Shanghai Noon

Review by Thomas Glorieux:

A comedic action hit, the movie stars Jackie Chan and Owen Wilson in the role as Eastern power vs. Western baloney in a very enjoyable movie of comedy and stunts. Randy Edelman, no stranger to the very small hits on occasion gives the movie its spicy flavor with a very non Edelman sound at times. People that attack Edelman for being predictable in sound and no man to use an orchestra will perhaps see the score as more of a surprise. Shanghai Noon isn't exactly bulging over in synthesized rhythms and carries onto itself some wonderful moments. But equally well the less then stellar examples of music that doesn't always helps the case in music listening. A good touch is really the more orchestral sound coming of The Traditional Chinese Arts Ensemble & Rhythm, but expect with that equally well something more of difference. Such as Chinese instruments that rattle and whistle (giving you moments like Dragon: The Bruce Lee Story) but then on a less than staggering way. Sometimes the Western cliché is used to irritating effect but is in retrospect different from the traditional synthesized sound of Edelman. Also the length of this score doesn't help in that it occasionally drowns a bit in its own right + the score cues are not found in the films' order. But overall the soundtrack gives the movie quite a bit of effect when combined with the sometimes classic visuals on screen.

The score starts rather good, with six to seven tracks that probably leaned close to what you actually expected from Edelman but in more orchestral style. 'Forbidden City' opens with a short quote of the western theme, gives way to the tension style but combined with flashes of thematic quantity, such as the love theme. Of course you would expect that Jackie Chan receives Chinese influences and so you get in track 2 before 'A Fragile Princess' states a softer sound at first before giving a much warmer love theme performance, no more this non existing cheap synthesized tone here. While extremely short, 'From East to West' is a hoot of a track, combining both the transition from Chinese sounding tones to Western feel with the Western main theme and a secondary (never to be stated again) travel theme. 'Mountains and Streams' states another theme that works quite well in scope to the visuals on screen and is another good theme that would appear equally minimal in the score. Of course with western based movies you have the guitar, harmonica and saloon based tones, all appearing in tracks 7 and 9. Of course Edelman is Edelman and the tension sometimes appears, being without question the most disappointing parts of the score; 10, 12 and 15 only in the first part of the score are regrettable. But then again, they don't show themselves as much then first imagined. 'Breakout at the Mission' is also one of the best in line, giving you the traveling theme of 6, the western theme and a glimpse of what occasionally Ghostbusters 2 sounds like, overall it is a nice track.

The middle track shows that this score isn't listening in order, with 'Shanghai Noon' being actually the final track (with statements of the western theme) and receiving an almost exact replica in 27. The score of course doesn't run as smoothly as probably stated here. The score perhaps states the good with the bad, being at times interesting but then again frustratingly awkward, such as playful Chinese music a la Dragon in 'Dinner for Three at SueSingOui', which isn't of the highest order. Other tracks that are worth an attention or two are 'Roy's Epiphany', for when Roy escapes the bullet rain and brief wondrous tones are heard, 'The Cows Help the Jailbirds' with its statements of the main theme (good rhythmic ones) and on top weird examples as someone saying something during the final seconds (honestly) during 'Home on the Rangoon' and a solely based piano statement of the love theme in the final track. Shanghai Noon starts well and occasionally states great things, but isn't a smooth runner in the listening experience. The best part is, Edelman's sound overall is much warmer due to the performance of the Chinese Ensemble and the score has surprising non traditional Edelman parts to offer. On the other hand the lesser points are the length of the score, sometimes Randy that goes a bit untraditionally at work, the wrong order of the album and the sometimes frustratingly bad moments. Shanghai Noon has its good high quality moments and its less then interesting stuff, together forming a score that goes high and low on the scale for probably most fans. A take or leave it situation.

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Tracks

Single Disc

1. Forbidden City (1.36)

2. Journey Of The Imperial Guard (1.20)

3. A Fragile Princess (3.06)

4. From East To West (1.04)

5. A New And Grand Country (1.53)

6. Mountains And Streams (2.04)

7. Becoming A Cowboy In Carson City (3.56)

8. Leaving A Friend (1.40)

9. The Anywhere Saloon (2.18)

10. Say Hello To The Tribe (1.58)

11. Breakout At The Mission (2.50)

12. Getting Extremely Personal (1.49)

13. Bonding In Jail (1.59)

14. Shanghai Noon (1.11)

15. A Classic Gunfight (3.47)

16. Dinner For Three At SueSingOui (0.46)

17. Protecting A Princess (3.54)

18. Escaping Death (1.56)

19. Roy's Epiphany (0.43)

20. The Cows Help The Jailbirds (2.22)

21. Martial Arts (1.51)

22. No Secret (0.57)

23. The Hanging (1.47)

24. Buried Alive? (1.24)

25. Rumble On The Train (1.32)

26. Home On The Rangoon (1.59)

27. Finale (0.55)

28. A Fading Wish (Piano Solo) (2.26)

Total Length: 57.30

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=== Link to Composer Site: Randy Edelman ===