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Filmtracks Editorial Review:
It's a score that rumbles rather than dazzles. Frizzell concentrates heavily on strings, with lengthy cues consisting of choppy and bouncing strings, and when combining this technique with the morbid personality of the music (nobody could ever tell from listening to the music alone that the film has any comedy elements), the result reminds me of early Elfman style sans the wit. Thematically speaking, there is very little to be excited about in terms of a consistent motif. Though Frizzell does add a few character tracks here and there, each introducing its own mini-theme before breaking off and returning to the barely noticeable underscore. Tracks six and eight show the first (and only) true feeling of sensitivity, with varied soft string performances of theme, and the final track has a hint of this as well. The only other remarkable track is the tenth, in which Frizzell inserts a loungy small band cue. I might venture so far as to say that perhaps Frizzell was striving to achieve a more subtle Bernard Herrmann effect, but his music lacks the creativity to reach that level. What exactly the purpose of the music is fails me; the moments of orchestral outburst near the end sound as though they were performed without any enthusiasm... almost as though the musicians just wanted to do their job and go home. The result is a functional score, yet nothing interesting to listen to. Word has it that Christopher Young was originally slated to score Teaching Mrs. Tingle, but left the project before completing any work for it. I would have enjoyed hearing his take on it... **
The insert notes include a short paragraph from the director of the film, but has no extra information about the score. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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