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| Simonsen |
Ghostbusters: Afterlife: (Rob Simonsen) After
decades of wrangling with actor Bill Murray and then struggling through
the death of writer and actor Harold Ramis, a third
Ghostbusters
film from the original concept came to life in 2021. Taking the helm
from his father for
Ghostbusters: Afterlife is Jason Reitman,
though Ivan Reitman remained as a producer, and the two of them
delicately steered the project to retain the nostalgia and authenticity
of a franchise damaged by a 2016 reboot. The original Ghostbusters have
only a minor role in the 2021 picture, a group of teens and pre-teens in
Oklahoma taking over the narrative, but the story is absolutely
saturated with plot elements relating to the 1984 film. The descendants
of Egon Spengler arrive in the small town of Summerville to clean up
Egon's estate after his death only to find that he had established a
one-man ghostbusting base there. Egon had discovered that a nearby mine
was the next point of arrival for Gozer the Gozerian, thanks to J.K.
Simmons as Gozer cult leader Ivo Shandor. He had abandoned the remaining
Ghostbusters, who moved on with their lives, and the family and the
community grapple with learning about the legacies of Egon and the mine
in their quaint little town. The movie has far less of the outward humor
than the original two films despite some wonderful destruction of a
Walmart by the minions of Gozer, serving as a tribute to 1980's fantasy
dramas as much as this particular franchise. But the Reitmans succeed in
their balancing act and provide fitting closure for the original
Ghostbuster team while opening the doors for a new generation to join
some of the remaining members in potential sequels. Reflective scenes
for Dan Aykroyd and Ernie Hudson are a delight. Jason Reitman was
adamant that
Ghostbusters: Afterlife be faithful to
Ghostbusters in each of the various production elements,
including the music. The format of the soundtrack is somewhat similar to
that of the 1984 movie, with the title song over the end credits joined
by a few other songs placed throughout the film's first half. But the
songs in
Ghostbusters: Afterlife don't carry big fantasy
sequences like they did in 1984, forcing more heavy lifting onto the
composer of the original score.
Initially, Jason Reitman explored hiring a composer for
Ghostbusters: Afterlife who could capably blend the sound of
Elmer Bernstein and classic fantasy music of the 1980's, and his usual
collaborator, Rob Simonsen, wasn't the natural fit for the assignment.
But Simonsen, himself a massive enthusiast of 1980's film music, took it
upon himself to write a seven-minute suite of music inspired by
Bernstein's
Ghostbusters score, revising the sound into more of a
dramatic realm, and recorded it with a full orchestra. This impressive
work, some of which ultimately inspiring the final score, earned
Simonsen the job. From there, he and Reitman strategized about how to
make the score sound authentic to
Ghostbusters while also
enhancing the fantasy and drama aspects that were largely lacking or
brief in that work. They decided against two possible avenues quickly:
modern synthesizers and enhanced bass. For the former, Simonson employed
only synthesizers that were used in the original, largely a Yamaha DX7.
He also managed to hire regular Bernstein performer Cynthia Millar to
reprise her duties on the ondes martenot, the French keyboard variation
of the theremin that was ubiquitous in Bernstein's career and especially
in
Ghostbusters. For the latter, the bass element, Simonson
sought to utilize brass in ways to enhance the bass without artificial
augmentation, going so far as to hire Peter Bernstein, Elmer's son and
the orchestrator of the first score, along with William Ross to advise
on how to accomplish this task. The prominent tuba presence in the work,
including the trademark blurts of the original, may be a result of this
partnership. Extremely precise piano techniques, an actual source
application in the first film, are also no accident. Simonsen and
Reitman explicitly resurrected the sounds of 1980's fantasy, action, and
drama from John Williams, Alan Silvestri, and James Horner, the score
often serving as just as much a tribute to their famous works of the era
as it is to Bernstein. Add into the mix three of the themes from
Ghostbusters and you have an ultimate nostalgia score for an
ultimate nostalgia movie. It's safe to say that if a viewer is bothered
by how backwards-looking this film really is, then the music may be just
as much an irritant. But for those listeners who appreciate when extreme
care is taken to preserve and expand upon a vintage sound, Simonsen's
remarkably overachieving result will be an absolute delight.
