowed a return to his Mystic Knights of the Oingo Boingo roots:
I would argue that his most recent endeavor, Corpse Bride, sounds more akin to the Mystic Knights of the Oingo Boingo, while Charlie, is better suited for an Oingo Boingo venue.
There are five hilarious songs (all sung by Elfman himself, in various modified guises) — from the Bollywood-inspired “Augustus Gloop” to the quasi-Queen anthem “Mike Teavee.” Great fun. The score is also a journey through Elfman’s styles — past and present: the waltzes, wordless chorus and tender celeste from Edward Scissorhands to the somber contrapuntal writing of Sleepy Hollow in “Chocolate Explorers.” The highlight for many, though, would be the track “River Cruise — Part 2” (not used in the film), which contains a steady drumbeat complemented by humming, kazoo-like voices and a heroic brass theme. This is a varied listening experience, and you’ll find that the disc won’t leave the player very easily.
Point Pleasant (2005) (TV) Unreleased
Elfman wrote the theme for this series about mysterious happenings a coastal New Jersey burg, which Fox canceled after only a few episodes. The 30-second tune is a cross between the funky grooves of Dead Presidents and an eerie child’s voice humming a Sleepy Hollow-like melody.
It also sounds very similar to the main theme in Big Fish.Desperate Housewives (2004) (TV) Hollywood 2061-62499-2 • 1 Track
ABC’s award-winning series about frustrated housewives in an American suburb quickly became an international success. Elfman’s Emmy-winning theme lies somewhere between Thomas Newman’s ubiquitous American Beauty-sound and his own, fluffy “gossip” motif from Edward Scissorhands. The episode scores were composed by a variety of composers, including Steve Bartek, Steve Jablonsky and W.G. Snuffy Walden.
Spider-Man 2 (2004) ** Columbia/Sony Music Soundtrax CK 92842 • 15 tracks – 48:01
Many complained that the first film didn’t contain any hummable themes. And to a certain extent, that is true for the sequel score as well, the difference being that Elfman expands upon the main theme and performs it more explicitly on many occasions. This is of course in line with Sam Raimi’s expansion of the Spider-Man character itself. Peter Parker/Spider-Man is more self-aware and mature now (although still struggling with adolescent worries). The new arch-villain, Doc Ock, gets a sinister minor-moded theme that resembles the Goblin motif from the first film, with a similar descending scale, but is beefed up with far more percussion. Overall, the action material seems a bit unfocused and overly bombastic (largely because Christopher Young and others provided additional music, and 40% of the film was tracked with cues from Spider-Man after Elfman left the project)…
Is that really Elfman’s fault? The music in the album is all Elfman’s.
…while the strength lies in the intimate moments and careful variations of the main theme. This score album from Columbia also includes a new and faithful version of Burt Bacharach’s classic “Raindrops Keep Fallin’ on My Head,” which was used prominently at the end of the movie.
Big Fish (2003) *** 1/2 Sony Classical/Epic SK 93094 • 23 tracks – 61:24 (40:44 score)
Although the film certainly is ripe with fantasy elements, it is also grounded in a realistic environment, quite a departure for Tim Burton. As such, it may be considered his most adult film to date. The story about Ed Bloom, played brilliantly by both Albert Finney and Ewan MacGregor, who tells many unbelievable stories from his past, is only the frame through which we really witness the relationship between father and son; husband and wife. Elfman’s Oscar-nominated score is one of the most enjoyable he’s written in recent years. Sure, there are the typical Burton elements such as the solemn sadness of “Sandra’s Theme,” the tongue-in-cheek horror licks for the witch, and the oompah music for Danny DeVito’s circus (not on the album). But there’s also maturity in the music, as in the film. There is a rural Americana feel to the orchestration, similar to A Simple Plan, and a delicate, almost haunting quality to the choir and strings that steer the score determinedly away from cliche. The album includes about 40 minutes of Elfman’s score, and is otherwise filled with ’60s and ’70s standards, plus an excellent new ballad called “Man of the Hour” by Pearl Jammer Eddie Vedder. This is a perfect example of Elfman’s mature sound, and is a must-have.
