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Review of Austin Powers: International Man of Mystery/The Spy Who
Shagged Me (George S. Clinton)
FILMTRACKS RECOMMENDS:
Buy it... if you groove to enthusiastic and competent parody
scores, in which case this product gives you a solid survey of George S.
Clinton's first two outings in the Austin Powers franchise.
Avoid it... if the 1960's and 70's music of John Barry and Burt Bacharach drove you nuts in its original incarnations, because their styles and mannerisms are bloated in obvious fashion for comedic effect in both of these scores.
FILMTRACKS EDITORIAL REVIEW:
Austin Powers: International Man of Mystery/The Spy Who
Shagged Me: (George S. Clinton) Unexpectedly achieving blockbuster
status in the late 1990's was the Austin Powers franchise, a Mike
Myers vehicle that took aim at both the James Bond and Star Wars
franchises during its run of parodies from 1997 to 2002. After the
original entry, Austin Powers: International Man of Mystery,
became a surprising success on the video market, its 1999 sequel,
Austin Powers: The Spy Who Shagged Me, was an immediate hit at
the box office. This, despite tepid reviews and fair dose of ridicule;
the franchise was so intentionally stupid that at some point the concept
became frightfully repetitive. There was only so much fun to poke at the
two targeted franchises, forcing the Myers spectacles eventually
degenerated into an excess of low-brow potty humor. Inconsistent
supporting performances across the shifting casts for the films left
Myers in the position of assuming more roles himself with every film,
serving to aid his career more than these particular movies. The
depiction of 1960's spy culture was so psychedelic in its design across
these films that some artificial restraint of higher brain functions was
not only recommended when viewing them, but probably essential to
appreciating the majority of the non-stop jokes. The music for the
franchise was equally over-the-top in its parody of 1960's and 70's pop
culture infusion of jazz into an orchestral setting, taking the sounds
of Burt Bacharach, John Barry, Henry Mancini, and Quincy Jones and
bloating their characteristics to ridiculous levels. The task of
accomplishing this sound fell to George S. Clinton, whose own musical
voice was largely absent in the atmosphere of constant references.
Clinton's contribution was also mostly neglected on album because of the
employment of vintage (and some fresh) songs in the productions. Only in
2000 did Clinton's score material receive its own dedicated album, with
an RCA Victor CD combining the highlights from both of the first two
scores onto one product. With a running time of 40 minutes representing
both scores, you can immediately tell that Clinton's work for the
franchise wasn't extensive. Some critics even blasted the obvious parody
references in the score as one of the weak points of the first film.
Whether you can appreciate it or not, Clinton's music for Austin
Powers: International Man of Mystery and Austin Powers: The Spy
Who Shagged Me is at least predictable in reaching its goals.
It wasn't until Austin Powers in Goldmember in 2002 that Clinton began to parody David Arnold's resurgent style of robust Bond music that would make for a more satisfying action-oriented listening experience (along the same lines as Edward Shearmur's Johnny English not long after). The consistent and blatant references to Bacharach, Jones, and Mancini for the lighter side of the first two films and, more pervasively, Barry for the villain's and action material are adept but often difficult to tolerate. The light piano love themes for the side-kicks (Vanessa and Felicity) are early 70's soft listening at its most stereotypical. The "Danger March" from the first film is almost ridiculously trite in its British mannerisms. The monumental burst of electric base, banging chimes, and choir in "Heroic Austin" is a bit generic despite being pleasing in its tone. But the majority of both scores owes to Barry, especially in the application of that composer's villain's themes. Clinton recreates Barry's bloated, snare-tapping, deep brass pulsating style of addressing larger-than-life scenarios perfectly, even making sure to repeat each phrase twice (the Barry trademark). Woodwind accents, all the way up to shrieking piccolos, are a resurrection of Barry's suspense material, best heard in "Norad." In the second score, "Evil Island" is an easy rip of the harp and string-laden theme from You Only Live Twice. There are original themes that Clinton utilizes across these scores, but they are ultimately so rooted in the style of other composers that the actual progressions aren't really memorable. In the end, it's the Hammond organ, small band percussion, and solo woodwinds that will stick in mind, and unless you want to hear a far lighter shade of what David Holmes was producing for more mainstream comedies at the time, then beware of the corniness factor. Interestingly, Clinton spends so much time imitating others' style in these scores that it's hard to get a sense for his own musical voice. A burst of Scottish tones for "Fat Bastard" is among the few hints at the unique humor that he would explore far better in The Big Bounce after the conclusion of this franchise. These scores are good for a few chuckles, but the most enduring identity for Myers' character is ironically Quincy Jones' "Soul Bossa Nova," arranged very memorably by Clinton. The representation of this theme on the 2000 album comes from the second score, and this piece remains the highlight. On the whole, if you're looking for a more consistent vintage spy parody listening experience, Shearmur's Johnny English is easily superior, but Clinton certainly succeeded in harpooning the right targets for his Austin Powers assignments. The result is groovy, but tiresome. ***
TRACK LISTINGS:
Total Time: 39:09
* based on music composed by Quincy Jones
NOTES & QUOTES:
The insert unfolds into a poster that on the flip side includes extensive
notes by veteran film music writer Jeff Bond about the films and scores.
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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 Austin Powers: International Man of Mystery/The Spy Who Shagged Me are Copyright © 2000, RCA Victor and cannot be redistributed without the label's expressed written consent. Page created 11/6/09 (and not updated significantly since). |
