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| Portman |
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| Holdridge |
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The Adventures of Pinocchio: (Rachel Portman/Lee
Holdridge/Stevie Wonder) Several attempts have been made to market the
Pinocchio story to young children over the years, and
The Adventures
of Pinocchio was a live-action, animated, and digital combination
that adapted the tale in 1996. Very obviously aimed at small children,
this rendition failed to muster even minimal support among adults, with
its confusing array of fairy-tale and modern day elements too illogical
to comprehend. A colorful and overwhelming collection of mattes,
miniatures, and digitized wonders conveyed the Pinocchio story with a
modern angle of low humor, pop-musical songs, and off-hand topics. Its
only redeeming factor may have been an outstanding performance from
Martin Landau as Geppetto, starring opposite insufferable child-star
Jonathan Taylor Thomas as the title character. Infused at the center of
the music for the film is a cluster of songs by Stevie Wonder, which
further confused the era and feel of the story. Also causing a blatant
lack of consistency was the choice to make the film a pseudo-musical,
with a variety of songs ranging from the pop variety to a full-blown
opera libretto that steals the show. It's hard to wonder what the
filmmakers were thinking with this one, though they did manage to hire
some top notch talent for the project, and each song and cue (in their
own) is interesting, if not memorably enjoyable. It's when you try to
put the project together as a whole that it doesn't work. On album, the
songs and score suffer a similar fate, begging for a few tracks to be
transferred onto a compilation while others need to be shunned
completely. The opening song, "Il Colosso" is a magnificent opera piece
written and arranged by Brian May and Lee Holdridge. Adapting pieces of
famous tunes into a powerful, orchestrally backed opera explosion of
character, the song erupts with creativity and begs multiple listens if
only because of its outstanding vocal edits and crystal clear recording.
Its lead performances by Jerry Hadley and (a pre-
Titanic) Sissel
produce the highlight of the entire production, rendering the remainder
of the soundtrack somewhat of a disappointment.
Several of the songs that follow the imaginative "Il
Colosso" are also the product of Holdridge's arranged orchestral
accompaniment, and most are noteworthy because of their instrumental
depth (with Wonder offering a vibrant harmonica piece after the
presentation of the score material on the album). On the other hand, the
songs out of place because of their modern pop arrangements (appearing
near the end of the product) push the limits of tolerability. While
rising composer Rachel Portman had only a minimal hand in the production
of background material for the songs, her score stands out as a unique
item in the landscape of
The Adventures of Pinocchio. Her lovely,
soft touch doesn't immediately mesh with the more lush and active
orchestral arrangements of Holdridge's song accompaniment, nor does it
fit at all with the contemporary Stevie Wonder sound. And yet, on its
own, Portman's score offers all the sensitivity of
Marvin's Room
and
Only You with the playfulness of
The Road to Wellville
and
Addicted to Love. It has several moments of score remarkably
similar in theme and performance to
Addicted to Love, which would
be produced the following year. Her title theme, sharing progressions
with her best known romance works, is predictably gorgeous in "Theme
from Pinocchio" and "Pinocchio Becomes a Real Boy," benefiting from an
especially broad recording of resounding depth. Going hand in hand with
Portman's trademark string and woodwind theme is a darker idea for
"Lorenzini," a rare melodramatic venture into the menacing minor key for
the composer that eventually explodes in "Terra Magica" with a barrage
of brass and percussion worthy of the most roaring workshop activity.
This cue in particular not only presents several train-related sound
effects in its mix, but also culminates in a snare-ripping, rhythmic
eruption in its final minute that exhibits some of her wildest use of
trumpet counterpoint. In the end, however, the twenty minutes of
Portman's score on the album is still overshadowed by the "Il Colosso"
song and perhaps a handful of others. The album as a whole is just as
garbled as the film, and you have to be able to pick your way through
the conflicting styles to enjoy the better half. Out of print but still
readily available on the market, this album is still a worthy item for
children's film enthusiasts.
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| Bias Check: | For Rachel Portman reviews at Filmtracks, the average editorial rating
is 3.26 (in 28 reviews)
and the average viewer rating is 3.23
(in 25,299 votes). The maximum rating is 5 stars.
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The insert includes extensive credits and lyrics for the songs.
