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Well, the poor swiss guy (it means : ME) finally saw big fish. I loved it… but… I’m very surprised because it seems that a lot of the music didn’t make it to the album. I think it’s the first time I see a Tim Burton movie, and hear wonderful music that isn’t in the score album. I know that Planet of the apes, edward scissorhands etc. were not complete score releases, but the best parts were in the official cd. I just don’t understand why it is not the same here. The album just doesn’t capture the essence of what is heard in the movie. Am I the only one to feel that way ????
Eric
I guess they “had” to make room for the “modern” music. Oh, well. At least those songs werem’t “inspired by the movie” tracks (which are just songs that were released with movie legally and financially and weren’t inspired or artisitic at all). I’m glad there was at least a half-hour of score and the songs were relevant are (mostly) set the time period well.
The poor belgian guy I am is going to Paris this week-end to see it ’cause he won’t wait until the 17th.
Yeah, honestly I haven’t listened to BIG FISH much mostly because I find it a very fragmented listen. It’s too “start n’ stop” for me in places. The last four score tracks (Sandra’s Farewell – Jenny’s Theme) make a nice 15 minue suite, but the other tracks kind of end just when they’re starting to get going.
It seems there are a few key cues missing from the album. If these were on, I gurantee it would be considered by all one of Danny’s very best. As is, I think it is one of Elfman’s greatest and most moving achievements, but there is so much more, including:
1. First Flashback: Shadows/ The Witch. A great theme that revolved entirely around the wonderfully macabre theme for the witch character, which can be heard briefly on the album at the end of “Leaving Spectre.”
2. The scene where Edward Bloom sees the naked fish lady in the water, leading into his encounter and first real conversation with young Jenny. This is the first time in the score we are introduced to Jenny’s Theme, and it’s an excellent variation.
3. The circus scene: It begins with a theme that is original, but an obvious variation of the “Entry of the Gladiators,” just with some notes changed it seems. In this same scene, we also have some wonderful circus organ music. Later in the scene, we have the real “Entry of the Gladiators,” leading into the first appearence of Sandra’s Theme, then a wonderful fast variation of the “Entry of the Gladiators” as the time ‘catches up.’
4. One of my favorite cues, and the one cue out of all not included that was criminal not to include on the album. This is the montage scene with Edward Bloom working at the circus, with some wonderful, fresh Pee-Wee-esque material, and of course, more charming circus music.
5. When Edward encounters the werewolf: leading up to his confrontation is another fine circus theme, performed more straight forward than the other circus music if I remember correctly. I don’t remember the music when the werewolf attacks him, but I remember from the fetch part to the next morning we get more of the circus theme.
6. A piano waltz version of “Jenny’s Theme” when Will visits older Jenny.
I’m sure there’s more to discover. The “Finale” is also a bit longer, but there are a lot of breaks when it flashes from real life to the final tale. Though one thing completely absent from the album is another delightful circus tune that the carnival band is playing briefly when Edward is being carried around the characters of his life (a reference to Fellini’s film “8 1/2”), but at least that theme can be heard on the Big Fish website.
That was a lot, but I’m glad I got it all out.
Dylan
It is, however, important to note that track 21 on the album, “End Credits,” is far longer than it is in the film, and track 22, a slight yet incredible variation of “Jenny’s Theme,” is not in the film at all. While I think, if I have to justify, that 22 makes up for the other variations of the theme not being present on the album, I still would’ve loved to have had some of the music from the circus scenes. But as I said, the album as it is is about as flawless as albums get, but it’s so good that I very much want what we don’t have.
Dylan
when I said, ‘makes up for the other variations’, I of course meant the other variations that didn’t make it onto the album. I am extremely thankful that the three best statements, “Underwater,” “Leaving Spectre,” and the cue exclusive to the album, “Jenny’s Theme,” did make it.
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