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PRINTER-FRIENDLY VIEW 
Review of Enola Holmes 2 (Daniel Pemberton)
FILMTRACKS RECOMMENDS:
Buy it... if you loved the spirited personality of the prior score
and wish to hear the same themes extended into a more melodramatic and
suspenseful atmosphere.
Avoid it... if your appreciation of the music for this concept is focused on the main theme for the titular character, that identity suppressed until the end of this sequel score.
FILMTRACKS EDITORIAL REVIEW:
Enola Holmes 2: (Daniel Pemberton) Though departing
from the book series that originally inspired its 2020 predecessor, the
2022 sequel, Enola Holmes 2, generally follows the same feminist
alternative take on the Sherlock Holmes concept. Returning its cast and
crew, the continuation is inspired by the matchgirls' strike of 1888,
elements of blackmail and murder weaved into this storyline so that
Enola can solve the mystery. Her character still struggles in Enola
Holmes 2 to evade the shadow of her successful brother, the plotline
allowing her an opportunity to crack a prominent case on her own as a
detective. Most of the basic elements from the prior film continue to
factor, however, her estranged relationship with her mother, a budding
romance with Lord Tewkesbury, and the plight to operate her own
detective agency all advanced to some degree. This franchise has spawned
a surprisingly dedicated following with its charm and politics, and
Enola Holmes 2 was received well in its Netflix debut. Among
those returning to the production is composer Daniel Pemberton (albeit
with new orchestrators and conductor), whose music for Enola
Holmes was a welcome departure for the artist. That score was more
conventional than most of his other works, and its thematic integrity
was buoyed by an indelibly upbeat spirit that combined classical English
sensibilities with Pemberton's more contemporary comfort zone. It
remains one of the more uniquely positive film music experiences of the
era, and the composer attempts to retain that element of whimsy in the
second score. The plot offers less rebellion and more duty for Enola,
however, so listeners cannot expect to hear the same level of irreverent
pizzazz in the tone of Enola Holmes 2. This necessity also
affects Pemberton's reapplication of themes to the sequel, Enola's more
defiant primary identity replaced by the composer's theme of mystery for
much of this work. The demeanor is a touch darker, and a greater
emphasis on the waltz formations and traditional orchestral elements is
also evident, though they are still supplied with a touch of the
previous quirkiness at times.
The maturation of Pemberton's style in this arena for Enola Holmes 2 is a positive in some regards, but it also means that the sequel's music isn't quite as much fun. Rather, it's a more proficient period mystery and suspense work on the whole. The orchestral elements are more dominant, the composer's electronics, guitars, and modern percussion saved for only a few cues of outward enthusiasm for the titular character. A pipe organ and adult choir, punctuated by chimes, provide the more sinister and powerful element of suspense in this story. Generally descending lines of unfocused activity to represent the adversaries of the tale, and some the lighter moments of investigation in the first half of the work, like "221b Baker Street," "A Loose Thread," and "Bell Lane, Whitechapel," are rather anonymous. But the tone turns more impressively dark by "Mysterious Follower," and better, gripping suspense material awaits in that cue and the subsequent "The Threads Intertwine," "Le Langage de la Danse," "The Last Dance," and "Sweet William." There is impressive music in these passages that could stand apart from this franchise in more serious dramas, the compelling climactic cues of "The Truth of the Gods" and "Stage Fright" particularly engaging. Pemberton does attempt to keep the atmosphere light when he can, and the waltz formats sometimes become prissy, as in "Chaperone Waltz." Only one terrible action cue, "Grail on Horseback," sullies the latter half of the score, its rising pairs in a bed of percussion and dissonance for the villain frightfully unpleasant. Thematically, the composer is hyper-loyal to his constructs from the previous score, so much so that Enola Holmes 2 doesn't really establish a single new theme of significant or memorable impact. The mystery theme frequently used in the first score for detective work and the search for Enola's mother becomes the dominant force here. The mother's related siren call has some tangential impacts, especially late in the score. The sappy love theme for Enola and Tewkesbury is faithfully applied several times when appropriate. The main theme for Enola herself from the prior score is marginalized, however, until the closing pair of cues, which is something of a disappointment. The returning mystery theme that becomes a primary motific anchor in Enola Holmes 2 is a meandering descending line