Hulk (2003) ** 1/2 Decca /Universal Classics B0000633-02 • 19 tracks – 63:50
Ang Lee’s interpretation of the green superhero divided fans. Some thought that there was too little action and too many weird effects (such as the split screen), while others applauded these aspects because they allowed for character development and a non-mainstream approach. There was also controversy in the score department. Mychael Danna, surely an interesting choice for a film like this, provided an unusual original score, which was rejected because it was too “off.”
Replacement and superhero master Elfman allegedly kept some of Danna’s original elements, however, such as the duduk and the Arabic-sounding female vocal that has become cliche since the popularity of Gladiator.
I find that – even though Gladiator did it first – right? – the Arabic, moaning voices in Hulk seem more integrated into the film and less arbitrary than Gladiator. Hulk’s Arabic-sounding female vocals were attached to the desert landscapes, and that seemed apt with the Middle eastern feel.
This is particularly evident in “Captured,” which has an unmistakable world music feel. It is also true for Elfman’s main theme, which consists of six descending notes on a cushion of dissonance and exotic percussive effects. Overall, the Hulk’s rage lends itself easily to Elfman’s aggressive and at times overly bombastic action music…
No one ever criticized Batman of being overly bombastic.
…but is also opposed by moments of subdued reflectiveness, just like the qualms of Bruce Banner himself. The album includes the Guns ‘n’ Roses/Stone Temple Pilots single “Set Me Free,” which is skippable.
Chicago (2002) * 1/2 Epic/Sony Music Soundtrax EK 87018 • 18 tracks – 70:16 (7:22 score)
John Kander and Fred Ebb’s retro Broadway musical was brought to the big screen by Rob Marshall in 2002 to profit from the popularity of Baz Luhrmann’s Moulin Rouge the year before. Elfman, with his extensive experience as composer of ’30s Cab Calloway-type tunes in the early Boingo days, provides the few transitional score cues in the film. On the album, his output is represented by two tracks: “After Midnight” and “Roxie’s Suite.” These are pure big-band jazz numbers reminiscent of “Oogie Boogie’s Song” in The Nightmare Before Christmas, and are nice enough. But whether you want this CD or not depends entirely on your relationship to the musical itself. While the vocal performances by Zeta-Jones, Zellwegger and Gere are decent, there are better recordings out there, with professional singers to boot?
Red Dragon (2002) *** Decca /Universal Classics 289 473 248-2 • 17 tracks – 57:17
This Brett Ratner film is a remake of the original installment of author Thomas Harris’ so-called Hannibal Trilogy, about the infamous mass murderer Hannibal “The Cannibal” Lecter, played again by Anthony Hopkins (although, strictly speaking, he only has a supporting role in this film). It may be better than both Michael Mann’s original version of the same story, Manhunter, and Ridley Scott’s stylish-but-flawed Hannibal, but it does not possess the same atmosphere as Jonathan Demme’s The Silence of the Lambs from 1991. Elfman’s score, however, may rival Howard Shore’s offering for Lambs. Equally textural and chilly, Elfman displays a sleazy sense of “delicious darkness” by using twisted xylophone and bell sounds, distant flutes and tormented strings (including those in the piano!)
That’s what that sound is!
…throughout. The album also has an interactive CD-ROM track that has interviews with Ratner, Elfman and Hopkins.
Men in Black II (2002) ** 1/2 Columbia/Overbrook/Sony Music Soundtrax CK 86295 • 18 tracks – 53:29
This sequel to the 1997 box office hit includes most of the successful elements from the first film, including Will Smith, Tommy Lee Jones and director Barry Sonnenfeld, but only fared moderately in blockbuster terms. Danny Elfman is not to blame, however, as his score retains the energy of the first film and adds more synth samples and retro-’70s grooves. The album opens in an entertaining fashion with a jazzy big band arrangement of the main theme (“Worm Lounge #1”), and moves directly into brassy action tracks. The score is book-ended with yet another lounge-y suite (“Worm Lounge #2”) and a recap of the original main titles. There’s also the pointless addition of Frank the Pug’s version of “I Will Survive” and the slick funk-meets-rap song “Black Suits Comin'” by Will Smith. But the album is well-produced and more entertaining than its predecessor, even though the score is on cruise-control.
