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| Eidelman |
Free Willy 3: The Rescue: (Cliff Eidelman) The
trilogy of
Free Willy films stumbled in the middle, but 1997's
Free Willy 3: The Rescue is a surprisingly mature and logical
examination of what the famed Orca would face on the open seas. Now
facing death due to illegal harpooning, Willy needs several of the
characters from the earlier films to gang together and save him from his
inevitable fate. The series has come a long way from the playful
human/whale interaction of the first film, and the music made its own
journey as well. The original film's music by Basil Poledouris was a
highly stylish and romping blend of orchestral and synthetic, with
jolly, memorable themes and a spirit of exuberance not often heard in
film scores today. His music for the second film was somewhat trivial
because so little development was demanded by the lower-quality script
that a simple re-hash by Poledouris was sufficient. The serious turn of
the third film in the trilogy was no place for the bright colors of
Poledouris' spunky music for the franchise thus far, and while the
composer could very well have adapted his own sound for the grown up
premise of
Free Willy 3, the somewhat languishing Cliff Eidelman
was assigned the project instead. After entering the mainstream of film
scoring with a bang at the start of the decade, Eidelman had scored a
series of unsuccessful light dramas and comedies that stalled his
career. By comparison to those projects,
Free Willy 3 was a
welcome step back in the right direction. Unfortunately, despite the
great strength of his music for this film, many fans would consider
Free Willy 3 to be Eidelman's final compelling effort before
sinking to an even more obscure level of relative inactivity.
Eidelman obviously poured his heart into
Free Willy
3, and with multiple new themes in addition to a nod to the themes
and style of Poledouris, it is a very diverse and complex score while
maintaining the enthusiasm of the children's fantasy genre. Three
vibrant themes provide
Free Willy 3 with clear identities for the
concepts of the hunters, the whales, and the humans who intend on saving
them. The hunting theme that dominates the "Main Titles" is a powerful
combination of strong percussion, electric bass, and later marimbas and
fiddles. It would be further developed into a massively frightening
action movement in "The Hunt" and "Obsession." While the title theme for
the heroic humans receives hints in the opening cue, it flourishes in
the latter half of the score and receives lengthy development in "End
Credits." The third theme is a yearning style of lament for the whales
themselves, poignantly offered by Eideman in the elegant solo voice of
well-known artist Francine Poitras in "Awakening" and "Redemption." Her
wordless vocals add an element of mystical depth to the orchestra that
had not existed in the franchise to date. Eidelman employs numerous
entertaining solo instrumental performances, including an exotic flute
that some will recognize from the Klingon sequences of
Star Trek VI:
The Undiscovered Country. In "You Were Right," Mike Lang's piano
performances are a touching addition to the formula. Eidelman combines
these highlights with the powerful and yet sensitive performances by the
Toronto Symphony Orchestra. Both "Whale Call" and "Birth" are excellent
examples of Eidelman's talent for creating subtle, complex motifs for
solo instruments over an ensemble. The musicians are flawless throughout
the album and, in ways far different from Poledouris' techniques,
Eidelman manages to capture the spirit of the water.
The "End Credits" track offers a suite of Eidelman's
numerous themes from the film, rounding out a surprisingly enticing
album. There are detractions to mention, though. The lack of significant
adaptation of Poledouris' magnificent themes for the franchise is a
disappointment. On album, Eidelman waits until the sweet finale in "A
New Family" before mentioning the famous title theme for the franchise.
When he does, the one-minute arrangement is quite attractive,
alternating phrases of the theme between strings and woodwinds before
one resounding ensemble performance. For some listeners, this
orchestrally dramatic rendition of the theme will be more satisfying
that Poledouris' original versions. Unfortunately, Eidelman's adaptation
techniques are limited to this one cue on album and subsequent usage of
the theme, which would very much have been welcomed, is absent. This
complaint is somewhat half-hearted, though, because the album for
Free Willy 3 runs for only 29 minutes. At 89 minutes in total
length, the film certainly contained more Eidelman material that could
constitute a more well-rounded album, though history has taught us that
no
Free Willy score ever receives its due treatment by record
labels. Overall, the ultimate strength of the album is not just the
plethora of themes, but the steady and consistent excellence of their
rendering throughout all the tracks of the album, whether at the
forefront of the film or in subdued underscore mode. It might be too
short to purchase outright for many fans, and Poledouris collectors may
not find much in it to get excited about (especially those looking for
the vibrant mix of electronics and orchestra that is completely absent
here), but it still stands among Eidelman's very best and least-known
scores.
**** @Amazon.com: CD or
Download
| Bias Check: |
For Cliff Eidelman reviews at Filmtracks, the average editorial rating is 3.29
(in 17 reviews)
and the average viewer rating is 3.2
(in 8,860 votes). The maximum rating is 5 stars.
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The insert includes a note about Eidelman's career through 1997.
