Spider-Man

Review by Thomas Glorieux:

"Mirror mirror on the wall, who is the only composer worth recommending to score a brought to life comic book tale of them all?" Well you know the answer, and it isn't Snow-white. Danny Elfman of course was the logical choice, just like John Williams is that for Steven Spielberg films or James Horner for war scores. And frankly, it seemed that Elfman picked up a bit of controversy like Williams on his last efforts and like Horner when he simply scores something. While the movie was overall accepted as the best comic book translation ever, something I find way exaggerated (it was a fine film but during the second period the surround sound fell out, so I was watching to it with sound coming from one center speaker, in the theatre. So you know what I thought of the second part) but still expectations are here set on the score. While Elfman of course was in his usual scoring mood, it still got me thinking that it simply didn't work. Elfman has tricks and tracks up the wazoo but all together it simply doesn't hold its web mighty strong. Spider-Man is made for the fans of the movie and composer, but I'm afraid Elfman regulars will see the score as a keeper for several highlights, but a misser for that which soundtracks need to do most, meaning the listening experience.

This is the hardest part of Spider-Man, the listening experience. As said, some tracks or moments are there to give you excellent material but basically these are trapped in tracks that on to themselves don't mean much, at least to me. The opener is however a big winner and that for several reasons. While many complaint it wasn't big enough for the movie, it still got me started in thinking: "wow, what a ride". First of all, it has got multiple examples of the main theme and secondly, it at least kept the rhythm high for 3 minutes while not a singular bad moment was noticed, so easily the highlight of the score for me is 'Main Title'. Another good and fun track is 'Costume Montage' with its Men in Black beat and electric guitar version of the main theme. And of course the finale is a keeper, especially for its short impressionistic finale. I am still of the opinion that the climax in 'Farewell' isn't completely reached (say like with Edward Scissorhands) but the choral writing for the end is still awe inspiring in every respect. But then, the less to average material is mostly filling up the space of the just slightly appearing strong stuff. 'Revenge' has in the middle finally a moment where the choral accompanied music explodes with pride but this is flanked by ideas that don't mean business, like the mournful trumpet version of the Peter / Spidy theme which is in a way not emotional or sad and the utterly painful chase music which simply brings me back to Men in Black, and that is bad.

Spider-Man keeps going on, 'Parade Attack' is probably the most melodic action track and has at the end soft wonder moments but that is also it and 'Alone' and 'Revelation' contains a love theme which is quite frankly light. People were complaining about the not big enough main theme but this is simply a bit too soft and normal for me. And last but not least, to mention is the appearance of the main theme of The Family Man in 'Parade Attack' (on 3.23), the percussive laden 'Specter of the Goblin' which could have come from Planet of the Apes without a singular hesitance and the revelation that I'm having problems in actually finding the Goblin theme. Elfman's score is so hard to digest in thematic material that it will please those, loving the listen because you will discover every time something new, but it is also hard in those not liking it that much, making sure you haven't got the complexity with full appreciation. It is this entire combination of facts that keeps Spider-Man from hitting bulls-eye. It has the good moments, the wonderful choral sections and in my book a ver fitting main theme but it also has the weaker parts, and they seem to take up most of the time. Spider-Man of composer Danny Elfman is an acceptable score, but just as the film it keeps mixing the good things with the bad.

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Tracks

Single Disc

1. Main Title (3.30) Excellent Track

2. Transformations (3.31)

3. Costume Montage (1.19)

4. Revenge (6.13)

5. First Web (0.56)

6. Something's Present (1.17)

7. City Montage (1.49)

8. Alone (1.37)

9. Parade Attack (3.54)

10. Specter Of The Goblin (3.47)

11. Revelation (2.32)

12. Getting Through (2.04)

13. Final Confrontation (7.19)

14. Farewell (3.11) Excellent Track

15. End Credits (1.54)

Total Length: 45.02

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