Filmtracks Recommends:
Buy it... if you seek dynamic animation scoring for vibrant, enthusiastic orchestras in their most rousing form, regardless of the music's predictable constructs. Avoid it... if you're destined to compare this score to John Williams' related Hook, which remains a superior representation of the same concepts. Filmtracks Editorial Review:
Return to Neverland: (Joel McNeely) There are two concurrent debates involving studio methodology and concept overextension that are relevant to Disney's 2001 animated feature film Return to Neverland. The first exists within Disney, which has battled with itself throughout the 2000's about whether to release ridiculous low budget sequels to its classic pictures in theatres or straight to video (the question of whether to produce such trash or not at all isn't under debate, given the fiscal earnings of such items). The second debate involves the pummeling of the original Peter Pan concept, which was not only adapted disastrously by Steven Spielberg in 1991 but has seen a range of cheap animated sequels and spin-offs in a diverse range from Return to Neverland to 2008's Tinkerbell. Both of those latter two projects were scored by composer Joel McNeely, who has managed through the decade to make a career out of providing overachieving music for Disney's pacifier productions. In the case of Return to Neverland, while it will likely suffice to entertain the kids for an hour or so and keep them from screaming wildly, its blatant exhibit of capitalism fueled by the corporate lack of originality has nothing to stack up to the classic stature of the original film. One of the few redeeming qualities of the laughable sequel, however, is indeed McNeely's music. Although the music for the film is littered with obnoxious character songs (new and adapted) that could cause adults to cover their ears, the massive score is surprisingly dynamic and fresh. The film, to its credit, minimalizes the modern pop influence in its songs as well, and Return to Neverland never really comes across as a musical travesty in the same way that some viewers claimed that the sequel film insults the original classic on a larger level. The score was released ingloriously to extremely limited interest in the general population. Disney Records' album contains a remarkable amount of McNeely's work and only one true pop song. That innocuous but irritating song, "Do You Believe in Magic," is performed by the young male group BBMAK and is heard during the end titles of the film. The only other major selling points for the mainstream are the two song performances by folk artist Jonatha Brooke, whose voice lends itself well to the children's fantasy genre. Otherwise, the film and album alternate regularly between character songs and score. The songs are usually short (around a minute in length, or even less) and contain just a snippet of the story of Return to Neverland in musical form. Given the brevity of these songs, you can't classify the film as a musical. But they unfortunately break up McNeely's score frequently, which is a shame because that material could have constituted a strong album by itself. With an impressively mixed orchestral ensemble performing at often breakneck speeds, the score is a rollercoaster ride of large themes, prancing comedy routines, and a handful of somber recollection pieces about a childhood lost. The resulting listening experience is not only interesting, but it provides strong thematic identity and a wink and a nod to previous versions of the tale on screen. There are quite a few parts of Return to Neverland that resemble John Williams' Hook, which is understandable given the quality of the veteran composer's handling of the topic. One of McNeely's themes is coincidentally informed, strangely, by Williams' theme for Yoda in The Empire Strikes Back. The brassy theme for Hook is a swinging highlight. There are roaring moments, such as "Jane is Kidnapped," that remind of McNeely's own wild pomp from Virus and The Avengers. The straight comedy material is reminiscent of John Debney's many parody scores of the era. McNeely pays attention to the music of the original Peter Pan and subsequently Disney itself; pieces of "When You Wish Upon a Star" are integrated fully in the opening, as well as in fragments throughout. An appropriate dose of swashbuckling spirit is expected, and several comedic solo performances by various instruments (highlighted by the viola in "Hook Deceives Jane") make the composition a complex one. The general style of the work doesn't have the ethnic flair of McNeely's later Tinkerbell, nor can its vocals compete with the voice of Loreena McKennitt, and it's thus a step behind. The film probably didn't deserve this score, but McNeely's admirable effort in his work remains consistently high, even for less than desirable films. The album is presented in partially chronological order, and it would have been preferable to hear the score massed together without interruption. The packaging of the product is less than exciting as well, with a foul stink emanating from its insert (discussed further in the "notes" section below). This score may not be of Hook quality in any of its parts, but it is still a solid entry in McNeely's underappreciated career.
Music as Heard on Album: *** Overall: **** Track Listings:
Total Time: 53:55
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