Spider-Man (2002) ** Columbia/Sony Music Soundtrax CK 86681 • 15 tracks – 45:00
Sam Raimi’s eagerly anticipated feature film adaptation of the popular comic book character met its expectations. Many felt that it was refreshing to see a superhero who struggled with everyday teenage problems and who wasn’t the invulnerable ubermensch or the tormented dark hero of other serials, although Peter Parker certainly was an outsider like all other superhero alter egos. But there were also those who felt that the film suffered because Willem Dafoe’s Goblin villain was a bit over the top. Danny Elfman’s score is a typical example of his current approach to these films — it’s appropriately Wagnerian and large-scale like Batman, but adds a whole palette of symphonic “noise,” meaning that the themes are rarely allowed to be expressed in peace, instead having to confront both conflicting melodic lines and dense orchestration. But hidden away underneath are many neat details such as the innocent glockenspiel signalling Parker’s youth, or pizzicato string and piano interludes indicating his spider-like gracefulness.
The main theme is never expressed fully until the end, when Spider-Man finally comes into his own at the top of the Empire State Building. Overall a worthwhile album, but one that grates a bit, even at 45 minutes.
Really? The album grates? There’s plenty of soft and tender moments to counter the action bits.
Novocaine (2001) * 1/2 TVT Soundtrax TVT 6850-2 • 15 tracks – 40:24 (4:19 Elfman)
Regular Elfman orchestrator and Boingo guitarist Steve Bartek provided the score for this dark Steve Martin comedy that combines the unlikely elements of paranoia and dental hygiene(!). Elfman contributes two tracks, both of which are available on the soundtrack album: “Main Titles” and “I Wish.” The former shifts between the obligatory female chorus on top of sinister minor-mode harmonies and jagged electric guitar outbursts, much like To Die For. The latter is a laid-back textural piece with guitar and vibraphone that builds into a dramatic tutti climax. Bartek’s score is stylistically similar, venturing even further into pop/rock terrain on occasion. A schizophrenic listening experience, but recommended for the Elfman fan.
Planet of the Apes (2001) *** 1/2 Sony Classical SK 89666 • 15 tracks – 58:21
Tim Burton’s infamous “re-imagining” of the classic Pierre Boulle sci-fi novel has little in common with the 1968 Schaffner version and has more plot holes than your average Ed Wood masterpiece. Yet it does have a few redeeming features, such as a brilliant production design, an eerie Tim Roth in ape costume and great music. While Elfman’s score may be less experimental than Goldsmith’s magnum opus, it is certainly more “dense.” Elfman employs a whole army of percussion instruments, both sampled and acoustic, and adds Goldenthal-like brass outbursts, resulting in marvelous action set-pieces like this score’s “The Hunt.”
The soundtrack contains two tracks specifically composed for the album (“Ape Suite #1” and “Ape Suite #2”)…
Which made its way back into the film dub, by the way.
…and a Paul Oakenfold remix of the main title theme that retains the energy of Elfman’s composition. Even though it may be a tad on the bombastic side, the orchestration makes this one of Elfman’s most interesting and entertaining post-Mission: Impossible scores.
Spy Kids (2001) *** Chapter III CH 30002-2 • 19 tracks – 31:36 (10:18 Elfman)
A Robert Rodriguez children’s movie? It seemed unlikely at the time, but its success generated two sequels. Danny Elfman was one of several composers to work on this film (including John Debney, Harry Gregson-Williams, Chris Boardman, Gavin Greenaway and Rodriguez himself) about two siblings who have to rescue their kidnapped spy parents. Elfman wrote some tracks alone, such as the delightful albeit brief “Floop’s Song,” which sounds like it was culled from Nightmare Before Christmas, as well as others in collaboration with the other composers. You have to buy the soundtrack to see who wrote what.
Despite the many composers, the album feels coherent, and the Hispanic flavor of the music makes it an entertaining summer listen.
This might be the closest we’ll get to a Danny Elfman James Bond score.
Heartbreakers (2001) * RCA Victor 09026 63770 2 • 12 tracks – 53:17 (14:39 score)
Who can pull more men? Sigourney Weaver or Jennifer Lowe Hewitt? That’s basically the premise of this less-than-stellar romantic comedy, with an uncomfortable Gene Hackman caught in the middle. John Debney provides the sneaky score, while Elfman composed the Thomas Newman-inspired “Heartbreakers” theme that pops up at frequent intervals. The soundtrack consists primarily of non-descript pop songs by the likes of Alison Krauss and Shawn Colvin, while the score is relegated to two seven-minute suites at the end. Recommended only for the hard-core completist.
