I rewatched this movie for the first time in years yesterday. It’s still an absolute blast and wonderfully idiosyncratic. It’s sad to see how Timur’s career has gone since.
The score in film was a bit of a revelation for me. I’ve always thought of the score to Wanted as brilliant but disparate – so many fantastic ideas that never really come together in the end.
I was pleasantly surprised that the score in film tells a different story. Wesley’s baseline motif (that forms the melody to ‘The Little Things’) is littered throughout, with some really gritty takes (quite similar to the song) omitted from the album. Elfman’s musical segway into the song is just wonderful. A lovely motif in ‘Breaking the Code’ is also played throughout, acting largely as a theme for Wesley’s (non-existent) relationship with his dad. The ‘Fate’ theme bookends the movie and is played constantly – I really never realised how dominant this theme was – it’s easy to get hung up on the ‘success’ theme, but this one really is everywhere.
Such an inventive score for a quirky blockbuster – those were the days, huh?
Wanted might be the last great pure action score from Elfman, in the vein of one of his masterpiece, Mission:Impossible, although he didn’t go back a lot to the genre in the last 10 years. It was surprisingly melodic especially after the Hulk/Planet of the Apes years where he’d go all over the place with sometimes mixed results. To be honest, the song is fun because it’s Danny going back to its roots but it’s really nothing to write home about.
Success Montage is still one of my favourite Elfman cue.
You must be logged in to reply to this topic.