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Buy it... if you have been dispirited by Randy Newman's relatively sparse output in the 2000's, because The Princess and the Frog is a perfect assignment for the rowdy bluesy and jazzy aspects of the composer's style. Avoid it... if the rhythms and instrumentation of the Bayou, both absolutely saturating the atmosphere of these songs and (much of) the score, have never appealed to you. Filmtracks Editorial Review:
The Princess and the Frog: (Randy Newman) Many critics and audiences have argued that there is no coincidence between Walt Disney Pictures' abandonment of their traditional animation formula (in story and animation technique) and the general decline in the quality of their feature films as the 2000's have progressed. Proof in the form of The Princess and the Frog is interesting ammunition against strictly computer-generated films without a musical format. The 2009 film represented a journey to Disney's recent past, turning to the creators of The Little Mermaid and Aladdin to help resurrect the magical charm that the studio so often enjoyed in its musical offerings. Along with a compliment of songs comes a story based on a familiar fairy tale, a slice of romance, and colorful supporting characters that don't distract from the sincerity of the narrative. Much has been made about the fact that The Princess and the Frog finally adds an African American princess to the collection of other ethnicities to star in a Disney animation, though the setting of New Orleans almost demanded such casting. When a visiting prince is transformed into a frog by a local voodoo master at the turn of the century, he mistakes a waitress for the princess he must kiss to return himself to human form. In so doing, she becomes a frog as well, and the two, along with the help of a few other animals, seek a voodoo priestess who can save them while eluding creatures under the control of the villain. The film's representation of the Bayou is one of its major attractions, with colorful flair and snazzy music almost omnipresent. An important aspect of the Disney musical machine that contributed to the resurrect the studio in the early 1990's was composer Alan Menken, whose banishment from the collaboration late in the decade officially signaled the downward movement for the studio's musical ventures. Despite Menken's very positive recognition for Enchanted more recently, Disney made the wise move of hiring Randy Newman to write the songs and score for The Princess and the Frog. While Menken probably would have handled this assignment well enough to suffice, Newman was a much more inspired choice. His roots in Louisiana and natural blend of jazz and blues in his style of writing are a perfect match for The Princess and the Frog, his first non-Pixar-related association with Disney. Add to that Newman's relatively sparse composing schedule in the 2000's and this combination of score and songs is really a treat. It's an exhibit of a composer snugly in his element, and the enthusiasm inherent in his music seems all the more genuine in this stylish romp. At times in the past, Newman has blurred the lines of waltz, blues, and jazz rhythms in the process of creating a comedy atmosphere, even if the film didn't really call for any such application of those styles of music. In The Princess and the Frog, not only are all of those mannerisms appropriate, but they swing with a level of vibrant, sumptuous appeal that will likely attract the attention of those for whom Newman is a composer better tolerated than enjoyed. His instrumentation includes accordions, harmonicas, acoustic guitars, and fiddles, joined gloriously by Terence Blanchard's swaying trumpet. A Cajon spirit is occasionally joined by Southern European waltzes, merging royalty with New Orleans quite effectively in both the score and songs. None of the seven songs are the kind that will burn up the charts; there is no light rock ballad (connected to the score) or Newman vocal performance that is guaranteed of awards nominations. But they strongly compliment each other in their perpetually upbeat nature and typically heightened tempos. Once again, the villain's song, "Friends on the Other Side," steals the show, Keith David's performance a standout. There are no famous vocalists in The Princess and the Frog, an asset of the early eras of Disney musicals, but their performances are as competent as Newman's rowdy instrumental embellishments. The melodies of the songs do carry over throughout the score, of which more than half an hour exists on Disney's album for the soundtrack. The themes of "Almost There," "Friends on the Other Side," and "Ma Belle Evangeline" carry most of the load, though Newman does introduce a theme specific to the score that only begins to congeal in "This is Gonna Be Good," which closes the film with a redemptive and sweet orchestral crescendo not quite on the same level as Menken's usual, chime-banging/choral finales. The most engaging portions of the score are those that carry the same Cajon spirit as the songs, whereas the minimal amount of usual Carl Stalling-style of bouncing animated comedy material is predictably the only weak link. On the whole, though, the score is more consistently palatable than many of Newman's other raucous works. Not surprisingly, the songs are where the heart of the soundtrack lies, and their format follows usual Disney introduction and reprise formulas. One interesting aspect of the soundtrack is a distinct difference in recording aspects between the score and songs; the two are best appreciated apart because of disparate volumes and instrumental placements in the mix. The fact that any CD for a Disney film in 2009 exists is another intriguing aspect, because the studio had claimed earlier in the year that all of its forthcoming releases would be digital-only. Newman fans will love this one, and even his detractors will have a difficult time diminishing a composer clearly invigorated by a perfect assignment. **** Track Listings:
Total Time: 55:48
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