Veteran film music collectors will notice more than just
an overwhelming dose of Bernstein in
Ghostbusters: Afterlife. The
action rhythms are a pure reference to Alan Silvestri (and mainly
Back to the Future), the mystery passages are reminiscent of
James Horner's fantasy techniques (especially in woodwinds), and the
outright drama at the end pulls at the John Williams heartstrings a la
E.T. The Extra-Terrestrial. An occasional side-reference to Jerry
Goldsmith also occurs at times. One side effect of maintaining the tone
of Bernstein's score is that the fantasy and drama parts may seem
somewhat sparse to a few listeners, as though striving for the depth of
Horner's sound but not actually achieving it. The Silvestri emulation is
more successful, however, the snare-driven rhythms of "Trap Him" a
definite highlight. Interestingly, these cues in the score aren't always
thematic, "The Plan" and "Suit Up" featuring solid rhythmic and
percussive material that stand well on their own. At times, Simonsen
does reference Bernstein's own limited action music, as in the Slimer
hotel hallway attack on Peter Venkman reprised at the outset of
"Protecting the Farm." In other cues, the composer resorts back to
Bernstein's comedy techniques from beyond
Ghostbusters,
"Summerville" serving as pure Bernstein Americana humor. Each of these
moments is handled exceptionally well as translated into the chosen
orchestral palette for this recording. His handling of themes in
Ghostbusters: Afterlife is downright superb, the composer
bringing back three of the four main themes from
Ghostbusters and
writing a handful of new tunes led by a highly effective theme for the
Spengler family. Bernstein's main theme from the original film is
quirky, to say the least, but Simonsen manages to reprise its original
character several times but also allow it to evolve into a dramatic
identity as well. Secondary themes for the supernatural and Gozer's
arrival also return, the former adapted heavily as a mystery motif.
Simonsen does not reference the love theme for Venkman and Dana Barrett;
their one scene together is a mid-credits cameo specifically meant to
cut off the credits music. The original themes include the Spengler
family theme, its "ghost call" variant, a more general fantasy motif for
the Summerville hauntings, and various minor motifs for specific plot
elements. The keen connection between the Spengler family theme and the
ghost call motif is a splendid narrative technique by Simonsen.
The new themes in
Ghostbusters: Afterlife speak to
the heart of the tale's younger generation, and it's here that the
composer requires some patience of the listener. The pairing of the
Spengler family theme and the ghost call motif isn't obvious at the
outset, the story only explaining them in the final third of the
picture. The primary new identity is that family theme, a single phrase
from which makes connections to Egon during his frantic chase at 2:07
and 3:27 into "Trapped" to open the film. It returns in hints during the
middle of "Under the Floor" and underneath Bernstein's mystery theme in
first half of "Laboratory." A slight fragment is heard at 0:30 into
"Mini Stay-Pufts," with more prominent brass allusions later in the cue.
A bit more cohesion comes to the theme on strings and woodwinds at 3:45
into "Down the Well," and a quick reference shines at 0:40 into "The
Plan." Fuller lines of the theme serve as an interlude to action at 1:39
into "Getaway." The idea finally achieves its true purpose in "Callie,"
building from a tender harp rhythm early to a major performance at 1:28.
As the family battles Gozer, Simonsen shifts the theme to massive drama
at 0:12 into "Showdown" and reveals a strong second verse to the theme.
Its presence dominates the second half of "Reconciliation," overlapping
with Bernstein's main theme at 2:24 and taking the tone of vintage John
Williams string drama at 2:40. The theme repeats several times at the
climax of the cue in very attractive iterations. By this cue, Simonsen
also makes clear that his ghost call motif is actually a shortened and
accelerated version of the family theme. He uses this motif to denote
the ghostly presence of Egon throughout the first half of the movie, and
it therefore also represents his gadget, the P.K.E. Meter, that the
family uses to track his presence. The motif is almost always called on
flutes, sometimes extending to lower woodwinds, and its innocence has
all the hallmarks of a James Horner technique. It is teased in
foreshadowing at 2:07 into "Trapped" but really makes itself known
throughout "Dirt Farm" and at 0:32 into "Under the Floor" on flutes and
then the lower winds. It concludes "Research," opens "Laboratory," and
is resolved on flute at 0:52 into "Reconciliation" as Simonsen reveals
the motif's purpose. Some listeners might argue that these two ideas are
not clearly delineated enough in the score, but given the airtime that
the composer affords to the Bernstein themes, his handling of the family
material is about as adept as possible. You also have to accept that the
theme is largely fragmentary by design until the final scene, as the
Spengler family is certainly not at peace before that point.
Simonsen explores a few secondary original motifs in
Ghostbusters: Afterlife, though none is particularly memorable.
