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finest attributes...In tracks he explodes to life, leaving the listener panting for more." Kevin McGann, Music From The Movies, Autumn 1996 |
At the very center of THE FRIGHTENERS is a black little heart. It's Danny Elfman's music that beats through this dark little organ like blood, pumping, at times bludgeoning throughout. Moving from hard-core scares to quirky comedy. Major complaints against the score are directed at the thematic material or lack there of. But a closer listen reveals a predominant, if not instantly memorable theme does exist and repeated with scant frequency. Truth be told, the actual score used in the film actually contains more music (always the case isn't it?) which consequently more repetitions of the theme. THE FRIGHTENERS is quite an accumulation of Elfman quirks and signatures. While it suits the film extremely well, it really doesn't move Danny's style forward like his other summer effort - MISSION:IMPOSSIBLE did. Instead its suspiciously recycled. Not that it started with bad material to begin with, but fun and amusing, creepy and awe-inspiring material as a source. |
 Music Composed By Danny Elfman Orchestrations By Steve Bartek, Mark McKenzie Conducted By Artie Kane Midi Programming By Marc Mann Produced By Danny Elfman Label MCA Records MCAD 11469 (41:16) [DDD] [1996] 01. Intro/Titles (5:45) 02. The "Lads" (2:00) 03. Poltergeists (2:05) 04. Victim #38 (1:52) 05. Who's Next? (1:39) 06. The Garden (3:08) 07. Chilly (1:29) 08. Time (4:41) 09. Patty's Place (2:12) 10. Flashbacks (1:07) 11. Patty Attack (3:04) 12. Frank's Wife (:50) 13. Doom (3:08) 14. Heaven (1:46) 15. Don't Fear The Reaper (5:46) Perf. By The Mutton Birds |
Starting off with a pounding bassline and jaunting harpsichord, the theme is first iterated as a broken sort of melody, with synthy growls first used in DEAD PRESIDENTS. A swelling choir and string section pounds up and down into a speedy action cue. Pulsing horns and screeching strings are augmented by slashing midi samples. The music whips and whirs along with harps and growling brass. This score takes little time to start whipping up a frenzy! Slowing to a crawl, the orchestra pauses, and saunters into the main theme rendition. It's a sickly (that's a good thing) little number that sort of spins around. Music box, flutes and choir "aah" us into a calmed state. Unfortunately things slow down so much so that the last part of the track seems a bit boring. Like it's just meandering with little purpose - look for the Herrmann PSYCHO influences. It all ends with the synthy growl, something that adds an interesting and chilling effect to the music - I like it! "The Lads" sees the first introduction of Frank Bannisters' (Michael J. Fox) "business partners". It's tapping xylophone, screeching horns, are very upbeat. These are comical characters - friendly apparitions. They need jaunty melodies and they've got them. More fun continues with "Poltergeists" which starts with hilarious little purring strings then breaks out into chaotic action. The combo of horns, harpsichord and bonging church bell are used well here. This time a little hornplay reminiscent of '80's Elfman sneaks in. "Victim #38" starts off with a resounding pounding. Its the first time the orchestra and choir break out together unrestrained as the Grim Reaper appears to Frank initially. The choir is haunting, yet serene. This is a man's death we're listening to here. It's both perverse yet stunningly beautiful to watch and listen. "Who's Next" is a continuation of the prior track. It also contains one of the more beautiful moments of the score as yet another victim is whisked up to heaven courtesy of the Grim Reaper. The CD takes a huge jump after that. We're missing a lot of music from in between: Frank battling the Grim Reaper in the museum, the startling cue for when The Judge is killed (for a second time), when Frank tries to save Magda Reese Jones, all scenes of Jeffrey Coombs as Lt. Dammers, the psycho F.B.I agent. We rejoin the film musically with "The Garden", a stop and go style track which covers much sneaking about. "Chilly" is really beautiful. It introduces a quasi-love theme for Lucy and Frank, and a montage like cue with strings. "Time" jumps back and forth between the lunatic Dammers as he whispers his gibberish (thinking he can use his mind to physically move things), and Frank attempting to save Lucy from Dammers. It's also one of the loudest and noisiest action tracks Elfman has ever written! It swoops, it drives, it piledrives, it obliterates, explodes, etc. The scene itself is chaotic, so the music is justified - it takes some getting used to, but if you have a mind like mine that can put order to this sort of thing, that Elfman button at the base of your brain is being pushed and you like it! What follows is an assortment of stalk and chase action music. Some parts are eerie - like the choir cue in "Patty's Place" and "Flashbacks". It's all in the tradition of Peter Jackson's demented fun. And while it won't make any highlight reels for regular film music folks, only an inspired mind will enjoy it. "Doom" is perhaps the key track on the CD. As it offers the film's resolution, it is also it's emotional highlight. With rich pulsating brass, yelping choir and feverish strings, you are literally flying through what the film depicts as the tunnel to heaven, and then yanked back into the greasy, fiery, fleshy pits of hell. This is the track I'm sure most people will take away with them from this score - probably the most memorable, if not the most moving. It's one of the best uses of choir in a film score I've heard in some time. All that and it ends with a angrily growling low register from the horn section, complete with saintly bongs from the church bell. The last score track on the CD, "Heaven" is a perfect way to finish. It's light, tranquil and relaxing - everything that the score hasn't been up until now! Sharp ears will hear the slight nod to a NIGHTMARE BEFORE CHRISTMAS theme. THE FRIGHTENERS as a film is truly underrated. It's got just about everything modern audiences like - breathtaking special effects, interesting characters, a loud sound mix. But it's got everything that a cult film fan loves too - stylish direction, an over-the-top performance by Jeffrey Coombs, Michael J. Fox trying to project an action hero persona, and did I mention those special effects? Oh yeah, the most C.G.I imagery of all-time so far: 55 minutes. So if you've made up your mind about the film based upon a few opinions from people who don't understand camp, style, over-the-top or Peter Jackson's sensibilities, then I'd recommend seeing the film for yourself. You'll be pleasantly surprised. I know I was. Sitting with three friends. Opening night. Three people. Enjoyed it still! 
Victim #38 | 1:15 Doom | 1:03 |
 CONTENTS | SITE UPDATES | NEWS | SOUND CLIPS | FEATURES FILMOGRAPHY | ARTICLES 99 | DISCUSSION BOARD | LINKS | E-MAIL [This page updated: 06/10/2001] All original text © 2001, original artwork © Ryan Keaveney & Klaatu Media 2001. All other materials are © by original authors / artists / labels and are presented here for critique, educational and promotional purposes only. Questions or comments can be emailed to Ryan Keaveney. |
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