Review
#1 by Ian Davis
Instinct is Elfman's Article 99 of recent
years. Like its predecessor it is a clumsy hotch-potch of stylistic references
to other scores, none of which appears strong enough to help a film which
quite frankly is past saving from identity crisis (I would guess it was
about family, but the wild character has no thought for his daughter;
perhaps it is fantasy - as he never gets hurt by wild animals and the
plot holes are considerable; the pacing is remarkably poor, etc. etc.
A film with a decent premise and good central acting, but poor direction,
would be my guess). Harmonically and, to a great extent, over-all stylistically,
its origins are in Good Will Hunting, a score which, although fresh and
touching on film, is soon rendered tiresome on CD. In my view GWH is one
score which mostly deserves its lack of representation, and the widespread
'promotional' release seems more than enough to keep hard-core fans scrabbling
in the dust for the odd gem.
Instinct, however, combines this style with
samples of so-called ethnic percussion, an idea which is as disingenuous
as it is poorly realised in practice. The sampling method is very obvious
on film and on CD, and this isn't helped by the treatment (think Wisdom,
and then check Groovy's star rating) and, for that matter, some of the
samples themselves, resembling that of the far superior Mission: Impossible.
The string writing, already hampered by its treatment in GWH style thinness,
is almost ruined by its high tessitura and still more by an apparent disinterest
in the recording stage. Brass writing is limited for the most part to
mournful solos recalling Americana trumpet melodies in Article 99, Sommersby,
and (most damagingly for me) in certain moments of Mars Attacks!.
Much of the blame for the flatness of the
score should be aimed at the film itself, which fails to deliver on moral
or dramatic fronts, but there is little to forgive the composer his shameless
trademark use of chorus, which is needlessly overused and ruins the effect
of more subtle handling in other scores. Once more Elfman's hidden trademark
- that of ending his scores on a half-hearted sigh rather than a resolution
- leaves the CD release high and dry, and there is no excuse here because
no song follows in the End Credits. A few times used, this feature can
be eerie or thought-provoking, but I wonder whether a change might induce
a more violent effect - for Elfman fans in particular.
In conclusion the middle-of-the-road (for
soundtracks) running time is merciful but not biting enough, and had I
been a powerful Hollywood composer I would have pressed for a retrospective
release coupled with GWH (or from a relevant backer studio/album company).
There are a few tracks only which make the score sound as if, perhaps
after all it might have made good, the best of which is most definitely
the opening of track 8, where the previously disheveled stylistic threads
gel for a short time. Something magical happens, but with so much magic
to choose from, why starve yourself?
Film Rating: * * 1/2
CDRating : * 1/2
(For Dolores fans who might think I didn't
cram in a mention in this review, you can actually hear a quotation of
its main theme in track 8, c5'30!!).
Review
#2 by The Texas Ranger
I hate it when I’m forced to rip into
a score. Oh sure, truth be told, I’m a total jerk and
I usually have no problem with ripping into practically anything. However, because I appreciate the art form
of film scoring so much, it just hurts me when I don’t like a particular
piece. Sometimes I feel it’s unfair
to both the composer and the form to shred a score to pieces based on
its solo performance. This is
why whenever I hear a score that I dislike on a CD release, I always try
to catch the film - so at least I can say, “Hey, it was a good score which
works so well that you can’t separate it from the film.”
Then there’s Instinct.
The problem is this: should I praise Instinct
for its “attempt” at a unique sound? Or should I dislike it because, all together, it’s not that great
of a score (both in the film and out)? I’ve spent months on this thing - putting my brain hard at work
(something I do only when I’m REALLY desperate) and listening to the damn
thing over and over and over again on my Discman. With every listen, my own instincts would beat the living crap
out of each other in an attempt to give me a clear decision. Anyway - one broken Discman, one blown out headset, and hundreds
of migraine headaches later, I have finally come to the conclusion that
while it has good intentions, the score just doesn’t work.
Instinct’s
problems lie in its inability to decide on a format. This is a problem that Elfman has had in his post Mars Attacks
days - especially with action music. Now I have no problem with abstract New Music - I love Kubrick’s
sounds in The Shining and Friedkin’s certain pastes into The Exorcist. I even caught a concert at the Chicago Museum of Modern Art and
was floored by the performance. However,
I don’t have a problem with the classical leitmotif approach, either. Yet, Elfman seems to want it both ways. While this has lead to some successes (A Simple
Plan, Sleepy Hollow), it can also lead to a score like this, which is
simply just a mess.
I’ll
admit that I’m totally unoriginal in saying this, but this score really
is just a series of Elfman leftovers. There’s the piano from Black Beauty, the dissonant
strings from Delores Claiborne, the synthesized effects from Mars Attacks/MIB,
the crazy choir from To Die For, and the alto flutes from A Simple Plan. Do they amount to a good whole? Well, sort of. The sound is interesting, but the writing lacks
decisiveness.
