June 28, 2008

  • Review: Newman's Wall-E

    The new Pixar/Disney release Wall-E is probably one of the few anticipated summer releases from the director of Finding Nemo.  It also marks the latest film score from Thomas Newman who has been conspicuously absent since his gorgeous score for The Good German (2006).  This is his first score for a science fiction film as well which also promises to meld the composer’s unique sound in ways that we have yet heard.  Wall-E makes an appearance vocally in many places throughout the presentation, always integrated into the musical presentation so that it is an enhancement.

    One of the things that may make the score frustrating at first are the many brief cues (the shortest is 15 seconds long) but these tend to come in rapid succession after longer tracks.  The first score cue, “2815 A.D.”, begins with an arpeggiated chord on harp with gradual string orchestra and dark horns that recall Herrmann (similar to Elfman’s take in Mars Attacks).  It is an apt introduction to set a rather dark and mysterious tone before giving way to a lighter touch with hints of some of Newman’s previous unique sounds (here celesta and bells).  For the title character track we are in firmer Newman territory, blending Wall-E’s sounds with light comedic touches, whistles, pizzicato strings and odd sounds.  On occasion though, Newman shifts to an emotional string-supported theme which helps to lend warmth to the music.  Also fun in this score are the hints at dance rhythms in the accompaniment, especially those which suggest the tango.  Even in the rather sporadic brass idea against dissonance and sound effects that accompany “The Spaceship” we hear the composer incorporating and blurring sound design with his own musical choices in unique ways.  This is still one of Newman’s more tuneful scores and the theme are wonderfully perfect in setting up character (especially “Eve” co-written with Peter Gabriel).  There are plenty of moments of tense musical set-ups to provide glue for scenes or increase emotion.  The lighter touch throughout, makes this a score that also sticks out a bit in the composer’s canon.  It is actually quite interesting to hear the way Newman decides to punctuate and hit specific actions for comedic intent, or pull back to provide a brief musical commentary on a scene throughout the score.

    “First Date” has a nice little samba feel that recalls a 1970s pop number in some respects, completely with pop vocal chorus.  It turns out to be one of the more delightful aspects of many sprinkled throughout the score.  Another is the commercial music for “BNL.”  Thematic ideas recur as well to help truly cement the uniqueness of the score regardless of the various orchestral or design effects that sometimes intrude.  The action cues have a bit of dryness to their sound that helps create a coldness to balance the warmth of the character thematic presentations (you can hear this on display in “Eve Retrieve” best).  There are some delicious harmonic shifts as well—one of them occurs about a minute or so in to “The Axiom.”  Nothing is every “simple” in this score where even small  moments receive intriguing instrumental choices or rhythmic variety and accentuation.  Newman is not afraid to incorporate standard comedic gestures, but always takes them into different instrumental realms.  The score is a delightful mix of territory Newman has explored now informed by a rethinking of traditional scoring in the way that he approached The Good German.  This time though, his own style has not been overwhelmed by the connection.

    In addition to the score material, there are two songs from Hello Dolly (“Put on Your Sunday Shoes” –dialed out—and “It Only Takes a Moment”) performed by Michael Crawford from the film’s soundtrack (incidentally conducted by uncle Lionel Newman).  I fun performance of “La Vie en Rose” by Louis Armstrong makes an appearance and there is a new song co-written by Newman and Peter Gabriel, “Down to You” performed by Gabriel (lyrics included in the booklet).  Gabriel also collaborated on a couple of score cues.  Disney has released the CD in a 100% recycled cardboard sleeve meaning that, like The Lost World, the CD runs the risk of being scratched with every removal since it is very difficult to remove.  An unfortunate dilemma for what is undoubtedly one of the best scores of 2008 filled with engaging themes, a hybrid of traditional and eclectic orchestration, and a mixture of romance, comedy, and action scoring.