Indeed. Everyone just download the suite here on this website.
Proof of Life (2000) ** 1/2 Varèse Sarabande 302 066 208 2 • 9 tracks – 30:13
Taylor Hackford’s underrated hostage drama is more famous for hooking up Meg Ryan and Russell Crowe than for the actual film itself. Too bad, because it has a nerve and focused narrative that makes it suspenseful.
David Morse is captured by guerrilla forces in a fictional Latin American country, and it is up to his wife (Ryan) and negotiator Crowe to get him out of it. Elfman finally gets to try his hand at a South-American idiom — through guitars, pan flutes and exotic percussion — but also adds synth loops and a dizzying array of contrapuntal writing, particularly in the track “Escape.” It’s not an easy listen, but at 30 minutes, the orchestral textures and lack of clearcut melodies become interesting rather than annoying. More would be too much.
Family Man (2000) *** Sire 31151 • 14 tracks – 52:43 (6:11 score); Promotional release • 27 tracks – 42:50
Brett Ratner made this Dickens-inspired “what if”-tale about Nicolas Cage as the successful businessman who has forgotten the true values in life, only to be transported to a parallel universe by a guardian angel on Christmas Eve, where he ends up as a poor but dedicated “family man.” Unfortunately, the film often ends up in saccharine cliches, which is surprising given Ratner’s track record. But it afforded Elfman the opportunity to revisit his “Tchaikovsky-esque” Christmas music from Scissorhands and Nightmare, combined with the less consonant textures of Good Will Hunting. The commercial album only has two score tracks, “Main Title” and “Farewell,” but Elfman released a score-only promo that has almost 43 minutes of music, and is heartily recommended to those who can find it and afford it. It pops up on eBay once in a blue moon, but usually at exorbitant prices.
Sleepy Hollow (1999) *** Hollywood HR-62262-2 • 19 tracks – 67:59
Nobody but Tim Burton could have made this film; the uneasy combination of dark humor and dead-on seriousness suits the director’s sentiment perfectly. Burton’s alter ego Johnny Depp may not be in his best role here, but the horror element of the headless horseman works well and compensates for a run-of-the-mill performance. Much of the excitement is thanks to Elfman’s score, a constant wall of frenetic strings, wailing brass and thundering percussion (plus the ubiquitous voices, of course). This is pure horror melodrama à la Waxman’s Bride of Frankenstein. At almost 70 minutes, listening to the album may be a chore to some people, but there are many highlights throughout, such as the progressive cello writing in “Into the Woods/The Witch” or the rhythmic flair of “The Chase.” Once again, the album displays Elfman’s great grasp of “delicious darkness,” i.e. foreboding music with immense orchestrational detail.
Anywhere but Here (1999) * Atlantic 7567-83234-2 • 15 tracks – 59:36 (7:35 score)
Wayne Wang’s sappy mother/daughter-relationship drama with Susan Sarandon and Natalie Portman gave Elfman the opportunity to elaborate on the Good Will Hunting style he had refined by then, the main ingredients being acoustic guitar, a pop beat and soft female humming.
The soundtrack album is filled with songs by female artists, while Elfman’s seven-minute score suite at the end remains the only testosterone. He also composed the song “Strange Wind,” which is performed by the artist Poe. It is a credit to Elfman’s songwriting skills that it may be one of the two best on the album, along with k.d. lang’s title song.
Modern Vampires (1999) Unreleased
Also known as The Revenant, Richard Elfman’s vampire flick is notable for its tongue-in-cheek humor and a delightful supportive role by the late Rod Steiger. As usual, Danny steps in to compose a couple of tunes for his older brother’s work. There are two Elfman tracks here, “The Revenant” and “The Revenant Returns,” both featuring a wailing female voice and children’s chorus with a Men in Black-type groove. The rest of the score was composed by Michael Wandmacher, and it runs the gamut from samba to jazz to rock to ’50s pop to traditional horror scoring!