This
is where my largest problem with the score lies: it doesn’t satisfy either
the thematic lovers or the new age atonal/athematic lovers. The music is all over the place. Oh there are themes and melodies, but they are constructed in a
haphazard way. I’m a lover of the atonal approach, and yet,
this score seems too structured and melodic to be called purely atonal
or athematic. The result is simply
an average - a kind of mediocre blend of both styles. I’m not saying that to attempt to mix both approaches is inherently
bad, but it is very risky. Elfman
has won some and lost some. A
Simple Plan worked because it had two simple concrete themes which Elfman
used as a base, and then let lose by covering them in musical atmosphere.
Sleepy Hollow works because, while the themes aren’t especially
strong, there are nearly a dozen leitmotifs that he can use to achieve
an atonal “effect” without destroying the theme lovers need for structure.
Unfortunately, Instinct has no strong little leitmotif themes,
but some structure.Thus, both
fans can easily become disappointed, if not frustrated.
Of
course, this is all forgivable if it works in the film.
Sadly, in my opinion, it just doesn’t.
First, I think the approach was not sound. It
could either have been a misjudgment by Elfman or the director, but I
think the score is actually too surreal for a film that takes itself that
seriously (the “buzz” was this would be an Academy Award Winner, but the
film was awful). For the first time in awhile, I think a more
classical approach would have benefited more than Elfman’s approach. Second, the score violates Herrmann’s greatest
rule: “Never make the score be known - a good score works without the
viewer even realizing it.” This
score draws attention to itself far too often. The worst offense is the addition of the electronic bass beat. Why is it there? Does it help the film to establish a certain aura? Not really. Is it annoying and distracting when hearing it set against a mostly
choral and orchestral ensemble? YES! The choir itself is also quite distracting. When I first saw the film, I wasn’t even paying attention to the
score until I heard the choir chirp in. Elfman is a genius with choir, but despite it being such a wonderful
signature, I think he should have used some restraint this time. In the end, Instinct is one of those few films where I can watch
the images without the score. I
put the television on mute during many moments and notice little difference
(save for less distractions from the orchestra).
Okay,
so I’m sure you’re wondering - then what is the CD good for? A drink coaster? A Frisbee? A bookmark? Actually, one
of the few things Instinct has going for it is the “sound.” And what a sound! It’s unique,
refreshing, ethereal, and reminds me just why Elfman spent so many years
in Africa. This is a surreal fusion
of Western music and African rhythms. It’s a sound I’ve never truly quite heard before, and I’d love
to hear it again. Sure, John Williams
attempted it with The Lost World, and came up with a totally serious approach
(which provided for a lackluster score within the film, but a wonderfully
interesting composition and listen on the CD). In Instinct, though, Elfman just throws out convention and goes
all out to create a weird soundscape more off beat than Williams attempt. Main Titles is an experience all its own. The Riot (Track 6) and The Killing (Track 5) are appropriately
dark, savage, wild and contain music that (while melodically devoid) you’re
not likely to forget. My favorite, though, is still Into the Woods (Track 2). Elfman captures the very essence of nature
in this piece (if only he’d leave that damned bass beat out of it!). Into the Woods is filled with wonderment, curiosity,
mystery, and dark savagery lurking underneath every note. True, I would have preferred it if Elfman could
have made up his mind. A little
more atonal/athematic, or a little more classic/thematic material could
have sealed this score as a near solo masterpiece. Instead we still get mediocrity and leftovers - but the sound is
so unique that it almost warrants buying the CD.
I
use the term “almost” very carefully. The amount of music on the CD is adequate,
though a little more might have been better. In essence, if you a lover of PURE classical thematic treatments
with massive orchestras and spelled out melodies, then this one might
not be for you. If you are a PURE
atonal person who enjoys a total lack of structure without a single melody
and only scattered sound effects, then this one might also not be for
you. I think this CD might be for the person who
is looking for a little of each. It
might be best for those willing to forgo all of the score’s problems in
order to hear one of the most unique sounds to come out of Hollywood in
the last few years.I could be wrong, though.If ever there was a release that required listening
to sound samples, this is the one! Check
before you buy!
In
the end, Instinct has a lot of good intentions, but just can’t make it
due to Elfman’s cautious writing and misjudged approach. In the film, it was a bit of a disaster - too
surreal and too off-beat for a drama that takes itself way too seriously. Now that I look back on it, I think somewhere
along the line a lousy agent, or postal worker, delivered the wrong assignments
to the wrong composers. I feel
that John Williams should have scored Instinct to give it the more classical,
psychological, serious approach it so desperately needed. In essence, the more serious mainstream ethnic
jungle motifs would have fit better for Instinct than for Williams’ The
Lost World. Danny Elfman should
have been handed The Lost World, to give it the ethereal, technology meets
savagery, eccentric score that it so desperately needed. Both these great composers had the right ideas and some great compositions,
but the wrong films to apply them too. Sometimes fate deals a lousy hand.
