The resulting score for Big Fish could very well be termed the third volume of Elfman's "Music for a Darkened Theatre" series of compilations, because it allows the composer to roam into the wide variety of genres that he usually expands upon on a one-by-one basis for each of his other works. The tones of shifting locales and melodramatic, emotional upheaval prevalent in his style can often play havoc with the consistency of his scores out of context, but Elfman manages to traverse the entire spectrum of his palette without allowing many jarring transitions to slip into his score for Big Fish ("Enter the Colossus" being one notable exception, allowing Mars Attacks! to invade a cue with wacky remnants). The diversity of Elfman's talents are on full display in this effort, modern bluegrass sounds mingling with historical Southern flavor, his typical choral beauty, a fair amount of romantically depressing underscore, and a few flashes of more contemporary rhythms. Early cues even explore the composer's most low-key and subdued, sentimental tones of introspection for a small ensemble. Thus, you can't compare Big Fish to any one of Elfman's other scores in particular. Instead, by listing the stylistic references to his previous works in sum, you can start to get an accurate picture of the overall equation. First and foremost, Elfman collectors who got a taste of his classic beauty from Edward Scissorhands in 2000's The Family Man were hoping for more of the same in Big Fish. Unfortunately, for you fans in particular, there are no majestic outbursts of theme and chorus in this outing. The "Underwater" cue, a short but memorable highlight, does offer some of this harmonic brilliance on a lesser scale; the choral use is usually kept to the smaller size and background role heard in Elfman's scores of this era (in which the vocals were typically light, fluffy, and placed in a supporting position in the mix). On occasion, the lofty choral tones of Batman Returns enter the soundscape ("River Girl"), highlighted by the "la-la" vocalizations common to the composer's early scores. An electric base often accompanies cues of underscore while dialogue is prominent, bringing Elfman's subtle synthetic rhythms from his late-90's scores into the mix. The employment of a piano for the most touching moments of family unity is another reminder of early 2000's dramas from the composer. Woodwinds in leading melodic roles are reminiscent of late Jerry Goldsmith dramas of a similar stature.

The personality of the location of the town of Spectre in Big Fish is driven by the fiddle and other specialty instruments meant to emphasize a Southern lifestyle, and this is a touch that Elfman had rarely employed since the gorgeous tandem of Sommersby and Black Beauty. Some listeners will equate this sound, along with the score's instrumental diversity, with Thomas Newman or James Horner's more spirited parochial works. Thematically, Big Fish is dominated by two opposing love themes, though there are a few secondary ideas that recur as well. The theme for the man's wife, Sandra, is the weighty romance melody in the score, but Elfman applies a touch of tragedy to "Sandra Theme" by presenting it in the major-key until the final note ominously and tragically shifts and dies in the minor key. Elfman applies the emotionally depressing technique at the end of "Sandra Theme" (which, incidentally, resolves to key in true Sommersby fashion) a few times in the work, presenting a cue largely in the major key until the final note makes a transition into the minor, a constant reminder to the listener that there is tragedy mixed into the glory of the primary character's youthful adventures. The way Elfman treats this theme causes it to morph into the primary identity of the entire picture (he originally termed it the "Goodbye Theme"), and while many of its performances can pleasantly underwhelm, the composer does unleash it in some very meaningful variations, notably at the end of the pivotal "Finale" cue. A more exotic theme to counter the rooted Sandra idea belongs to both Jenny and the river, representations of the primary character's flirtation with the fanciful aspects of life. Perhaps not surprisingly, the Jenny theme is more memorably alluring in the long term, touching upon the fantasy element by often hypnotizing with solo performances of its melody on piano or other struck percussion. The resolution of this idea in "Realization" and "Leaving Jenny" is saturated with the composer's normal, keen sense for melancholy. A sub-theme for Spectre and the circus weaves vaguely through those tracks, sometimes in the flavor of the locale, but at other times using instrumentation that betrays its clear connections to the Penguin material from Batman Returns (perhaps a subconscious Danny DeVito connection for Elfman?). Both the upbeat half of Sandra's theme and Jenny's theme share melodic fragments that clearly develop from Edward Scissorhands, exposed further by the familiar plucked and tapped nature of the accompaniment in applicable cues.

The orchestra in Big Fish is almost always present to back up the primary solo instruments with a full, rounded sound, further weighing on the listener's heart. Be aware that if you enjoy the carnival atmosphere of the score's mid-section (including the victorious "Growing Montage," complete with bold brass and tolling chimes), the personality of Big Fish, while often cheerful during the adventures, is subdued and solemn on an introverted level in its other parts, culminating in the weighty "Finale" cue that presented Elfman with numerous challenges in wrapping up the score. In short, Big Fish flies across the spectrum of Elfman's talents but does not exhibit his beauty in its grandest form. It is a highly personal and humble score that demands a listener with an open frame of mind to fully appreciate. It is, more than anything, a true souvenir score, playing best to those who can appreciate the narrative of the story. On album, Sony offered listeners about 40 minutes of Elfman's score on the initial 2003 CD, and even at this somewhat shorter running time, a relatively well-rounded presentation resulted. The rest of that album has a predictably awkward collection of songs from many eras (definitely a result of Burton's tastes), but with the exception of the final song number for the conjoined Korean twins, even they are appealing by themselves. As part of the massive 2011 set, "The Danny Elfman and Tim Burton 25th Anniversary Music Box," Big Fish was treated very well, all of the songs dropped in favor of 70+ minutes of score on CD #10 in that otherwise dismal, 2,000-copy set of $500 in price. Much of the additional material may seem redundant to casual observers, but with nearly half an hour of freshly pressed music, there are numerous cues of importance for enthusiasts of the score. The music for the witch character is finally provided, as is the bulk of the missing circus-related material in the middle. The additional performances of "Jenny's Theme" are very welcome. Unfortunately, as with most of the other CDs in this set, Elfman chose not to arrange the score chronologically, placing all of the bonus cues at the end. Four worktapes and a demo round out the 77-minute CD; by this point in Elfman's career, they sound quite true to the finished results. Overall, Big Fish is a solid and imaginative score with a cohesive sense of melancholy spirit. With its somewhat surprising nominations for a Golden Globe, Grammy, and Academy Award, the score assisted in erasing the memories of Elfman's awkward failure for Hulk earlier in the year. Despite a relative lack of name recognition, Big Fish remains a highly respected entry in his diverse career.  ****   @Amazon.com: CD or Download