There has never been a commercial release of the score, but Richard Elfman reportedly issued one single soundtrack CD as an Internet contest prize. Even though it only last about 12 minutes, it’s obviously a sought-after and extremely rare item.
Instinct (1999) ** Varèse Sarabande VSD-6041 • 8 tracks – 38:36
Many people don’t know that Danny Elfman hiked across the African continent in his late teens before he joined The Mystic Knights of the Oingo Boingo. This is where his obsession with oddball percussion instruments was ignited; it has since seeped into almost all of his scores. But nowhere else is this “African” experience explored more clearly than in this Tarzan-inspired drama about Anthony Hopkins as the savage jungle man returning to civilized society. Elfman pulls out a number of authentic African percussive instruments and weaves them cautiously into a traditional symphonic soundscape. If you want your ethnic score to have a lot of striking melodies, this is not for you.
But if you like the textural blend of ethnic instruments and orchestral music without either dominating entirely, you will probably find a lot of interesting stuff here.
The Dilbert Zone (1999) (TV) Unreleased
Scott Adams’ popular cartoon about sardonic office worker Dilbert was eventually made into this animated TV series in 1999. Elfman reworked his zany main title theme from Forbidden Zone for the show’s opening titles.
My Favorite Martian (1999) * Promotional release • 36 tracks – 67:53
This is yet another example of a remake bombing miserably at the box office, just to hit the straight-to-video shelves in the international market. Not all ’60s TV shows are suited for “modernization.” Danny Elfman provided the “Uncle Martin theme” for the Christopher Lloyd character — a jaunty blues riff à la Midnight Run — while John Debney’s score sounds like Alan Silvestri without the scope. At times it’s fun, but at almost 70 minutes, the promo album is too “mickey-mousey” for a good listening experience.
A Civil Action (1998) ** 1/2 Hollywood HR-62158-2 • 22 tracks – 47:00
This John Travolta courtroom drama came and went without much of a hooplah (then again, how many courtroom dramas do come with hooplah?).
Elfman is back in Good Will Hunting mode with usual suspects popping up, such as wordless voices, a groovy bass line, and contrapuntal string writing. It’s a relatively solemn and laid-back experience, but the big highlight is “The Letter,” where Elfman releases a consonant choir humming a lullaby-like gospel hymn that is repeated in the end credits. It’s the ice dance from Edward Scissorhands all over again, probably the closest he has ever been to James Horner’s Apollo 13.
A Simple Plan (1998) *** 1/2 Silva Screen FILMCD 310 • 14 tracks – 43:54
Detuned piano, banjo, uneasy woodwinds and rural, Americana-type harmonies? No, you’re not listening to a Thomas Newman score. Elfman came up with one of his most original scores for this moody Sam Raimi flick starring Billy Bob Thornton, Bill Paxton and the composer’s wife-to-be Bridget Fonda. For the most part restrained and introspective, it never reverts to cheap gimmicks and redundancy, even if there are things going on in the film that would have required it.
The album concludes with three contemporary blues/country songs that blend neatly with the preceding score.
Psycho (1998) **** Virgin 724384765729 • 22 tracks – 31:33
Say what you will of Gus van Sant’s controversial remake of the Hitchcock classic, but at least we got the best recording and interpretation of Bernard Herrmann’s original score thus far. Admitted Herrmann nut Elfman and his orchestrator Steve Bartek are incredibly faithful to the original in their adaptation, and provide it with the same brisk temperament and in-your-face dynamic that blessed the 1960 thriller. In many ways, it even surpasses Herrmann’s own album re-recording back in the day. Every serious film music fan should have a recording of Psycho in their collection, whether he…
— or she —
…likes Herrmann or not, and this is certainly one of the best out there.
Scream 2 (1997) Unreleased
Wes Craven initiated a new wave of teen slasher wave with this franchise, and eventually gave us two sequels that followed the horror recipe of the first film closely. In the second film, protagonist Sid acts in a stageplay that becomes a little too realistic for good measure. Danny Elfman composed the music for this in-story, three-minute segment, naming it “Cassandra’s Aria” after the stageplay’s lead character. It’s a melodramatic, dissonant piece that crosses Sleepy Hollow and Nightbreed, sprinkled with one or two “Arabian” flavors. The piece was unfortunately not released on the Scream/Scream 2 soundtrack album from Varèse, which only contained a portion of Marco Beltrami’s scores.
