Regardless of commentary you encounter about Dolittle being an underachieving and anonymous score, it is actually anchored by three extensively explored themes. But these identities are not the only highlight of the work; Elfman excels at providing compelling fantasy and action material beyond his usual production for the genre, the swashbuckling spirit for the middle portion of the score especially unique in its expansion of similar highlights from Alice Through the Looking Glass. The application of woodwinds and percussion are particularly impressive in the soundscape, with flutes, bassoons, chimes, and xylophone all reminiscent of the composer's 1980's zeal, and brass counterpoint during the main theme's stately performances even recalls the buoyant portions of Sommersby. A light choral touch offers the quintessential Elfman fantasy mode a la Edward Scissorhands, the cadence of the composer's techniques seemingly more genuine during the various emotional modulations of Dolittle. The work is almost entirely tonal and occasionally quite lovely, mostly avoiding slapstick silliness (aside from the bagpipes in "Dragon Indigestion") and remaining an attractive listening experience throughout, even if you don't embrace the three themes. Those ideas may not be showstoppers individually, but they each provide several alluring moments to the score and are really well adapted in nearly every cue. The main idea represents Dolittle's quirky mannerisms and group of ridiculous, talking animals. Heard first at 0:49 into "Opening" (the cue opens with secondary phrases of the theme), the idea is optimistic and playful here and at the outset of "Lunchtime" before taking a celebratory stance at 0:45 into "He's Back." The main phrases of the idea feature prominently at 3:32 into "Onward" (with trademark Elfman puffing vocals), the beginning of "We Belong Together," and throughout "Victory" in light humor to conclude the score. This theme's secondary phrases litter the score; in fact, Elfman seems just as comfortable stating the latter portions of the theme alone along with specific little motifs for a few of the animal characters, as in "Chess Match." On the whole, if the score is expressing charm and good cheer at a particular moment, you're most likely hearing phrasing from this main theme.

As the score for Dolittle extends its narrative to the titular character's past and later the high seas, Elfman kicks in with two arguably more memorable themes. The most obvious represents swashbuckling adventure, and this idea of rising, three or four-note phrases has a touch of Richard Wagner flair to its brass muscularity. Introduced at 0:33 into the fantastic "Betsy Chase" cue, it is formally announced at 1:04 into "The Voyage Begins" and leads the action at 0:55 into "The Getaway." Brazen performances of the theme abound throughout "Monteverde" and eventually merge in duties with the main theme by late in "Onward." Though somewhat derivative in structure, this adventure theme enjoys bold brass performances that help easily distinguish it from the remainder of the score. Listeners may be more attracted to Lily's theme, representing Dolittle's deceased wife whose own journey figures into this narrative. This idea is a true winner in Elfman's collection of bittersweet melodies, opening "Revelry" and making a cameo at 1:12 into "He's Back" before occupying a magical minute in "Remembering Lily" that, although brief, stands as one of the most touching moments in the composer's career. Both the whistling and woodwind performances in this cue deserve special recognition. After a brief interlude at 4:28 into "Monteverde," Lily's theme opens "Pep Talk" and is adopted by the dragon with choral lament by "The Dragon." The choir offers one last memory of theme at 1:08 into "We Belong Together." The "Pep Talk" cue nicely builds from Lily's theme to both the main and adventure themes with even a snippet of John Williams' Star Wars: The Last Jedi thrown in at 0:42 for good measure. Overall, these themes of Dolittle hold it together sufficiently, though don't expect them to conclude the narrative well in the final cues; the score lacks any true climax or resolution of satisfaction. The Sia song for the end credits of the movie, "Original," is hardly that, its rather mundane and harmless personality unrelated to the score. Some film music collectors will write off Dolittle as yet another predictably affable but frustratingly anonymous entry in the composer's children's score repertoire. But it's a better entry than that, the themes quite decent and many of the cues surprisingly attractive. Between "Betsy Chase" and "Monteverde," there is excellent swashbuckling action material, too, making Dolittle a worthy recommendation that well overachieves its film.  ****   @Amazon.com: CD or Download