The opening title to CITY SLICKERS is so energetic, I can’t help but think
that conducting it must be an aerobic exercise. It is full of active, driving
orchestrations illuminating the comedic aspects of the film and then culminates in a
rousing western theme.

I enjoy the musical animation in GEORGE OF THE JUNGLE and SLEEPLESS IN
SEATTLE. He is so talented at dovetailing the cartoon theme for George into the
original music and Friedhofer’s An Affair To Remember into his main theme in Sleepless.
Lately I’ve been enjoying DOWN WITH LOVE. Hated the movie, but I enjoy his love
theme and various 60’s orchestrations. SOUTHPARK was certainly lively and stamped
with his singular verve and dynamism. His music in FIRST WIVES CLUB was soft and
sad at times and wildly comedic during the ladies’ escapades.

I really recommend that if you haven’t seen the Mantle/Maris biography 61*, you
rent it now for a great movie and stunningly lovely score. He uses baseball source music
and composed two gorgeous, ennobling themes for these athletes. He is a man of
melody, which is almost becoming a lost art.

I heard that Shaiman's songs were retained in Cat in the Hat, but his underscore was replaced by David Newman. I "think" that is true. I like Newman, but I'm surprised, given the nature of the film, that Shaiman's underscore was replaced. Seems like a perfect movie for his type of music.

quote:

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Originally posted by justin boggan:
There are two, or three good cues here and there in Adams Family, but not enough to see the movie. It's really not the best use of one's times.

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This coming from the guy who watched both BRAVE LITTLE TOASTER movies back to back.

That would be like comparing the Buffy TV series to the movie.

I enjoyed the film and familiarity with the TV show neither helps nor harms the experience. I don’t remember much of the TV show, but other than know who the characters are, it doesn’t seem to matter.

Director Barry Sonnenfeld cut his teeth as a cinematographer so he knows how to compose a shot. It really shows in his directorial debut, Addams Family. The house itself is easily one of best looking gothic sets I’ve seen and come across as a character itself.

Raul Julia and Angelica Huston are fabulous together and the dialog just zings. Christopher Lloyd is also excellent as Fester. This is a fun film that adults can enjoy, filled with dry and black humor. What makes it work for me is that it is played completely straight, even the physical comedy. No one strays from character or tries to milk a line.

Here is an example:

(At breakfast with the whole family)

Friday: Pass the Salt.

Morticia (Looking vexed, but sweetly): What do we say?

Friday: Now!

All delivered straight faced and believable.

But Marc Shaiman’s score will probably be your favorite aspect of the film. As Thor pointed out on FSM, it is kinda Elfmanny (I am ashamed to admit that I actually thought it was an Elfman score for a while), but this isn’t a bad thing. It’s Elfmanny in the period when he was writing great thematic scores with discernable melody. But Shaiman brings a more manic tone to the music and uses more complex orchestrations than Elfman would have.

He does this nice waltz for party that Gomez is throwing and you can see Marc Shaiman in a cameo as the Band Leader. There is also a nice piece of big band style jazz which is played behind one of the most clever pieces of product placement I have seen.

He also imbues the music with a sense of charm and fun that overrides the dark elements that might be present. This is the score that first brought Marc Shaiman to my attention and in my opinion clearly a winner. Oh, and I think the film rocks!