Good Will Hunting (1997) *** Capitol 23338 15 tracks – 52:15 (6:29 score); Promotional release • 13 tracks – 23:29
After years of ignoring Elfman’s output, the Academy of Motion Picture Arts and Sciences finally acknowledged him with no fewer than two Oscar nominations in the same year, giving the impression of a unanimous apology. Gus van Sant’s excellent drama about the gifted prodigy just wanting to be a blue-collar worker was one of them. It sports an impressive performance by then-newcomer Matt Damon and relatively cliche-free dialogue scenes. Elfman’s brief score is low-key, Irish-flavored and soft, with prominent piano, mallets, flutes and acoustic guitar. Overall, this is where he laid the groundwork for his now-familiar drama writing without the striking melody, yet with hypnotic orchestration. The commercial album only has two tracks (“Main Titles” and “Weepy Donuts”) but the “For-Your-Consideration” promo release includes all 24 minutes of score. It’s hard to find, but is an important entry in the Elfman canon and, consequently, recommended to all.
Men in Black (1997) *** Columbia/Sony Music Soundtrax 489313 2 • 16 tracks – 42:42
This Barry Sonnenfeld sci-fi/comedy blockbuster was the other Oscar nomination that year. Hardly the caliber of Batman, Edward Scissorhands or Nightmare Before Christmas, it is nonetheless an enjoyable listen that juxtaposes funky ’70s grooves, loops and samples with Herrmann-inspired low brass and woodwinds. The highlights remain the rhythmic “M.I.B. Main Theme” (the bass line of which Elfman would reuse in several future themes) and the expansive “Orion’s Belt/Cat Stinger.”
Some of it might be a bit intense over the course of 40-or-more minutes, and the sequel album is, in many ways, more entertaining, but Elfman deserves credit for taking the silly subject matter dead-on seriously and actually helping me forget that I’m watching Will Smith.
Flubber (1997) * Walt Disney 60952-7 • 18 tracks – 47:09
Yet another forgettable remake of an old Fred MacMurray comedy that wasn’t that funny to begin with. Robin Williams seems uncomfortable in his role as the crazy professor inventing the bouncy “flubber” material, and the film is littered with plot holes and cheap resolutions. I’m sorry to report that Elfman’s score is unmemorable as well. In fact, it’s outright annoying. Imagine his blaring brass outbursts combined with insane mickey-mousing and you’ve got an idea of what this is. A fun mambo and occasional nostalgic details such as the piano flourish don’t save this score and CD from becoming an unnecessary misfire in Elfman’s career. Only for the completist.
Outright annoying? I guess that depends on how much you like mambo music. I found Weebo’s Death, for example, touching.
Perversions of Science (1997) (TV) Unreleased
This was HBO’s ill-fated attempt at a Twilight Zone lookalike, but with far more sex and violence (and a hot android host!). It was canceled after only one 10-episode season. Elfman’s theme for the series can best be described as a combination of the bass line of Beetlejuice and the wailing theremin of Mars Attacks! — and all of it way over the top.
Mars Attacks! (1996) ** 1/2 Atlantic 7567-82992-2 • 19 tracks – 46:51
First he made an Ed Wood biopic. Then he made this film that actually could have been a contemporary Ed Wood film. Tim Burton’s ode to ’50s sci-fi and utter camp is a delightful display of “less is less and more is more.” Acting, costumes, effects and gags seem to be without limits here, and the same goes for Elfman’s score. It’s big, bold and brassy and has all kinds of weird sonorities: theremin clashes with Hammond organ and Arabian string instruments. There’s a delightful and otherworldly “lounge” tune that sounds like Henry Mancini without the catchy melody, as well as a wonderful main title march. However, the score does get a bit intense and bombastic at times.
I think that if Danny didn’t score the film with that bombastic tone, it would have been sad misreading of the film.
The album also includes two songs that have a purpose in the film: The “Indian Love Call” that killed the Martians and Tom Jones’ classic showstopper “It’s Not Unusual,” as the closing act.
