Review
#1 by the Groovy Yak
Danny Elfman completed five scores, back
to back in 1996. Extreme measures, a lesser-known Elfman score, is different
from the rough and intense action scores of Mission: Impossible and The
Frighteners, (Well, duh! This movie is a drama.) but contains many elements
of those scores.
Starting with Mission: Impossible, Elfman's
style went in a new direction. His scores became more MIDI-oriented and
much more percussive. Dissonance became as frequent as consonance and
the thin textures of scores like Beetlejuice were replaced by scores with
multiple musical ideas occurring at once. (A good analogy would be the
difference between a conversation with one person as opposed to a group
of people talking to you at once.) Extreme Measures is somewhat like an
extension of Elfman's score to Dolores Claiborne. We have a soft and mysterious
main theme that the score is based on. The theme almost always occurs
in the piano. This score is really full of piano- a nice change from Elfman's
normal instrumentation. There is, of course, choir and many of Danny's
trademark percussion instruments. The score fits the movie like a surgical
glove. (Ouch! Bad joke!)
There's an element of mystery surrounding
the entire score. The tone of the score only changes a few times, (for
some of the action cues) making the soundtrack sound like one or two really
slow and long cues. The music isn't particularly boring, but it's not
exciting. The score is mostly comprised of small swells as the orchestra
moves between a minor triad and its parallel major. If you're just listening
to it and doing nothing else, your mind will wander and you'll find that
you're probably a few tracks ahead of where you thought you were because
the cues all sound alike. There are a few exciting and terrifying moments
in this score to contrast the laid back feel.
All in all, the score isn't bad, and
I would recommend it because of the soothing main theme. I do have a
problem with the length of the soundtrack. It's just a little under
30 minutes long. Some composers have written movements of a symphony
that are longer than this score. But if you are interested in a more
serious Elfman score, and already own Dolores Claiborne, check out Extreme
Measures.
Rating: * * *
Review
#2 by Ian Davis
By No Means Extreme Measures
This is an Elfman fan site (obvious fact)
and therefore Extreme Measures is hardly likely to be disliked by those
who listen to his other soundtracks. However, I cannot recommend this
CD to you. It is undoubtedly Elfman through and through but it lacks almost
any real originality in the form we expect of him. 1996 may have been
a busy year for our favourite film composer but we all get tough years,
and Elfman has no excuse for saying "yes" to too many big projects.
The music for Extreme Measures is at least
adequate for the film's purpose: it is slick and eerie and scary at appropriate
times. However, both in the film and definitely on CD the music cannot
help being honest about its self plagiarism. This is a bastardized concoction
of Dolores Claiborne and Mission Impossible: it combine the brooding atmosphere
(yet not as satisfying) of Dolores with doses of the dissonance, the rhythmic
muscularity and instrumentation of both films (very nearly its saving
grace in this case). We have the usual chorus, the piano and wild strings
(Dolores), percussion (Mission) and various other elements. Thematically
it is very weak (there is only one memorable theme, and the major-minor
gimmick is not vintage Elfman) and falls back to a great extent on the
orchestration and dissonance in an effort to cover for it. But whereas
the film survives critically, the CD fails to hold interest--small scale
athematic contrasts don't stay interesting; they become jarring and ultimately
annoying. Indeed the brevity of the music (under half an hour! What were
they thinking of?) is what rescues it from becoming a complete bore. Not
all Elfman's ingredients are mixed into this cake, and the result is bland
and overbaked (and there is little icing to be found). It's all mood and
no substance; it has nothing that could surprise anyone who is familiar
with Dolores or Mission; and it is all done with a great deal less flair.
To the Elfman fan I would say "what
the heck, give it a listen for experience sake" but don't shell out
good money: wait for the sales or get it from a library. One listening
is almost more than it deserves.
Extreme Measures:
An Alternative Argument.
This film soundtrack is an expert assimilation
of Dolores and Mission, not limited to their orchestration, but plundering
their respective melancholy and sweaty tension, and deliberately refusing
to fuse the "melodic vs rhythmic" characters which each is most
notable for. The result is a genuinely disturbing case of schizophrenia
(in a less obvious way from that described in the official page To Die
For review).
Extreme Measures is very brief but this
kind of "extreme" music is not likely to be accommodating to
prolonged playing without the visuals and plot for which it was written.
In this respect it could be seen as a departure--as most Elfman music
tends to transfer well onto disc--but in reality there are other works
which could be said to follow similar paths (although with less reasonable
excuses): Dead Presidents and Men in Black contain title music which is
arguably the only part of the score which merits transfer (of music to
CD, and our money to the retailer), and if Extreme Measures is rendered
somewhat redundant in competition with Dolores for example, it still serves
as a reminder that good film music (however well edited) should not rise
too far above the pretensions of its medium's often restrictive requirements.
One thing which Elfman's music has benefited
from greatly is the collaboration with Tim Burton. Burton's films (usually
visually driven) somehow lend themselves perfectly to soundtracks which
are almost as satisfying when unshackled from the film (and the recent
Mars Attacks! proves he can still do it--if anything better than in its
earlier closest relation, Beetlejeuce). In writing for other directors
and other projects, Elfman has simply adapted to new requirements, and
the style of the music in some cases (such as, yet again, Dolores and
Mission) has benefited and matured. The drawbacks in approachability,
especially in this reviewed soundtrack, are, I'm afraid, some inevitable
side-effects of such a strong medicine.
Rating: * *
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