SUPPORT FILMTRACKS! CLICK HERE FIRST:
Amazon.com
Amazon.co.uk
iTunes (U.S.)
Amazon.ca
Amazon.fr
eBay (U.S.)
Amazon.de
Amazon.es
Half.com
Glisten Effect
Editorial Reviews
Scoreboard Forum
Viewer Ratings
Composers
Awards
   NEWEST MAJOR REVIEWS:
     1. Transformers: Last Knight
    2. Cars 3
   3. The Mummy
  4. Wonder Woman
 5. POTC: Dead Men Tell No Tales
6. Alien: Covenant


   CURRENT BEST-SELLING SCORES:
       1. Rogue One: A Star Wars Story
      2. Fantastic Beasts/Find Them
     3. Willow
    4. The Ghost and the Darkness
   5. An American Tail
  6. The Wind and the Lion
 7. Doctor Strange
8. 10 Cloverfield Lane
   CURRENT MOST POPULAR REVIEWS:
         1. Star Wars: Force Awakens
        2. E.T. The Extra-Terrestrial
       3. Titanic
      4. Avatar
     5. Nineteen Eighty-Four
    6. Gladiator
   7. Star Wars: A New Hope
  8. Animal Farm
 9. LOTR: Fellowship of the Ring
10. Harry Potter: Sorcerer's Stone
Home Page
The Mask
(1994)
Album Cover Art
Composed, Conducted, and Produced by:

Orchestrated by:
Ralph Ferraro

Performed by:
The Irish Film Orchestra
Labels Icon
LABEL & RELEASE DATE
Tristar Music
(September 6th, 1994)
Availability Icon
ALBUM AVAILABILITY
Regular U.S. release, but out of print as of 2000.
Awards
AWARDS
None.
Also See Icon
ALSO SEE




Decorative Nonsense
PRINTER FRIENDLY VIEW
(inverts site colors)



   Availability | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you are familiar with Randy Edelman's distinctive action style and enjoy his simple but functional combination of synthetic and organic components in undemanding structures.

Avoid it... if you feel the need to be challenged by your film music, for Edelman breaks absolutely no new ground with this effort.
Review Icon
EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #1,676
WRITTEN 11/16/09
Shopping Icon
BUY IT



Edelman
Edelman
The Mask: (Randy Edelman) As difficult as it may be to recollect in retrospect, the 1994 Charles Russell comedy The Mask was considered by many movie reviewers to finally be a chance to see actor Jim Carrey perform some real acting in the mainstream. This, because the Ace Ventura star actually had a rather serious alter ego in The Mask, one that stumbles upon a magical tribal mask through improbable means early in story and is transformed into the Carrey that more people will appreciate. When affixing the mask to his face, this rather nerdy and shy man becomes a Tasmanian Devil in a zoot suit, his facial features exaggerated and his mannerisms animated in ways never imagined just a few years prior when live action and cartoons were merged in Who Framed Roger Rabbit. The early 1990's brought the CGI revolution, however, and the only reason The Mask existed was to allow the computer whizzes at Industrial Light and Magic to turn their attention from dinosaurs to Carrey's physical humor. The production was little more than an excuse to show the actor not only wildly overperforming in usual slapstick fashion, but also to use its sizable special effects budget to accentuate that exact element. It also happened to be the debut of Cameron Diaz, introduced in both vibrant colors and skimpy outfits. Together, the antics of The Mask grossed well over $100 million and propelled Carrey into a series of similar, though lower budget comedies of a ridiculous nature. Perhaps with its budget exhausted by the fees from ILM, bargain composer Randy Edelman was hired to provide the frenetic score for The Mask. In many ways, this assignment would have been best suited for the likes of David Newman or Jerry Goldsmith, and it is not surprising that in its most effective moments, Edelman's score resembles the work of these composers. With Edelman, however, you know exactly what you're going to get: basic structures, plenty of keyboards and drum pads, and a marginal role for an orchestral ensemble. This formula is, as you would imagine, sufficient to meet the basic needs of the film. But, as is typically the case with Edelman's music for assignments that seem a bit of a stretch for him, the music is highly restricted by the composer's own tendencies, reducing it to a series of rather cheap-sounding and predictable ideas. There's an intangibly affable quality to Edelman's fluffy action writing, and The Mask employs this sound liberally. It's a score that tries so very hard to be as dynamic as Carrey's performance, only to make a lot of noise without any true energy built into its constructs.



Ratings Icon
VIEWER RATINGS
113 TOTAL VOTES
Average: 3.13 Stars
***** 26 5 Stars
**** 22 4 Stars
*** 23 3 Stars
** 25 2 Stars
* 17 1 Stars
  (View results for all titles)

Comments Icon
COMMENTS
1 TOTAL COMMENTS
Read All Start New Thread Search Comments
The Mask [Complete Score]
parker1 - November 24, 2009, at 6:50 p.m.
1 comment  (2618 views)
More...


Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 35:39
• 1. Opening - The Origin of the Mask (3:20)
• 2. Tina (1:59)
• 3. Carnival (2:18)
• 4. Transformation (2:17)
• 5. Tango in the Park (2:10)
• 6. Lovebirds (2:42)
• 7. Out of the Line of Fire (2:08)
• 8. A Dark Night (2:17)
• 9. The Man Behind The Mask (1:59)
• 10. Dorian Gets a New Face (3:04)
• 11. Looking For a Way Out (1:37)
• 12. The Search (1:07)
• 13. Forked Tongue (1:48)
• 14. Milo to the Rescue (2:43)
• 15. The Mask is Back (2:18)
• 16. Finale (1:46)

Notes Icon
NOTES AND QUOTES
The insert includes no extra information about the score or film.
Copyright © 2009-2017, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from The Mask are Copyright © 1994, Tristar Music and cannot be redistributed without the label's expressed written consent. Page created 11/16/09 (and not updated significantly since).
Reviews Preload Scoreboard decoration Ratings Preload Composers Preload Awards Preload Home Preload Search Preload