Extreme Measures (1996) ** 1/2 Varèse Sarabande VSD-5767 • 9 tracks – 29:30
If this Michael Apted thriller about spooky medical experiments wasn’t exactly groundbreaking fare, at least it gave Hugh Grant the possibility to play something other than a Hollywood heartthrob.
Elfman’s score is a muted follow-up to Mission: Impossible, with lots of sustained string chords and rumbling piano interrupted by tutti outbursts. The sad and reflective main theme (reminiscent of Alex North’s Cleopatra) is a worthwhile listen.
The Frighteners (1996) ** MCA Soundtracks MCAD-11469 • 15 tracks – 41:14
What if the director of this film, Peter Jackson, had kept his connection with Elfman when he made Lord of the Rings trilogy? Would it have sounded anything like this Michael J. Fox horror comedy?
I think it would have sounded like an amalgamation of Black Beauty and Sommersby.
It’s pointless speculation, perhaps, but intriguing. Elfman pulls out the trademark ghost story elements here, such as the harpsichord, celeste and children’s chorus in the vein of Tales From the Crypt. These elements keep things relatively light, although Elfman scores the horror sequences harshly and progressively (this is where I hear potential Mordor music!). Some great moments are scattered about, but the album as a whole may be a little tough on the non-Elfman fan. There’s a noisy version of Blue Oyster Cult’s hit “Don’t Fear the Reaper” at the end (performed by The Mutton Birds).
Freeway (1996) ** MCA Soundtracks MCAD 2-11550 (7:02 suite)
Matthew Bright, writer of Forbidden Zone and Modern Vampires, directed this independent movie starring Kiefer Sutherland and Reese Witherspoon, with none other than Oliver Stone producing. It is an updated version of “Little Red Riding Hood,” with plenty of violence and disturbing themes (yet a morbid sense of humor is never far away).
The score is written for small ensemble and varies from a quirky main theme with “nagging” voices and a glockenspiel countermelody to bluesy guitar rock to nondescript suspense cues. It has not been released on a separate soundtrack, but a seven-minute suite was released on the Music for a Darkened Theatre, Vol. 2 compilation (out of a total 20-something minutes). Interesting tidbit: Elfman was reportedly paid only $1 for the job!
Mission: Impossible (1996) **** Point Music 454-525-2 • 18 tracks – 52:28
Okay, so here is the big turning point score, the one that made Danny Elfman fall in love with counterpoint and densely orchestrated soundscapes. You could argue that there were elements of this in the scores immediately preceding it as well, but they were not as consistently present. Brian de Palma’s revitalization of the classic TV show was a big success, offering a complex plot and believable characters. Lalo Schifrin’s famous theme pops up at a few crucial points (such as the helicopter/train scene), and his influence is felt in the rest of the score as well. It has a pronounced ’70s vibe, with muffled horns, wooden percussion and progressive semi-jazz harmonies. I remember being put off by this score when I first bought it; it was too “different” and harsh. But in retrospect, it stands not only as a rich listening experience, but as an important and career-defining score in Elfman’s career. That’s why it’s a must-have.<<
Thanks for the comments, TenderLumpling. Allow me to comment on some of your comments.
> Boingo is still referred to as Oingo Boingo.
Well, yes, but I was referring to the fact that their last studio album dropped the “Oingo” moniker.
> I would argue that his most recent endeavor,
> Corpse Bride, sounds more akin to the Mystic
> Knights of the Oingo Boingo, while Charlie, is
> better suited for an Oingo Boingo venue.Yes, I agree. However, THE CORPSE BRIDE hadn’t yet arrived when I finshed the guide. I thought some of the “pop” songs (“Augustus Gloop”, for example) had a very theatrical “pastiche” feel to them, and that’s why I thought Mystic Knights rather than Boingo.
> Is that really Elfman’s fault? The music in the
> [Spiderman 2] album is all Elfman’s.No, I wasn’t blaming Elfman as such. But even though I focus on the album for the most part, I had to make that aside to the score in the film. Also, it is likely that Elfman’s inspiration dwindled somewhat with all the troubles surrounding the score, and that is mirrored in what wound up on the album as well.
