More in-depth film festival coverage than any other website!
Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
Advertisement

Latest Reviews

Beirut by Jay Seaver

Phantom Thread by Rob Gonsalves

Vazante by Rob Gonsalves

Big Fish & Begonia by Jay Seaver

Claire's Camera by Jay Seaver

Let the Corpses Tan by Jay Seaver

Queen of Hollywood Blvd, The by Jay Seaver

Rampage (2018) by Peter Sobczynski

You Were Never Really Here by Peter Sobczynski

Gemini by Jay Seaver

Death of Stalin, The by Jay Seaver

Quiet Place, A by Peter Sobczynski

Blockers by Peter Sobczynski

Theta Girl, The by Jay Seaver

Pin Cushion by Jay Seaver

Star Wars: Episode VIII : The Last Jedi by Rob Gonsalves

Ready Player One by Jay Seaver

Journey's End by Rob Gonsalves

Ready Player One by Peter Sobczynski

My Name is Myeisha by Jay Seaver

subscribe to this feed

SONIC DEATH MONKEY SOUNDTRACK REVIEWS - Charlie and the Chocolate Factory

by Laura Kyle

Imagine if you invited all Danny Elfman’s past film scores over for dinner, spiked their drinks with double shots of espresso, and then let them converse. Whatever you’re hearing in your head right now, well, that’s the soundtrack to Charlie and the Chocolate Factory.

Composer Danny Elfman has created his most extravagant and creative composition to date –and a delightfully roguish one it is.

I haven’t seen Charlie and the Chocolate Factory, but if Elfman’s accompanying music is any indication, the film is pretty darned energetic and perhaps a bit demented.

“Wonka’s Welcome Song” immediately sets the expectedly weird vibe of director Tim Burton’s adaptation of Roald Dahl's children's tale Charlie and the Chocolate Factory. It plays like a hyperactive children’s TV show theme, introducing the audience to Wonka.

The Oompa Loompas take over the first portion of the soundtrack; a song is dedicated to each naughty child – “Augustus Gloop,” “Violet Beauregarde,” “Veruca Salt,” and “Mike Teavee.” Danny Elfman’s voice is morphed and multiplied (just as actor Deep Roy’s physical body was for the screen) for the ultra-techno, pretend pop (modern AND 60’s/70’s), tongue-twisting jingles…good luck listening out for the moral lessons though!

Although “Mike Teavee” is enormously fun, the first half almost identical to musical fragments from The Nightmare Before Christmas and the second half reminiscent of Queen, the musical visit from the Oompa Loompas whizzes by before you can give a first thought to whether or not you agree that watching lots of TV is bad for you.

“Main Titles” transitions the listener into Elfman’s predominately instrumental score – ie the good stuff. Immediately, Elfman fans will think of Edward Scissor-Hands. That’s probably the most likeminded score, but Charlie and the Chocolate Factory truly is the accumulation of the composer’s career.

As if his instrument count hasn’t been high enough in his previous films, he’s bringing more sounds to the table than ever before. From allusions to Eastern music (I believe a sitar makes a cameo), to even an Islander vibe, midway through the soundtrack, Elfman is a difficult guy to keep up with.

What’s interesting is he seems to be tied to a very persistent beat; one that thumps through a good deal of the tracks. Elfman’s certainly utilizing drums and other percussive instruments more than he has in the past.

“The Boat Arrives” and “The River Cruise” (Parts 1 and 2) are good examples of this especially strong consciousness of rhythm present on the Charlie and the Chocolate Factory soundtrack. These pieces are loads of fun, to boot.

Charlie and the Chocolate Factory soundtrack is somewhat of a cold fish, though tracks like “Charlie’s Birthday Bar,” “The Golden Ticket/Factory” and “Wheels in Motion” are more reminiscent of Big Fish, feature endearing strings. And toward the end, “Charlie Declines,” “Finale” and ultimately the “End Credit Suite” remind us that, yeah, just as easily as Elfman can get the adrenaline pumping, he can also get to the heart of the matter, invoking a magical curiosity out of the moviegoer that’s distinct to Tim Burton films.

Simply one of Danny Elfman’s BEST scores, which means it’s one of the best scores. Period. Maybe not my favorite...but still his most accomplished.


link directly to this feature at http://www.efilmcritic.com/feature.php?feature=1577
originally posted: 08/18/05 14:48:11
last updated: 09/23/05 15:12:41
[printer] printer-friendly format


Discuss this feature in our forum

Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
eFilmCritic.com: Australia's Largest Movie Review Database.
Privacy Policy | HBS Inc. | |   

All data and site design copyright 1997-2017, HBS Entertainment, Inc.
Search for
reviews features movie title writer/director/cast