Score Review: The Adventures of Tintin

This article originally appeared on www.onemoviefiveviews.com

This is quite possibly my favourite score of last year.  I’ve seen the film twice in theatres as well as heard the music several times on my own, and I must say, John Williams’ score for The Adventures of Tintin is so fresh and fun feeling, with its quick notes and bouncing themes that are interwoven throughout.  An orchestral, classy adventure score, this represents what the best film music is both in and out of film.  I may be deemed crazy by some for saying this, especially considering his extensive and impressive body of work, but I firmly believe this score is up there as one of Williams’ best.

The first several tracks on the CD (same order as in the movie) really set up the various themes for the characters and plot devices well.  The way that the themes are used feels fitting and genuine here, rather than seeming like they are obviously broadcasting the action on screen.  In this way, I found the score to have a very easy classic feel, where you allow the score to tell the story in tandem with what’s on screen.

Importantly, the first two tracks here set up the themes for Tintin and Snowy, and then in track three, we get what could be considered the theme for the plot – The Secret of the Scrolls.  This slow and mysterious theme strikes just the right tone.  Track four is really the first time that most of the main themes come together, and it works really well.  I found myself really liking the question and answer between instruments, and the way that the themes are woven throughout, something that continues throughout the entire score adding to the sense of continuity and fun as we follow the adventures across the globe with Tintin, Snowy, and Capt. Haddock.

As the score goes along, the themes are built on and developed, although never feeling repetitive.  One favourite of mine is track 7 which builds on the plot themes getting ready for the fuller expansion they will receive in track 9 (an amazing track and sequence in the film).  What I love is the way that the instruments mirror the action (e.g. a quick flick of a cymbal as swords strike each other).  It is this track that builds the basis that will be made even bigger in the final track of the CD.

While having to wait until midway through the CD (and the film) to get themes for some of the secondary main characters like Capt. Haddock and Red Rackham, this is what keeps the music feeling fresh.  Just when you are dealing with a few themes, another is introduced and added into the mix for consecutive pieces.  Some scores I hear after seeing the film and I can’t for the life of me remember without the track names what scenes they were tied to, but with Tintin, the music is so intrinsically linked for me, that even hearing it on its own, I can almost see the scenes play back in my mind.  This is especially true of some of the great set pieces from the film, which were driven so well by the score.  In my mind, the scenes and score are not separate but one.  What John Williams manages to do here – and it is no easy feat – is create a score that is both elevating the film it was written for, but also amazing to hear on its own.  Essentially, often you get one or the other – here you get both.

I’ll only mention a few more key tracks, because in all reality, I’m sure you just want to hear it for yourself rather than reading a written account of something you should hear.

It is worth a quick note that track 13 includes excerpts from “Rosina’s Cavatina” from The Barber of Seville (sung by Renée Fleming), which plays a key point in the film.  But what I love here is how well the score goes into this classic piece and in particular back out again.  It is a seamless transition and doesn’t feel out of place on this CD (or in the film) in the least.  Hearing the glass breaking in the last few seconds of track 13 is a nice touch too if you’ve seen the film.

As we get into the third act of the film, the suspense and music is the perfect case of balance between music and action on screen, because you need just enough score, without feeling overwhelmed by it.  Both the score and the script were written in such a way that the audience is able to follow and enjoy the story without being hit with nothing but action.  As you hear the score, you’ll realize just how much it oftentimes slows down during this third act, again allowing us to hear the themes in a new light.  The mysterious air of the second to last track (17) is a perfect ending to the film, before its last minute to thirty seconds drives directly into the exuberant credits track.

By the time you hear the last track on the CD, The Adventure Continues – a piece I consider one of the best single tracks of last year – it is the perfect culmination of everything that came before and some of the best recent adventure film music.  I must write briefly about this one now.

There is such power in this one piece.  While only three minutes long on the CD, it just sums everythign from the movie up for me in one swift action.  The false cadence thirty seconds from the end is great too.  How music affects you while you hear it can hardly be described in words and it is a task I struggle with in particular on my favourite scores.  There is not much I can say other than that I love this piece.  And on top of that, it’s incredibly well written.  It makes you leave the theatre with a grand sense of adventure.  And you immediately want to see it again.