over rollicking, modern rhythms. It saturates early cues but is not as much of a factor in the latter portions of the score. It is effective when conveyed, though, really advancing the propulsive spirit of "The Game is Afoot" from the prior score. The theme is heard immediately on eerie, high choir in "Stop That Girl!," exploding in quivering action form over rowdy percussion at 0:34 and 1:01. It prances with comedic intent at 0:06 into "The Enola Holmes Detective Agency" and dominates the cue in the process of introducing secondary phrasing. After a deviation to dignified strings at 0:05 into "To Shadwell," the mystery theme is back to prancing at 0:04 into "Lyons Match Factory," a little off-kilter at 0:33, and becomes dainty on woodwinds at the outset of "221b Baker Street." The idea awkwardly dances after 0:13 into "The Game Has Found its Feet (Again)," is fragmented in classical shades during "Quite a Party," aids in the tension of "Deductions" with teasing on organ and choir late, and tries to merge its funky rhythms with epic coolness early in "Carriage Escape." After a quick burst at 1:05 into "Blackmail," the mystery theme becomes ancillary to other action, melodramatic in the middle of "The Truth of the Gods," embedded in the early action of "Stage Fight," and very slight at the start of "The Only Power We Have." The sinewy nature of its progressions may have made the theme too challenging to figure clearly into the wholesale choral revelation sequences of (arguably overblown) grand tonality late in this score. In a really good interpolation with the main theme's spirit, though, this idea's fragments nicely serve up Enola's theme at 0:24 into "Enola Holmes (One Flame to Start a Fire)." That theme for Enola doesn't emerge in Enola Holmes 2 until 2:33 into "The Only Power We Have," when Pemberton intentionally builds to a long, massively anticipatory crescendo leading into that rousingly upbeat, standard performance of the theme. The idea occupies most of "Enola Holmes (One Flame to Start a Fire)" after tussling with the mystery theme early, a send-off highly similar to the one gracing the conclusion of the prior score. The happy-go-lucky ascending interlude sequence figures into both renditions in these cues. The lack of the primary theme for Enola in the remainder of the score for Enola Holmes 2 is quite strange, Pemberton choosing not to adapt it into obvious, darker shades for the character's continued development. If the idea is meant to represent her spunky, rebellious independence, then perhaps it is only appropriate for her scenes of growing confidence and successful impact on society, and the plot of the sequel thus didn't allow for its use for much of its length prior to the victory lap at the end of "The Only Power We Have." Still, the lack of adaptation of its main phrase and ascending secondary lines of hope will leave some listeners annoyed, and rightfully so. Those enthusiasts will appreciate that Pemberton did revisit the Enola and Tewkesbury love theme frequently when possible, though. It remains a hopelessly cute identity, and its opening, five-note descending phrase with answering three-note ascents are applied as quick references when Tewkesbury contributes to a scene, especially the initial five-note sequence that is particularly well-suited for such quick references. The love theme returns at 0:04 into "Find Your Path" and is developed slowly thereafter in the cue. It's explored with whimsy at 1:15 into "Dancing Lessons," shifts to flute at 0:04 into "Enola and Tewkesbury" before a full string flash of romance at 0:35, and is referenced early in "The Curtain Falls." Also returning but in lesser shades is the mother's siren call from the first score, its use often obscured by the adjoining mystery theme. Teased on female vocals in "Up in Flames," the motif better influences the first half of "The Only Power We Have" but without the consolidated female vocals that had given it such allure in the previous score. Altogether, the themes for Enola Holmes 2 represent an interesting extension of everything heard in the first score but without some of the expected applications. The fact that some of the massively tonal choral highlights of this score's second half don't make use of clearly delineated themes is disappointing. The character of Pemberton's instrumentation and rhythmic choices are more than enough to suffice to keep the work consistent, though. He continues to provide a unique spirit for this concept's music that balances period expectations with quirky enthusiasm, and while some listeners may not appreciate the prancing waltz movements that sometimes result, the whole functions. It may not be as strong or refreshingly appealing as Enola Holmes on album, but the sequel retains enough of the same personality and themes to merit a recommendation. ****
TRACK LISTINGS:
Total Time: 63:49
NOTES & QUOTES:
There exists no official packaging for the digital album.
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