He devises a new fantasy theme that is essentially a cooler, more fluid
version of Bernstein's Gozer material. It's subtle but promises
potential at 0:47 into "Research" and comes forth in "Down the Well,"
vague hints early leading to its fuller phrasing at 0:34. Simonsen
allows the full ensemble to glorify the theme at 1:33 into "No, I'm
Twelve" and at 2:09 into "Callie," expanding it even further to include
pipe organ at 0:18 into "Protecting the Farm" and aiding the Bernstein
Gozer crescendo at 2:53. Other unique motifs in
Ghostbusters:
Afterlife include the descending phrases of a mischief idea at 2:11
into "Mini Stay-Pufts" and a secondary character theme that consolidates
at 1:20 into "Reconciliation" with extraordinary Williams-like
melodrama, perhaps setting up a purpose for that identity in possible
sequels. Otherwise, the score is dominated by the three existing
Bernstein themes, the main idea receiving far more development and
exposure in this film than it ever experienced in 1984. Previewed at
4:28 into "Trapped," it toys with the end of "Dirt Farm" and its
underlying rhythm is cutely inverted at the start of "Chess." As relics
from the original Ghostbusters become more prominent, so too does the
theme, a fuller rendition on solo horn at 2:00 into "Under the Floor"
leading to other sections carrying the idea's secondary phrases. The
iconic piano rhythm pops up in "Nice Replica" and becomes playful at
0:53 into "Culpable." It's applied as smart counterpoint to the ghost
call motif early in "Laboratory" before becoming soothing later, as
Egon's cool lab is explored. Bernstein enthusiasts will love "Lab
Partners," which offers the rhythm and theme in a clunky, honky-tonk
variant with a fantastic persona, developing into the fullest version of
theme with the entire midsection intact. The theme shifts to heightened
action mode at 0:39 into "Definitely Class Five" and exciting fragments
open the chase of "Trap Him" and inform the rest of the cue. The latter
cue is an undeniable highlight of the score, switching from Bernstein
and Silvestri influences to Williams'
Jurassic Park mode with
timpani in its second half. Toyed with early in the melancholy "Don't Go
Chasing Ghosts," the main theme takes redemptive shape on solo horn in
that cue. Action heroics await the theme at 1:26 into "Getaway," and a
good rise of major-key resilience occurs at 3:34 into "Protecting the
Farm," followed by a snippet of the comedy rhythm. The theme's
transformation into an action identity is solidified in this cue,
Simonsen expertly altering the final chords of each of the theme's first
two phrases to bring new usefulness to the idea.
Bernstein's main theme really excels with Simonsen's
new underlying chords in
Ghostbusters: Afterlife at 0:39 into
"Showdown," the identity soaring to dramatic heights never contemplated
in the original film. This shift translates into sappy, Horner-inspired
drama at 0:29 into "Reconciliation" but returns to its native form at
2:02, the comedy rhythm and theme enjoying a light, glittery performance
together. The majesty of
E.T also impacts this theme at 3:50 for
a massive sendoff and in the solo horn and woodwinds that close out the
cue with noble resolution. Bernstein's ascending mystery theme for the
supernatural is liberally applied throughout
Ghostbusters:
Afterlife as well, menacing at 3:54 into "Trapped," light on the
ondes martenot at 2:38 into "Dirt Farm," slightly ominous at 0:35 into
"Chess," opening "Research" on low strings, and hinted in the middle of
"Under the Floor." It's understated but spooky at 0:48 into
"Laboratory," opens "Go Go Go" in frantic chasing mode, is tentative at
2:33 into "Down the Well," starts softly at 0:22 into "The Temple
Resurrected" (and later mingles loudly with the Gozer theme), extends
the suspense early in "No, I'm Twelve," is kicked into action mode at
0:47 into "Getaway" and 3:06 into "Protecting the Farm," the latter with
ondes martenot in full force, and the triumphant ending of "Showdown"
literally conquers the theme. Meanwhile, Bernstein's corny but fun,
rising Gozer theme is faintly hinted at 0:47 into "Dirt Farm,"
foreshadowed at the end of "Research," achieves its destined pompous
fanfare at 0:27 into "Culpable," and litters much of the score from 3:24
into "Trap Him" to soft shades at 2:02 into "Don't Go Chasing Ghosts,"
but it's the bravado of its massive performances that reign, as at 0:59
into "The Temple Resurrected" and twice at 0:32 into "No, I'm Twelve"
with even more force. Variants of the Gozer theme culminate at 2:23 into
"Protecting the Farm" and again near the cue's end. The score's vintage
Gozer references may seem overblown in the movie, but that's the whole
point. When you hear the ghost-annoying piano technique for the opening
logos, you know exactly what type of score Simonsen devised for
Ghostbusters: Afterlife. On album, there are slow parts to the
experience, but even there, the composer maintains an intelligent blend
of history and narrative. The recording may sound sparse to younger
listeners, but the lack of booming bass was the whole point here. A CD
option exists for the score-only presentation; neither the end credits'
Ray Parker, Jr. franchise song or actress Mckenna Grace's mediocre
"Haunted House" is included. Simonson's work is a mixture of brilliant
adaptation, dedicated authenticity, loving nostalgia, and a hearty
narrative, all of which more satisfying than anyone could have
expected.
***** @Amazon.com: CD or
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The insert includes a note from the director about the score, as well
as a list of performers.