Hopefully,
though, Elfman will not abandon this sound.It’s too unique to give up
on.He has proven that he can write this type of music.Now, in the coming
years, he needs to be more decisive and refine this skill.He needs to
pick a definite path (thematic or athematic) and stick with it - or pray
to God that his latest experiment in combining the two will work.Right
now this music has slight bit of a cheap New Age quality, but it can become
truly avant-garde as Elfman progresses. I’m sure he can do it - the artist never ceases to amaze me. He shouldn’t give up on it, nor should his fans dismiss this score
too easily despite its setbacks! I
truly hope to hear this sound again in a film. According to current sources, Proof of Life just may do that. Who knows? My instincts tell me only time will tell.
Music as heard in the Film: *
Amount of music on the CD: *** + Music as heard on the CD: ** = average
of * * 1/2
Review #3 by Pedestrian Wolf
Instinct tells the story of an eager young
therapist's attempt to cure an abused mental patient, a male Dian Fossey
imprisoned in the asylum for murdering gorilla poachers. It's a decent
movie, fueled by Hopkin's powerful screen presence, but it borrows too
much from better films, and is ultimately forgettable.
Elfman's score is very much the same. Instinct
is second in a trilogy of sentimental Elfman scores (A Civil Action, Instinct,
and Anywhere But Here) that had most of his fans very nervous until Sleepy
Hollow soared in to save Elfman's soul. As sappy scores go, Instinct ranks
above A Civil Action but bellow Anywhere But Here. It's a pleasant listen,
but it adds almost nothing new to Elfman's musical cannon. Among the instruments
Elfman recycles are the woodwinds from A Simple Plan, the children's choir
from Edward Scissorhands, the melancholy strings from Dolores Claiborne,
the synths from Wisdom, the blaring horns from The Frighteners, and the
twinkling piano melodies from A Civil Action. Like Thanksgiving leftovers,
these elements are still tasty the second time around, but they also lose
much of their flavor. Still, Instinct is a unique Elfman score in one
paradoxical way: in Instinct the parts that work best on the soundtrack
are the parts that work worst in the movie, and vice versa.
Elfman's score to Instinct can best be divided
into two acts. The act is the mysterious Dolores Claibornesque underscore
that fills the first act of the movie taking as Cuba Gooding Jr.'s therapist
attempts to get a reaction from Hopkins. In the film, it is very effective,
and Elfman displays great musical restraint, avoiding the missteps that
a lesser composer or a younger Elfman might have taken. Elfman never lets
himself Mickey-Mouse the action, and keeps the music from overshadowing
the dialogue, or anything else going on on-screen. This subtlety is also
the music that hold up the worst on its own, and as a result very little
of it appears on the soundtrack.
The second act involves Hopkins emerging
from his silent shell, as he guides his therapist through his African
flashbacks with the gorillas. It is at this point in the movie where Elfman
looses it. His music for the African flashbacks and the scenes that follow
trips and falls into the trap of misplaced sentiment. Elfman saturates
his score with children's choirs and twinkling piano notes, enjoyable
to listen to on the soundtrack but misplaced in the film. Hopkins describes
the gorillas as majestic entities full of philosophical wisdom, but the
music that accompanies this narration portrays the gorillas as giant Disney
creations. This is the point in the movie where the music really has the
opportunity to sing, but Elfman wastes it by taking a sappy Bambi approach,
rather than the John Barry/Dances With Wolves approach the film so desperately
cries for.
The rest of the second act is more-or less
the same; sentimental where it needs to be powerful. To be fair however,
the piece of music that accompanies the third flashback scene is the one
truly excellent moment in the score. It opens with sentiment, but the
sentiment is a little more excusable this time, as Hopkins is cuddling
a baby gorilla on screen. Anyway, the sentiment suddenly dies when a group
of poachers burst into the scene, driving Hopkins into a murderous rage.
This is a very manipulative scene, but it had power over me for three
reasons: 1. Hopkins, as always gave a powerful performance. 2. Killing
animals is a very easy way to bring me to tears. 3. Elfman keeps a steady
finger on the horror and the trauma in this scene, with wailing brass
and choirs scoring the murders and mournful strings scoring Hopkins' failure
to protect his family. It is Elfman's best moment and almost makes up
for the sentiment he drags the film down with in the other scenes.
Despite it's pitfalls, Instinct isn't a
horrible score, and on the CD I found myself falling in love with it.
But falling in love with it takes effort, and people who aren't die-hard
Elfman fans won't be willing to try that hard. On the whole, the only
people I would really recommend this score to are the people who will
buy it no matter what I say in this review. Everyone else should spend
money on Elfman scores much better and less forgettable than Instinct.
Film Rating: * * 1/2
Film Rating: * * 1/2
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