Filmtracks Recommends:
Buy it... if you specifically enjoyed the bouncy, fluffy marching music heard in the film's heroic school yard scenes. Avoid it... if Randy Edelman's lightweight romance themes or typical synthetic rhythms aren't substantive enough to hold your interest. Filmtracks Editorial Review:
Kindergarten Cop: (Randy Edelman) A 1990 sleeper comedy hit by Ivan Reitman starring the still-bulky Arnold Schwarzenegger as a cop-turned-teacher, Kindergarten Cop has become an international hit on television airings for many years. The unlikely bodybuilder and his heavy Austrian accent spar with obnoxious kindergarteners to create lines commonly considered classic in Hollywood's history. The film itself, though, sputters in its faux-suspense ending, diminishing the charm inherent in the mismatched character scenarios. Among the best moments of Kindergarten Cop are those in which Schwarzenegger exists in full Terminator mode, but cautious critics and dismayed parents noted at the time of the film's debut that there is significant material not meant for the eyes of kids. Composer Randy Edelman's career had not blossomed yet when Kindergarten Cop hit the theatres, and he has since become best known for his action and adventure works (mostly with synthesized backbones). Undoubtedly, Kindergarten Cop was a project for which a nearly perfect musical score was molded, and it would turn out to be the defining comedy score in Edelman's early career. Rarely before had the mainstream heard an orchestral score that is as charming in a school-like setting. The success of the film owes much to Edelman's score, for it encompasses all the spirit of kindergarten and affable nature of the central characters of the story. Because the film is a lightweight, however, the score is flighty as well; it's about as far from Edelman's sweeping epic sound as he could get (at least in the vast majority of the work). This approach is not only perfect for the film, but it surprisingly makes for an easy listening experience on a relatively short album, too. There are three or four key elements of the score that function very well together, and because they really don't mingle on any occasion, they're very easy to identify and enjoy on their own merits. The love theme is central to the relationship between Schwarzenegger and his leading co-star. It's a delightful and recognizable piano theme that is placed at several key moments in the film and breathes genuine life into tender moments that could otherwise be made a bit awkward by Schwarzenegger's menacing physical form. Among the secondary motifs, the "badguy" theme uses a construct that would eventually be expanded upon in Edelman's theme for 1996's Daylight. It consists of pulsing, bass-heavy electronics that provide the suspense necessary to convince audiences of not only the evil persona of the film's nasty criminal (and his mother from Hell), but also the toughness of Schwarzenegger's no-nonsense, occupational (party-pooping) attitude before he tackles the classroom. The opening cue of the film (moved to the "Stalking Crisp" in the fourth position on the album) may not be completely flawless in its representation of a terminator-like cop with a serious weapon under his coat, for Edelman keeps the weight of the cue rooted in the comedy genre. Two themes represent the kindergarten class itself, both of which drenched with cuteness and enthusiasm. The marching theme in particular, offered in the suites at the outset of the album, is central to the film because of its prominent mixing as Schwarzenegger teaches the kids some necessary discipline. The other primary theme for the achievements of the class comes as Schwarzenegger finally succeeds with his little troopers, watching them perform the Gettysburg Address with resounding pride. There exists nobility in this synthesized theme that would interestingly resurface a few years later in Edelman's best known score, Gettysburg. Some listeners may find the pastoral nature of the theme somewhat deflated by the fact that it is presented by Edelman's usual synthetics (which, like Gettysburg, are counter-intuitive for the feel of the genre). The richness of the wet, green atmosphere of beautiful Astoria, Oregon seems well suited to Edelman's comfortable, semi-synthetic themes, however, serving as testimony perhaps to the success of the "keep it simple" philosophy. The moderately-sized orchestra's performances are appropriately upbeat, often swinging in movement with considerable energy and gusto (orchestrations by the talented Greig McRitchie and Mark McKenzie likely helped). The sound quality of the fuller performances is very good as well, with the ensemble accompanied by a well-recorded piano, which is elegantly performed by Edelman himself during several softer moments. Overall, Kindergarten Cop is a delightfully pleasant and effective score without a worry in the world. Don't expect any intellectual element to it, and if you find yourself typically frustrated by Edelman's often underdeveloped ideas, then pass it by. But its sensitivity is remarkable, and it's hard to imagine a better sound to represent a confused Arnold in a school-yard of little brats. **** Track Listings:
Total Time: 38:15
All artwork and sound clips from Kindergarten Cop are Copyright © 1990, Varèse Sarabande. The reviews and notes contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 5/9/98, updated 8/18/08. Review Version 4.1 - PHP (Filmtracks Publications). Copyright © 1998-2013, Christian Clemmensen. All rights reserved. |
