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THE SIMPSONS MOVIE

"Zimmer, Elfman, Clausen, you get them all"


Review by Thomas Glorieux:

In what is probably the biggest movie event of the year, the family Simpsons finally transcend on the big screen with a blockbuster of spider pig proportions. Why it took this long to make a movie of the hottest franchise in town is unknown yet the thing is, from the first season to now, the Simpsons remained hot no matter what and so this movie would score bigtime in any country whenever it was created. Yet what came perhaps as the most curious change in direction, if you consider the series on Television and the movie is the composer on board. Not Danny Elfman, the composer who wrote the now legendary tune and not composer / song writer Alf Clausen who composed practically all the episodes but Hans Zimmer. Yes the Remote Control wizard and blockbuster scorer bringing forth the family Simpsons' escapades on the Hollywood screen and this to the disbelief or curiousity of all fans. To tell the truth, I don't think many fans of the show would have mind the composer's change, if the sound remained the same. And if you followed a bit the stream of critic, I think Zimmer did the impossible by simply bringing music that belonged from the very first note in the empire of the Simpsons. If you can fool the millions of viewers all over the world by believing you scored all episodes of the Simpsons and naturally didn't do that at all, then Hans Zimmer did probably more than just succeed. And so The Simpsons Movie soundtrack became probably an event that not only made Hans Zimmer fans curious as a hound, but the other followers of Marge, Homer, Maggy, Bart & Lisa as well. In the end the score became a zany affair allright. Elfman zany yet with those small Hans Zimmer ticks to it, like the wacky but oh so funny 'Release the Hounds' which has that coolness by the guitar and drums that basically screams out fun and zaniness. This is perhaps one of those tracks that really belongs in the empire of The Simpsons, yet has a distinct Hans Zimmer personality which makes it curious and astounding at the same time. Yet if you believe The Simpsons Movie is all about zaniness, then guess again. What about the lovely and beautiful 'Doomsday is Family Time' which brings forth a theme nobody expected in a yellow world at all.

Then again its a variation on the theme in a small way so that makes the Simpsons feeling believable at all. The Simpsons strength and own personal tune however survives and appears a lot in the score and movie, the orchestral version in the first track is practically the same (apart from some different jazz) and mostly more zaniness ala Elfman, in track 'Trapped Like Carrots' and the choral based 'What's an Epiphany?' it basically states all notes. Yet its where Zimmer mixes it with his ideas is where the fun lies, like in 'Thank You Boob Lady' where the tune grows to choral wonder in what is probably so pushed to overblown proportions, it will become darn fun to witness that on screen again and again! Things aren't all bright and 'You Doomed us All ... Again' is more sinister and dark with drums and war marches that variate the Simpsons tune into a scary composition so easily. '... Lead, Not to Read?' you can call a bag of fun tricks because it mixes all kinds of emotions together, from sweet flute solos, the main theme shining in fanfare order as fast whipping action, further heard in the heroic whirling 'Why Does Everything I Whip Leave Me?' using the theme that appeared in the 2nd track now as an action pumper, and boy does it work. Its like Goldsmith, Elfman and Zimmer together because its so fun, zany and charming. Yet what would The Simpsons Movie be without those crazy funny ballads, cheery songs and insanely catchy tunes, the female vocals will surely put you to smile in 'Bart's Doodle', the same for the use of the Spiderman comic theme in 'Spider Pig', you just have to see it on screen to simply laugh your heart out, haha! In between the 'World's Fattest Fertilizer Salesman' Mouse Hunt's his way into action with the variation theme of track 2 which returns the most as recognizable theme of the score, yet at the same time simply intertwining just several notes of the main theme into the track, showing that Zimmer really wanted to do the work of Alf Clausen and Danny Elfman justice. 'Recklessly Impulsive' is thank god not a Tiėsto Remix but a more funny one using the 2nd track's theme as centerstone. All in all, I guess it was fair to say that Hans Zimmer had a lot to live up to. His own fans but especially the die hard fans of the show and I think The Simpsons Movie turned out pretty good. Fun, overblown, sweet and zany, it all has something to give to the listener and Zimmer's style might not be evident as much as some hoped, to hear him delve into the minds of Elfman and Clausen, twirl it around the Simpsons way and give us yellow fun is still what he had to do the most. In the end The Simpsons Movie worked as movie score, show soundtrack and die hard acceptance speech. Or as Homer would put it: 'Clap for Zimmer Boob Lady and then Release the Hounds!" Why you little ...

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Tracks Single Disc

1. The Simpsons Theme (Orchestral Version) * (1.27)

2. Trapped Like Carrots (2.14)

3. Doomsday Is Family Time (2.27)

4. Release The Hounds (2.19)    Excellent Track

5. Clap For Alaska (1.55)

6. What's An Epiphany? (2.07)

7. Thank You Boob Lady (2.45)    Excellent Track

8. You Doomed Us All ... Again (5.52)

9. ... Lead, Not To Read (2.05)

10. Why Does Everything I Whip Leave Me? (3.05)    Excellent Track

11. Bart's Doodle (1.01)

12. World's Fattest Fertilizer Salesman (5.05)

13. His Big Fat Butt Could Shield Us All (1.46)

14. Spider Pig (1.04)

15. Recklessly Impulsive (5.27)

* Theme written by Danny Elfman

Total Length: 40.44

 

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Hans Zimmer ===

Original Soundtrack by Hans Zimmer

Produced by by Hans Zimmer & James L. Brooks
Executive Producer: Robert Kraft

Orchestrations by Walt Fowler, Elizabeth Finch, Ken Kugler, Suzette Moriarty, Steve Bartek & Geoff Stradling

Performed by The Hollywood Film Chorale

Recorded at The Newman Stage, Twentieth Century Fox