Big Fish

Review by Thomas Glorieux:

With every Tim Burton film comes a Danny Elfman score to await, and the same can be said about the reverse. I was anticipating the score very much since it looks to be a case in scenario where the fantasy meets the emotion into one soaring spot of heaven. The trailer makes the film look stunning, the music during the trailer makes the music of Elfman sound heavenly beautiful. Of course they chose Black Beauty and above all Edward Scissorhands to make the trailer that stunning and so it wasn't dumb to think people would expect the same grand score of Elfman. But Elfman being a bit like Zimmer, he isn't one to repeat the same or the expected. Like Spider-Man was no Batman, Big Fish is no Edward Scissorhands and that is the first and foremost important realization to remember of this soundtrack review. Of course many fans were disappointed by this, including me but with many fans too, I guess the score grew on me. Its first of all a lovely entry, subdued more then expected but carrying all the Elfman trademarks and above all the Elfman class in where the music sounds deep and charming. Elfman weaves his themes through each other, an occasional grow of choir or larger sounding tone and then Big Fish sounds as fantasy grand as expected. So, this also made the movie and while I haven't seen the film yet (not released here), I guess the music will make only more sense when you spot the context behind it. This is the mature Elfman and it makes him the grand composer he is today, earned him nominations for both the Academy and Golden Globe awards and made the fans happy with a lovely entry to hear from time to time.

The soundtrack covers not only Elfman material but many songs, and this is one of the few releases which Elfman doesn't spend his score alone on, or at least on an exact same CD (like Spider-Man was released in a song and score related duo pack). The song by Pearl Jam is lovely, the ones by Buddy Holly and Elvis Presley classics in their own right and the ones of The Allman Brothers and Canned Heat enjoyable from start to finish. The original song found at the end, written by Elfman and John August is a more weird entry when you consider the rest but it has a certain kind of flair that will be explained more in the film then on CD here. But the Elfman material is the reason for the success of its Awards and that makes more sense when you hear it also for the third time in a row. The first time you hear the score, its disappointing not to hear the grand swellings ala Edward Scissorhands. But by time and patience, the score grows on you and makes more sense when you hear Elfman do what he does best, create enchanting soft melodies ala The Family Man which listen so good in a subdued mood and will make more impact in the film. Inevitably, there are some highlights, such as 'The Growing Montage' with it growing orchestral music bouncing its way forward ala Black Beauty and Sommersby did on certain occasions. It also has the trademark Elfman lala choir and is therefore a certain recommendation to those who love to hear that. But the constant soft elegant mood of the 11 minute 'Finale' is more a breeze then the others, with occasional jigs, piano, soft choir, the most reoccurring theme of the score and a magical ending with that theme receiving its choral interlude. Even if it doesn't burst out, its especially enchanting on disc.

But besides these highlights, the score remains pleasant but just not that grand as people might have expected. 'Big Fish (Titles)' presents the first use of soft choir and in it a somewhat Irish tint. Nonetheless the first performance of Sandra's theme or the main theme is lovely to hear. So is 'Sandra's Theme' with a more growing playful attitude and flutes ala Black Beauty, ending with a nice statement of Sandra's theme. The score takes a brief darker road with 'Leaving Spectre' stating sad piano, angry violins with even a Jenny's theme statement, appearing at the end of the CD another time. Also 'Return to Spectre' doesn't sound too fluffy but it takes in return a Pledge like tone with the violins creating a different mood. 'The Journey Home', 'In the Tub' and 'Sandra's Farewell' all present the Sandra theme either on piano or soft strings and this all sounds lovely but too subdued to be really talking of meeting Edward Scissorhands. Of course an 11 minute track rounds out everything nicely and 'End Titles' presents a violin jig and the nice tones of Sandra's theme before a brief Jenny statement makes the circle complete. Again, you could be arguing the too soft or non fantasy exploding score of Elfman, but there is no reason to deny its softer cousin since it equally sounds charming, fantasy like and its to be appreciated if you like scores you can hum with nice themes in between. Big Fish is a return to the more softer Elfman we occasionally receive and just like The Family Man, the occasional grow makes wonders when it appears. It didn't make The Family Man all that successful but Elfman nonetheless received an Oscar and Golden Globe nomination for Big Fish, the only Oscar nomination the film received. And we could begin to argue again about the lack of true grand orchestral music, but I think the charm of Big Fish is not to be found in the word big, but in the name of Danny Elfman.

Score: ***1/2
Songs: ***

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Tracks

Single Disc

1. Man Of The Hour: Pearl Jam (3.45)

2. Dinah: Bing Crosby (2.17)

3. Everyday: Buddy Holly (2.09)

4. All Shook Up: Elvis Presley (1.58)

5. Five 'O Clock World: The Vogues (2.10)

6. Ramblin' Man: The Allman Brothers (4.57)

7. Let's Work Together: Canned Heat (3.14)

8. Pictures (0.46)

9. Big Fish (Titles) (4.32)

10. Shoe Stealing (0.56)

11. Underwater (1.52)

12. Sandra's Theme (2.26)

13. The Growing Montage (2.41) Excellent Track

14. Leaving Spectre (1.59)

15. Return To Spectre (2.13)

16. Rebuilding (1.19)

17. The Journey Home (2.10)

18. In The Tub (1.21)

19. Sandra's Farewell (1.16)

20. Finale (11.10) Excellent Track

21. End Titles (2.38)

22. Jenny's Theme (1.46)

23. Twice The Love (Siamese Twins' Song) * (1.48)

* Performed by Bobbie Page & Candice Rumph, written by Danny Elfman & John August

Total Length: 61.24

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=== Link to Composer Site: Danny Elfman ===