Overall, what makes the whole score really memorable for me from recent scores, is the kinetic energy it has without being bombastic and overly action-y.  This is not like most modern action scores for an animated film, but rather like a classic adventure one for any film in general.  It never relies on being loud, rather gathering suspense through the impeccable use of various instruments  and speeds.  It is fun, light, and I love all of the quick little notes throughout.  But just as soon as it is quick, at times we get a theme with a more ambling rhythm, and it is this that makes the music never tiresome.  There is also a great range of octaves in the score that occur within a matter of seconds as do the tempo changes.

There is no doubt, this playful score by John Williams fits the film so well, and now that The Adventures of Tintin is on DVD, you should be sure to check this one out yourself.  And buy the CD – in my book, it is worth it all the way.  This is what an adventure score should be through and through.

– Erin Corrado

Soundtrack Review: Tangled

This article originally appeared

on www.onemoviefiveviews.com

 

Although some have said that the music from Tangled is not as memorable as some other Disney films, to me it fits the film perfectly and upon further listening has a real charm to it.  Seeing how it’s already November, this is one soundtrack that should be a big seller as a gift for Christmas morning.

 

With a charming mix of several new songs and score tracks, this is a lot of fun to listen to.  The four main songs in the film are When Will My Life Begin?, Mother Knows Best, I’ve Got a Dream, and my personal favourite, I See The Light.  These are the pieces used throughout the film to tell the story – and sung by the voice cast.  There are various reprises of When Will My Life Begin?, and Mother Knows Best throughout the soundtrack – they aren’t just remixes, but rather, like further verses to the songs, evolving over the course of the story.  Splitting them up makes sense here.  The last song on the CD (Something That I Want) is – and sounds very much like a – over-the-credits pop song.

 

The first song composer Alan Menken wrote for the film, was the Healing Incantation which is integral and sung throughout the film by Mandy Moore, the voice of Rapunzel. This piece sort of sets the musical style for the rest of the soundtrack.

 

Mother Knows Best is wonderfully theatrical, When Will My Life Begin? is light and youthful, and I’ve Got a Dream is just silly fun.  But specifically focusing on I See The Light, this is the one that I would love to see nominated at the Academy Awards.  It has a very classic romantic feel to it, very lyrical and pretty, coming at a turning point in the film.  I highly anticipate the sheet music, sure to be released in the coming little while for the film, like has been done for films like this in the past.  What I do hope though, is that some of the scores are included in a music book, since they – although often less publicized than the songs – are an integral part of the film and in the case of Tangled a lot of fun to listen to.

 

Speaking of the scores, there is a nice progression of the music from the beginning of the film to the end, as the story moves along.  Kingdom Dance is an especially bright and fun piece – I love the celtic feel here, and would love music for this one.  The rest of the scores range from quiet, contemplative pieces, and exciting, upbeat pieces.  Especially in the last few pieces from the climax of the film, the themes from earlier songs and score pieces come through in the instrumentals.  The main score track from the end, (for spoilers, I won’t name it, but it’s the 7 min. one on the CD), plays a bit like a suite in it’s theme transfers.  Although quite orchestral, at times, it is guitar and piano that often take over the themes.  Overall, the whole score has a very classic, yet at times contemporary feel to it.

 

Personally, for me, how much I enjoy a film’s score, sets how high I will rate a film.  The music, even if subconsciously while we watch, truly does set the tone of the film, and a good score coupled with a well told story and stunning visuals makes for one to see in my book.  That is the case with Tangled.  Once it opens, go see the film and buy the CD – this soundtrack is one of my top 10 favourites of the year so far, I’d say.  It’s a really good mix.

 

The Tangled soundtrack was released on iTunes and in stores November 16th.  Our reviews of the film will be up next Wed., Nov. 24th, along with related book reviews.

 

The Tangled soundtrack runs for 55 minutes, 39 seconds.  The original score is composed by Alan Menken and the songs are composed by Alan Menken, with lyrics by Glenn Slater.

 

– Erin Corrado