> I find that – even though Gladiator did it first –
> right? – the Arabic, moaning voices in Hulk seem
> more integrated into the film and less arbitrary
> than Gladiator. Hulk’s Arabic-sounding female
> vocals were attached to the desert landscapes, and
> that seemed apt with the Middle eastern feel.I’m not so sure I agree. I’ve always thought that music should be independent of geographic verisimilitude in films. So even though the female vocal has a Middle Eastern association, one shouldn’t necessarily adhere to that association every time. I don’t think it’s any more out of place in HULK than it is in GLADIATOR (or vice versa).
> I think that if Danny didn’t score [Mars Attacks] with
> that bombastic tone, it would have been sad
> misreading of the film.Maybe yes. But here I’m talking about how it works as an album.
Thor – Flubber deserves two stars. I never saw the movie, which you obviously hated, but the ablum is much more representative of Elfman’s ingenuity than you give it credit for. As for “misfire”, I believe this was part of his famous 3 picture Disney deal… I’m sure the check cleared!
Flubber (1997) * Walt Disney 60952-7 • 18 tracks – 47:09
Yet another forgettable remake of an old Fred MacMurray comedy that wasn’t that funny to begin with. Robin Williams seems uncomfortable in his role as the crazy professor inventing the bouncy “flubber” material, and the film is littered with plot holes and cheap resolutions. I’m sorry to report that Elfman’s score is unmemorable as well. In fact, it’s outright annoying. Imagine his blaring brass outbursts combined with insane mickey-mousing and you’ve got an idea of what this is. A fun mambo and occasional nostalgic details such as the piano flourish don’t save this score and CD from becoming an unnecessary misfire in Elfman’s career. Only for the completist.
Outright annoying? I guess that depends on how much you like mambo music. I found Weebo’s Death, for example, touching.
It’s one of my favorite scores, actually. I used the main titles music in the main titles of a film I made recently for school. It really surprised the people who never thought of using film score in their films for the same project, all of which contained some sort of rock or rap instead.
sajrocks Wrote:
> Thor – Flubber deserves two stars. I never saw the
> movie, which you obviously hated, but the ablum is
> much more representative of Elfman’s ingenuity
> than you give it credit for. As for “misfire”, I
> believe this was part of his famous 3 picture
> Disney deal… I’m sure the check cleared!Well, music is – as always – subjective. I meant “misfire” in an aestethic sense, not economic.
Music is never subjective. People’s perceptions of it certainly can be–your aesthetic “misfire”, “unmemorable”, “outright annoying”, “insane mickey-mousing” (it’s a kids’ movie for crying out loud) and “only for the completeist” comments included.
Taken from a purely objective perspective (as far as anyone on this board is able!), I would hand over the FLUBBER score album long before the PROOF OF LIFE album, which you 2.5 stars, as an example of Elfman’s abilities and output for anyone who had never been introduced to his music. Not because I like it better, but because the textures are richer, his broad use of sampled sounds are seamlessly integrated into the well-balanced orchestrations, the nods to Mancini and Stalling are intelligent and well-suited for the material, the mambo is a fantastic display of Elfman at his over-the-top best, and the album overall displays a wide range of quirkiness that has endeared so many people to his music.
On a subjective note, the “End Credits” suite is sublime. Sometimes I dance around the apartment to it… naked. Much to the joy of my neighbors.
Thor Wrote:
> sajrocks Wrote:
>
>
> > Thor – Flubber deserves two stars. I never
> saw the
> > movie, which you obviously hated, but the
> ablum is
> > much more representative of Elfman’s
> ingenuity
> > than you give it credit for. As for
> “misfire”, I
> > believe this was part of his famous 3
> picture
> > Disney deal… I’m sure the check cleared!
>
> Well, music is – as always – subjective. I meant
> “misfire” in an aestethic sense, not economic.> Music is never subjective. People’s perceptions of
> it certainly can be–Well yes, that’s what I meant!
Just to let everyone know that Part 2 of the extensive Elfman Buyer’s Guide is now out on FSM Online. It really digs into the past and concerns Danny’s film and TV scores from TO DIE FOR back to FORBIDDEN ZONE (the first part ended with MISSION: IMPOSSIBLE). It also has a separate section with Boingo songs featured in fiction films from 1977 to 2000 (and brief descriptions of the obscure films).
Of course, you have to subscribe to get access to this.
- You must be logged in to reply to this topic.