Filmtracks Traffic Rank: #1,302
Written 6/24/97, Revised 4/23/06
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Buy it... if you are enamored with tender, heartfelt small-ensemble
scores rich with melody and/or Elmer Bernstein's trademark use of the
ondes martenot.
Avoid it... if you've found little to excite you from Bernstein's
low-key dramatic works of the late 1980's and 1990's.
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| Bernstein |
Frankie Starlight: (Elmer Bernstein) Not even all
the mysticism in the stars could save Frankie Starlight from
total anonymity. Based on "The Dork of Cork" by Chet Raymo, the
adaptation for the big screen by Raymo and Ronan O'Leary was an
anticipated arthouse film released during the awards season in late
1995. Michael Linday-Hogg's film meanders through decades in the lives
of a dwarf and his mother, with the modern-day dwarf, a successful but
reclusive author, serving out the tale in flashback format. A voice-over
narrative tells of the mother's journey from France during World War II
to Ireland, where she gives birth to the illegitimate dwarf, and the two
eventually settle in Texas, where the dwarf becomes the author and
narrator. Woven throughout the film is the dwarf's interest in amateur
astronomy, and the constellations are used to draw connections between
the seemingly random circumstances of life. The messages work to some
degree in Frankie Starlight, but many of the connections are
missed, and for a number of reasons, the film failed. Foremost in
criticism was the performance of French La Femme Nikita star Anne
Parillaud, whose unexpressive performance as the mother left her entire
storyline flat. Matt Dillon's fake Southern accent didn't help much,
either. But the most problematic aspect of Frankie Starlight was
the lack of cohesion between the lessons of the stars and the lessons of
life, leaving the film with plenty of spectacular, singular moments, but
no overarching connectivity. Aiding in many of the individual moments is
a delightfully simple score by veteran composer Elmer Bernstein, who had
decided to shed his reputation for scoring comedies in favor of projects
with the genuine drama of Frankie Starlight. His score for the
film seems, on the surface, to mirror the simplicity of the plot's
message, though Bernstein kicks in just enough variation to provide a
stellar effort.
There is no attempt made by Bernstein to score the
various locations in the film with different sets of themes or
instrumentation. His role in the project is to keep the focus rooted in
the author's recollections and lessons of life. A certain amount of
whimsy is required whenever constellations determine much of any story's
direction, and Bernstein provides that magic in the form of the ondes
martenot, performed as always for Bernstein by Cynthia Millar. The
theremin variant is a common participant in Bernstein's scores from 1985
to 1997, though
Hoodlum would usher out the
instrument as Bernstein's career would fade in the late 1990's. The ondes martenot
has always had an "other-worldly" aspect to its sound, which is why it
worked so well in
The Black Cauldron and
Ghostbusters, and
its use here is well balanced and effective in the wondrous moments of
star-gazing. The only questionable use occurs during the operatic song
performance (by Belinda Pigeon) of Bernstein's title theme in "From My
Window," in which the ondes martenot's own nearly vocal effect sometimes
clashes with the singer's voice. The theme that Bernstein wrote for both
the song and the title of the film is among the last great themes of his
career (and depending on your opinion of
Far From Heaven,
Frankie Starlight's title could indeed feature Bernstein's last
great theme). Incorporated throughout the score, this theme is as
delicate and gentle as any ever put to screen, and, from the solo piano
performances to those by the full ensemble, it maintains the affable
nature of the score at every moment. The only full ensemble renditions
of the theme exist in the opening and closing cues, but feature a
restrained majesty that will be adored by any Bernstein collector. More
interesting, perhaps, are the short deviations of genre that exist
throughout
Frankie Starlight, including a militaristic comedy
theme in "Visions" that has shades of Robert Folk's
In the Army
Now, as well as the "At Play" and "Wild Ride" cues, which feature a
refreshing rhythmic increase in pace. A small ensemble suits the score
well, and the sound quality that had been so elusive in Bernstein's
1980's scores is much improved here. There isn't an unpleasant moment in
this score, though it won't excite you much either... tenderness is
key.
**** @Amazon.com: CD or
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Bias Check:
For Elmer Bernstein reviews at Filmtracks, the average editorial rating is 3.29
(in 18 reviews) and the average viewer rating is 3.18
(in 11,116 votes). The maximum rating is 5 stars.
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