 |
|
|
|
|
 |
Co-Produced by:
|
Michael Mason
|
|
|
|
|
Release Date:
|
December 11, 2001
|
|
|
|
|
|
|
|
|
|
|
|
|
Availability:
Regular U.S. release. A song compilation
was released concurrently for the same film.
|
|
|
|
|
|
|
|
 |
|
|
Filmtracks Editorial Review:
 |
| | Debney | |
|
The Princess Diaries: (John Debney) The story of The Princess
Diaries has been around for decades, but Disney has given it a royal
makeover and aims it at prepubescent kids and teenagers alike in this newest
film adaptation. The Disney version relies on charm and elegance to win the
heart of the audience, rather than the typical slapstick kind of attractions
being used in similarly targeted films. Energetic, predictable, and often
far-fetched, the film did modernize the story by using a selection of modern
songs, many of which were placed on the obligatory soundtrack compilation album.
The film's genuine heart, however, necessitated a gentle fairy tale score, and
John Debney was the man for the job. Attempting to avoid corniness wherever
possible, Debney's task was to score a fantasy teen romance flick in royal
settings with only a moderately sized orchestral ensemble and a handful of
extremely short cue spots in which to do it. The score needed to fit the film in
pieces that were typically no longer than a minute, making it more difficult to
produce a coherent whole.
The end result of Debney's tinkerings is the score that you should have expected
all along. For a straight forward and surprisingly un-hip approach to the The
Princess Diaries story, Debney's score is equally square and conservative.
The most difficult aspect of the score was to combine the modern light guitar
work with the waltz-like orchestral representation of royalty (which is a
stereotype that nearly anyone can buy into these days... Waltzes exhibit an aire
of snobbiness that functions perfectly for modern ears). The theme that Debney
employs for the film compensates for the score's choppy entrances and exits by
going into overkill. Its statements are numerous and seemingly constant,
inserted into nearly every cue in some form or another. It's a simple, elegant
theme that lends itself to its Waltz-like construction. The most remarkable
quality of that theme is Debney's ability to make it flexible enough to fit into
everything from a solo piano performance to a full blown waltz. Its prominent
role in the film translates into several enjoyable cues on the album; Debney has
arranged the cues so that you get a taste of his material with every rhythm and
instrumentation. The opening and closing cues, with the theme accompanied by an
official head of state snare, are the highlights. The light guitar music,
representing the budding romance between the princess and a friend, is also a
highlight.
The drawbacks of the score on album are few, but they typically involve the
attempt by Debney to "royalize" his material to suit young Mia Thermopolis'
discovery that she'll be the queen of a nifty European country that nobody has
ever heard of. Staying true to the spirit of both Julie Andrews and the film's
unwavering "goodness," Debney's music borders on becoming tedious in its
consistently fluffy major-key prancing. The softer performances of the theme,
most often performed by piano with light percussion, are a more enjoyable listen
apart from the film than the dramatic flights of fancy by the whole orchestra.
The pieces serving as source music, such as the consulate music in track 11 on
the album, or the harp interlude in the 24th track, break up the modern appeal
that the score otherwise puts forth. That duality, though, was inevitable, and
Debney should be commended anyway for his light and appealing work for The
Princess Diaries. The score is unlike Debney's numerous comedy efforts, such
as the slapsticky Cats & Dogs prior in the year, and could be classified
as a straight romance score. The album is short in length, reflecting the
concentration by Disney on the separate song compilation album. There really
isn't a reason for more of this score, however, and it's surprising to see it on
its own album at all. While it won't appeal to the majority of film score
enthusiasts, those of you who are sappy Rachel Portman or Patrick Doyle fans may
find considerable merit in its thematic simplicity and upbeat performances. ***
 |
|
Viewer Ratings and Comments:
|
| |
|
|
|
|
|
• 1. Main Titles (0:56)
• 2. Queen Clarisse (0:53)
• 3. Mia Invites Lilly to the Ball (1:08)
• 4. The Princess Diaries Waltz (2:09)
• 5. Mia's Makeover (1:08)
• 6. Princess Lessons (0:55)
• 7. A New Mia (1:05)
• 8. Mia Flees (0:53)
• 9. Sorry, Dad (0:32)
• 10. Lana, The Traitor (1:01)
• 11. Mia Visits the Consulate (1:18)
• 12. Scooter Talk (0:58)
• 13. I Don't Want to Be a Princess (0:37)
| |
• 14. Father Talk (1:00)
• 15. The Ball (0:37)
• 16. Meeting the Prime Minister (1:03)
• 17. A Letter from the King (1:16)
• 18. It's a Real Job (1:02)
• 19. Mia's Decision (2:18)
• 20. Learning to Walk (1:42)
• 21. Mia Apologizes (0:44)
• 22. Can I Call You Joe? (0:58)
• 23. The Kiss (1:18)
• 24. Harp Inetrlude (1:24)
• 25. Princess Diaries Medley (3:25)
|
Insert includes no extra information about the score or film,
except for a list of musicians who performed on the score.
|
