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My Dog Skip: (William Ross) Films about cute little
dogs salvaging a boy's self-esteem and his relationship with his family
beg for ridicule if they're not pulled off right. Based in part on
Willie Morris' boyhood experiences,
My Dog Skip is as tender and
loving a depiction of that scenario as you will find, and it was
received with moderate praise at the time of its 2000 release. A
youngster growing up in the Deep South during World War II is deprived
of friends, confidence, and a solid relationship with his father.
Sensing his troubles, his family acquires the dog from the "Frasier"
television series to help the boy gain friends and hopefully solve his
ills. The outcome is never in doubt, and that point is drive home by
William Ross' score for the film. Ross was among the many respected
orchestrators for major films of the 1990's who were attempting at the
time branch out into their own composing careers. He had already been
doing that for two decades, but with minimal success; his most notable
assignment before
My Dog Skip was for
Tin Cup and his
arrangement of John Williams'
Harry Potter and the Chamber of
Secrets was the only major mainstream work to follow. He continues
to orchestrate, however, giving familiar tones especially to the music
of Alan Silvestri. Ross' approach to writing for
My Dog Skip is
completely predictable, and it has justifiably raised many discussions
about whether or not Ross was a suggested replacement for the assignment
when Silvestri was the unsuccessful target for hire. Also debated in
regards to this score is the fact that it features an extremely familiar
series of sounds in its theme, style, and attitude. There are half a
dozen family-oriented scores from the 1990's that seem to influence
My Dog Skip, and while veteran film music collectors may grow
weary of hearing these ideas recapitulated, there is no doubt that the
finished product still functions and is, in a basic sense, extremely
pleasant to enjoy on album.
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There's nothing about
My Dog Skip that will try
to fool you. Ross introduces his one and only theme in the opening
seconds of "Main Titles" and follows its delicate piano performances
with equally charming woodwinds. Eventually, the entire ensemble swells
to several lovely renditions that continue in all but a few of the
following cues. There is a touch of both James Horner's light-hearted
family affairs and Jerry Goldsmith's
Powder, along with a slight
Southern twist to remind of Goldsmith's
Love Field. But
generally, the tone of
My Dog Skip is undoubtedly a mixture of
Alan Silvestri and Marc Shaiman, with both
Forrest Gump and
Patch Adams lending strong influence on the work. In its
repetitive nature,
My Dog Skip is most like Shaiman's similar
scores; they demand nothing but are nevertheless gorgeous in each of
their low-key reinventions of the same theme. Only four or five cues in
the score deviate from this style, with two occasions both reminding of
the adventurous Americana spirit defined by both Aaron Copland and Bruce
Broughton. The lively increase of pace in "Driving with Skip" and "Will
Strikes Out" is a welcome diversion. Less palatable is "Greenwood
Cemetery," which strays into generic suspense territory, and "Sad
Homecoming," which yearns for solace in its brass calls. Instrumentally,
the piano remains the heart of the score, and Ross' rolling rhythmic
piano accompaniment to the full ensemble performances is a highlight. In
this regard, your opinion of
My Dog Skip will be closely tied to
your affinity towards
Forrest Gump, which was likely the most
deliberate temp track inspiration. The album is extremely consistent,
which is both a positive and negative. After 30 minutes, it can become
tiresome in its lack of maturation, especially after the 9-minute "Will
Grows Up" cue drives home the title theme nearly endlessly. Still,
My
Dog Skip is beautiful and undemanding at a simple level, and it
remains among Ross' best solo work.
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The insert includes no extra information about the score or film.
