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Giacchino |
Incredibles 2: (Michael Giacchino) Perhaps the
greatest irony of
Incredibles 2, the overdue sequel to the 2004
animated hit, is that writer and director Brad Bird sought for years to
make the project a reality and, when that finally happened, the
production of the 2018 film was rushed by Pixar to screens without
sufficient time to complete an incredible-worthy narrative. While still
entertaining,
Incredibles 2 matches the James Bond franchise in
its inability to really reveal a fresh new plot, seemingly content to
explore gender-swapping roles for the heroes and villains instead. With
women at the forefront of the battle in this story, Elastigirl becomes
the central focus, her resurrection to public glory part of a larger
plot to support and foil the return of superheroes to the spotlight.
Meanwhile, Mr. Incredible is assigned babysitting duties for much of the
film, supplying most of the concept's parental humor. Bird decided not
to age the characters for
Incredibles 2, ignoring the 14-year
break between movies to begin where the previous film had left off,
allowing him to retain the same family dynamic gleefully highlighted by
Jack-Jack, the all-too-powerful infant of the clan. Audiences rewarded
the Disney/Pixar collaboration with generous returns, sparking
discussions about even more films in the franchise despite their
inevitably derivative outcome. The predictable formula for
Incredibles 2 presented composer Michael Giacchino with his own
challenges in writing the music for the sequel. He and Bird agreed that
they didn't want to rehash the first score to any great degree,
Giacchino even claiming not to have significantly considered his
material from that project when approaching the 2018 entry. The composer
admits that
The Incredibles was a far tougher assignment because
of his relative inexperience with the caper/jazz genre at the time. For
the sequel, he confessed a far greater level of comfort with that style
of music and therefore aimed to experiment to a greater degree in that
arena. Not surprisingly, the
Incredibles 2 score is therefore a
more flamboyant and shamelessly over-the-top version of its predecessor,
the composer taking techniques inspired by the Bond scores by John
Barry, Henry Mancini's
Pink Panther, and Hoyt Curtin's "Jonny
Quest" to new levels of flair and energy.
Giacchino employed a 99-member ensemble for
Incredibles 2, opting to record the orchestral elements and the
highlighted jazz band together in the same room to allow the musicians
to feed off of each others' groove. The orchestrations in this entry
pilfer the genre's heritage to an even greater degree, taking the sound
to new parody levels. The trumpets in particular are offered wailing and
trilling performances that are so frequent as to become obnoxious at
times. The 1960's jazz instrumentation favors percussion, piano, brass,
and woodwinds in predictably rhythmic formations, tapping cymbals often
setting the rhythm for acts of coolness on screen. Giacchino even
plunders the Barry technique of repeating the same phrases of a thematic
structure endlessly, or at least twice consecutively in obvious fashion.
Whereas the first score sounded like a more cohesive parody of the spy
and caper genres,
Incredibles 2 plays like a parody of the
parody, endeavoring to outshine the predecessor in style so much that it
sounds ridiculous at times. In the film, the score is functional in
striving to achieve this competitive stance, but the melodies of the
sequel struggle to compete with the main identity from
The
Incredibles. That primary franchise theme is reprised more regularly
than the composer may admit, including the obligatory opening and
closing statements of full glory, but Giacchino consciously made an
effort to restrain its usage; this decision makes some sense, as the
full family unit doesn't engage together in battle outside of the
opening and closing action sequences, not to mention the marginalization
of Mr. Incredible himself for much of this narrative. Perhaps the best
interpolation of the idea comes at 1:11 into "Elastigirl's Got a Plane
to Catch," during which the composer takes the theme through a brief,
religiously morbid interlude. Concept enthusiasts will be pleased with
Giacchino's revisiting of his Underminer material from the 2004 film
(and a subsequent video game) in "Consider Yourselves Undermined!"
Several new themes are explored in the score, but only the wild jazz
piece for Elastigirl is really a memorable hook in context. Heard
fullest in her resurrection in "Elastigirl is Back," this idea
accompanies her heroics during "Train of Taut" and in fragments
thereafter. One of the lingering disappointments of this score is that
Giacchino didn't make a greater effort to emphasize the Elastigirl
melody's phrasing directly against the original main theme by the end of
the film, perhaps as overt counterpoint as he had done in his
Star
Trek scores.
Since the Screenslaver villain is nothing more than a
decoy in
Incredibles 2, Giacchino wraps his identity (outside of
some Bernard Herrmann-inspired
Vertigo string figures for the
actual hypnotization) together with that of the real antagonist of the
tale; the Deavor theme is the kind of eye-rolling, stock Barry Bond
villain theme that repeats endlessly, variants of this technique heard
in "Searching for a Screenslaver" and "Hydrofoiled Again." Meanwhile,
Jack-Jack is afforded some nods to Carl Stalling's Warner Brothers
cartoon style to match his antics. Interestingly, Giacchino conjured
three jingles, one each for Mr. Incredible, Elastigirl, and their
sidekick, Frozone, and yet none of these short commercial-inspired
pieces seems to directly influence the same characters' music in the
actual score. That said, there are obvious interludes for the score's
main theme in the Mr. Incredible entry. These songs, offering mostly
Giacchino's own lyrics, are placed awkwardly in the middle of the end
credits, which otherwise, like the preceding score, feature a solid
summary of themes. This "Incredits 2" suite includes a healthy dose of
the Elastigirl theme, Jack-Jack's antics motif, the Screenslaver/villain
motif, and even a dose of the funky solo saxophone material for Frozone,
with generous transition statements by the main franchise theme.
Overall,
Incredibles 2 is a wholly functional score, but it
doesn't play as memorably in the film despite its often stomping
personality defined by far too obvious instrumental accents. The trumpet
wailing and repeated ensemble hits in super-melodramatic caper fashion
are simply too saturated throughout this score for it to serve as a
parody that succeeds without begging for too much attention. The movie's
Screenslaver hypnotism scenes forced Disney to release warnings about
possible epileptic seizures amongst those in the audience so inclined,
and Giacchino's score could have the same effect on your ears. It's
technically more proficient in the genre than
The Incredibles,
but with that maturation of the composer came a willingness to revel
shamelessly in his capability. On album, the score contains several
rather dull suspense sequences in its middle third, and the remainder is
simply too outrageous to appeal beyond a narrow, parody-oriented
audience. The allure of the franchise theme helps, and Elastigirl's
appealing new identity is well defined, but little else will tug at you
for repeat listens. An incomplete, 75-minute digital version of the
score contains unnecessary jingle remixes; both that and the 69-minute
CD (why didn't the CD simply contain all 75 minutes from the digital
version?) offer bonus news/talk show source motifs. In either case,
prepare your ears for an effective but potentially tiresome onslaught of
parody enthusiasm.
*** @Amazon.com: CD or
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Bias Check: |
For Michael Giacchino reviews at Filmtracks, the average editorial rating is 3.46
(in 43 reviews) and the average viewer rating is 3.21
(in 21,446 votes). The maximum rating is 5 stars.
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The insert includes a list of performers and extensive artwork but no extra information
about the score or film.