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Spider-Man
(2002)
Album Cover Art
Composed and Co-Produced by:

Conducted by:
Pete Anthony

Orchestrated by:
Steve Bartek
David Slonaker
Edgardo Simone
Mark McKenzie

Co-Produced by:
Ellen Segal
Labels Icon
LABEL & RELEASE DATE
Columbia/Sony
(June 4th, 2002)
Availability Icon
ALBUM AVAILABILITY
Regular U.S. release.
Awards
AWARDS
Nominated for a Grammy Award.
Also See Icon
ALSO SEE




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Availability | Awards | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... if you seek an engaging Danny Elfman superhero score that merges the troubled and lonely tones of Darkman with the flashy, modern energy and instrumentation of Men in Black.

Avoid it... if you require the score to exude the magnificent stature of Batman, something that Spider-Man's more fragmented thematic approach does not allow for.
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EDITORIAL REVIEW
FILMTRACKS TRAFFIC RANK: #98
WRITTEN 6/19/02, REVISED 1/6/09
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Elfman
Elfman
Spider-Man: (Danny Elfman) Long overdue on the big screen, the famed Marvel comic character of Spider-Man spun a web in 2002 that led to a successful franchise over subsequent years. Sam Raimi's interpretation of the concept was highly likable, taking advantage of the best elements of the superhero formula to not only introduce the origins of the character in Spider-Man, but also establish his love interest and an immediate villain in a style both effectively dramatic and spirited. The film, altered in the aftermath of the September 11th attacks for the purpose of removing the World Trade Center from various special effects shots, was an immediate success on screen, rivaling even the concurrent Star Wars: Attack of the Clones in its longevity and popularity in theatres. As soon as Raimi's Spider-Man was announced as an official production, film score fans predictably rallied behind the singular idea that composer Danny Elfman was the only acceptable choice to provide the musical score. While the composer's knack for writing engaging superhero scores was their primary reason for this belief, Elfman's already established relationship with Raimi was more likely the clinching part of the deal. Nevertheless, anticipation for Elfman's take on Spider-Man was palpable throughout the first half of 2002. The contemporary classic status that had been awarded by both critics and mainstream fans to Elfman's 1989 music for Tim Burton's Batman gave him a reputation as being a natural for dual-identity superhero films. Though the genre may be the same, Spider-Man has less of the gothic fantasy element than Batman and therefore includes a technologically modern, less grandiose approach in its tone. Instead of producing a magnificently black and white score, as Batman is, Elfman's Spider-Man is a colorful work with streaking flashes of acoustics, electronics, and choir.

A straight comparison between the scores for Spider-Man and Batman, however tempting, remains a mistake, because no matter how popular Spider-Man seemed at the time, its impact on the movie business (both in film and score) was never very likely to challenge that of Batman. Additionally, Elfman was at a different point in his career in 2002. In 1989, Batman was for him the opportunity of a lifetime, and he scored it with the overwhelming and yet simple bravado that you'd expect to hear from a young composer striving to reach new territory. More than ten years later, Elfman's scores had returned to the more acoustically inclined nature that was an integral part of his years prior to film scoring. His stylistic niche in Hollywood at the time was best summed up by his score for Men in Black, for which quirkiness was a goal achieved with a remarkably untraditional combination of orchestra and electronics. After several years of favoring this electronically-aided tone as the emphasis of his works, Elfman had shown in Sleepy Hollow and Planet of the Apes an urge to return to his gloriously dark orchestral tendencies, and, perhaps more than any other of his large-scale scores early in the 2000's, Spider-Man is a perfect combination of both elements. It is an orchestral work with acoustic and electronic accents that appeal to a younger and more urban fantasy audience, yielding an awkwardly successful melding of Darkman's agony and Men in Black's spunk. The film didn't take itself as seriously as Batman had, and thus, Elfman's score for Spider-Man is more spirited and somewhat less memorable in its earthly level. If you accept, therefore, that Spider-Man never was and never will be Batman (on the screen or your stereo) then you can really enjoy the music for what it is, rather than dismissing it for what it is not (as an older generation of fans may be inclined to do).



Ratings Icon
VIEWER RATINGS
3,699 TOTAL VOTES
Average: 3.34 Stars
***** 927 5 Stars
**** 927 4 Stars
*** 828 3 Stars
** 526 2 Stars
* 491 1 Stars
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COMMENTS
227 TOTAL COMMENTS
Read All Start New Thread Search Comments
(Comment Deleted by Poster)   Expand >>
Mitchell Kyler Martin - December 29, 2016, at 8:30 p.m.
2 comments  (159 views)
Newest: February 5, 2017, at 4:06 p.m. by
Freddyfrito
I would like to ask once again   Expand >>
Jon - February 27, 2007, at 2:28 p.m.
2 comments  (2545 views)
Newest: April 4, 2007, at 4:18 p.m. by
Jon
Is there even a complete score out there?
Danny - February 24, 2007, at 11:15 a.m.
1 comment  (1617 views)
This score rocks!   Expand >>
Pudgy - November 25, 2006, at 10:36 p.m.
22 comments  (11176 views)
Newest: April 2, 2008, at 9:02 a.m. by
Big Time Yanker
Why didn't he use them!!!?????
J.D - April 29, 2006, at 12:33 p.m.
1 comment  (1755 views)
Excellent
Jon - December 22, 2005, at 6:59 p.m.
1 comment  (1828 views)
More...


Track Listings Icon
TRACK LISTINGS AND AUDIO
Audio Samples   ▼
Total Time: 44:59
• 1. Main Title (3:30)
• 2. Transformations (3:31)
• 3. Costume Montage (1:19)
• 4. Revenge (6:13)
• 5. First Web (0:56)
• 6. Something's Different (1:17)
• 7. City Montage (1:50)
• 8. Alone (1:37)
• 9. Parade Attack (3:54)
• 10. Specter of the Goblin (3:47)
• 11. Revelation (2:32)
• 12. Getting Through (2:05)
• 13. Final Confrontation (7:19)
• 14. Farewell (3:11)
• 15. End Credits (1:54)

Notes Icon
NOTES AND QUOTES
The insert includes no extra information about the score or film.
Copyright © 2002-2017, 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 Spider-Man are Copyright © 2002, Columbia/Sony and cannot be redistributed without the label's expressed written consent. Page created 6/19/02 and last updated 1/6/09.
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