Still, the music in many such Horner children's
ventures sounded as mature as in most of their adult-aimed counterparts,
and for
Honey, I Shrunk the Kids Horner once again contracted the
services of the London Symphony Orchestra. The ensemble is resounding
and robust in nearly all corners. But more so than in many of his
subsequent scores in the genre, this entry is distinctly rooted in the
silliness of an unpredictable, overblown, cartoonish atmosphere. In
fact,
Honey, I Shrunk the Kids is precisely the kind of exuberant
children's score that could drive a grown person insane after prolonged
exposure, especially with the bevy of percussive madness aiding slurred
saxophone and brass performances. There are three basic parts to the
score, and Horner rotates between them equally by the work's conclusion.
First comes the wild primary theme of vintage swing, emulating Raymond
Scott's 1930's work that itself inspired much of Carl Stalling's later
Warner Brothers cartoon material. This frantic theme represents Moranis'
character and his quirky inventions, serving a healthy dose of wacky,
uncontrolled personality to the film. Aided by saxophone, harmonica, and
electric organ, this idea was often brushed aside at the time as a
fanciful imitation of Nino Rota's music. (Even famed critic Roger Ebert
made this comparison, dismissing Horner's work as being "no help,"
"familiar," and a "retread.") Some of the underlying piano rhythms in
this theme's snazzier performances are highly suggestive of Danny
Elfman's early music, especially the
Pee Wee scores and
Beetlejuice, and these similarities may prove very distracting
for a learned collector. The second part of
Honey, I Shrunk the
Kids would tend to promise more to a collector of Horner's music,
for it is a lightly dramatic theme for the bonding of the children and
their families. Heard as a bridge in the main theme, this idea is
romantically conveyed in "Night Time" and "Thanksgiving Dinner," both
cues using a lovely accompaniment by Horner's usual exotic woodwind
textures and solo horn solace. The end credits performance of the idea
particularly stands out. Unfortunately, this theme is completely generic
within the context of the composer's career and offers little in terms
of extended arrangements to which to become attached.
The final part of the score for
Honey, I Shrunk the
Kids is Horner's action material, which ranges from ominous passages
of the pounding of a rather anonymous motif on brass and pipe organ to
the spirited imitation of Aaron Copland's "Rodeo" that was heard in
several scores from this period in Horner's career. Both sides of these
action ideas are conveniently summarized in "Ant Rodeo," one of the
score's more vibrant attractions. The difficulty with the entirety of
the score for
Honey, I Shrunk the Kids is that, like some of
Horner's later children's adventures, these parts never completely merge
into a convincing or memorable whole, rarely overlapping with purpose.
The zany primary theme is so dominant in the score's personality,
overwhelming action cues in its regular use, that the other elements,
all of which at least sufficient if not recommended for repeat
enjoyment, are brushed aside. Some listeners may not survive the first
ten minutes of the listening experience, a period totally overwhelmed by
this theme's silly incarnations. Generally, the score serves its purpose
well in context, though with a plot as wild as this one, that doesn't
guarantee a completely tolerable album presentation. It is indeed a
score that requires a certain mood and, at times, a healthy dose of
patience. The music was circulated in the form of a rather common
bootleg with other Horner scores starting in 1999 before Intrada Records
cleaned it up, added fifteen or so minutes, and pressed 3,000 copies of
the work officially in 2009. In 2024, the label returned to expand and
remaster the presentation once again for another limited run. Added for
that album is the pleasant but anonymous "A Long Way Home," the totally
manic "Bee Flight/After the Bees" that features a moderately dramatic
conclusion, and the cute extension of the bonding theme in "Letting
Antony Go." A trio of short extra cues closing the product includes some
notable continuation of the score's themes, and it's unfortunate that
these tracks were not placed in the otherwise chronological ordering of
the music. Even with these extra cues, the entire score only amounts to
just over an hour in running time, but the sound quality on that 2024
product is absolutely superb. Unfortunately, neither Intrada album
includes the relevant
Tummy Trouble animated short music also by
Horner. On any album, approach the score cautiously and with a mood for
the zany.
@Amazon.com: CD or
Download
