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| Howard |
Jungle Cruise: (James Newton Howard) Anyone who has
braved the Jungle Cruise attraction at Disneyland through the decades is
well aware that it's a relative yawn-fest if not for the eye-rolling,
pithy commentary by each boat's guide, the animatronics and other
special effects of the ride appealing mostly to little ones. As far back
as the early 2000's, Disney saw a feature film as a way to revitalize
the attraction, and after more than a decade of toil and pandemic
delays, 2021's
Jungle Cruise is the result. The film literally
translates the whole concept of the ride onto screen in its opening
parts, 1916 boat guide Dwayne "The Rock" Johnson delivering expectedly
amusing banter while coordinating with local tribal actors to excite
affluent guests on his Brazilian steam-driven river boat. His character
has a much more complicated backstory, however, one illuminated when
Emily Blunt's headstrong botanist from London, along with her helpless
brother, arrive in the Amazon in search of a mystical tree of life. The
adventure story involves 16th Century conquistadors, a German prince in
a U-boat, and a range of other human and animal characters both dead and
alive. The haphazard plot relies heavily upon the chemistry between the
two leads, Frank and Lily inevitably destined for romantic
complications. Their triumph in the plot and in the film's earnings led
Disney to quickly announce a sequel for the duo and the principal crew.
With no substantial source song applications,
Jungle Cruise
required more than two hours of music from Disney veteran composer James
Newton Howard, who had the fortune of recording the immense score just
prior to the pandemic lockdowns of 2020. The 99-member orchestral
ensemble, joined by a 40-voice choir, was the last to record at Sony's
stage prior to the restrictions, though Howard continued to work on
specialty overlays thereafter. The scope of his score is exactly as one
would expect, with Brazilian percussion, panpipes, acoustic guitar, and
tasteful synthetic effects combining with the main performing groups to
yield a modern take on a vintage swashbuckling sound. Had the soundtrack
contented itself with that formula,
Jungle Cruise could have been
destined for greatness. Sadly, a Disney executive stepped in.
The idea of having the heavy metal band Metallica
contribute music to a Disney film had been bantered about for many
years, and Disney production president Sean Bailey felt that
Jungle
Cruise was the right place to incorporate them. When you look at the
storyline and the personality of the film score, this decision doesn't
make any sense, of course, but Howard, a former rock arranger and
producer in his day, was the right man to attempt the adaptation of
Metallica into the soundtrack. For their part, the band (in this case,
the endeavor led by drummer Lars Ulrich) was thrilled to be working with
Howard and trusted his approach to reworking their song, "Nothing Else
Matters," into an instrumental version for use as one of the score's
themes. Astonishingly, Howard succeeded brilliantly in applying the
melody from the song to the two conquistador flashback sequences in the
film, the former scene and first two minutes of the latter scene
applying the song on acoustic guitar and choir with spectacular effect.
Unfortunately, the later scene of the conquistadors murdering members of
a Brazilian tribe in their effort to obtain an artifact devolves into a
slow-motion music video for which the score adds roaring percussion and
electric guitars from members of the band, and the overbearing, modern
coolness of the sound could not be more inappropriate for the setting,
time period, and, most importantly, emotional feel of the scene. In
essence, the Metallica presence in this scene makes the slaughtering of
tribesmen and women sound cool, and it's a highly disturbing and
disqualifying scene as a result. This two minutes of score overshadows
almost everything else provided by Howard for
Jungle Cruise,
diminishing all his other achievements due to a single, terrible
spotting decision. That said, if you subtract the latter half of that
second "Nothing Else Matters" flashback cue, the rest of the score,
including Howard's more low-key adaptations of that same song, is
compositionally sophisticated and remarkably entertaining. In general,
the composer's approach to
Jungle Cruise mimics both his
magnificent fantasy mode and children's adventure mode together with a
dash of romance. The exuberance conveyed in much of the score is what
sets it apart from the work's natural siblings in Howard's career. It's
clear that the intent here was to whip up a rousing dose of fun.
While some listeners may prefer the more heavy-handed
fantasy personality of Howard's past,
Jungle Cruise most closely
follows the rubric of the
Fantastic Beasts and Where to Find Them
scores, the full range of skittish comedy, sincere drama, breakneck
adventure, romantic teasing, and flowing fantasy all inhabiting a
whirlwind of a score. Listeners inclined to follow the development of
themes are required to work a little harder to uncover Howard's
narrative development, but his ideas typically end up in a good place by
the end of the story. Whereas the totally robust orchestral presence of
this score shines well beyond Howard's just previous
Raya and the
Last Dragon, some of the score's highlights come with the
application of the percussion, guitars, and pan pipes. There is just
enough exotic flavor to suffice without becoming distracting. More
intriguing is a potential bleed-through of temp track influences on cues
of singular motific development, with hints of everything from John
Williams' desert chase from
Raiders of the Lost Ark's ("The
Rapids") to Patrick Doyle's train material from
Murder on the Orient
Express ("I Built a Boat") and a bevy of early, playful music for
Lily that ironically sounds perfect for
Mary Poppins mischief.
(One could argue that the chipper main theme of the picture would be a
perfect match for a
Mary Poppins song melody.) The sneaking
animal-related music wraps back to the equivalent cues in
Fantastic
Beasts and Where to Find Them. All of this material is performed and
mixed extremely well, speaking to the benefits of recording full
ensembles in the same room. For film score collectors disappointed by
the lack of really well-balanced and nuanced orchestral recordings
during the pandemic lockdowns,
Jungle Cruise is a resounding
treat in its ambient scope. Howard's purpose was to resurrect the
high-flying orchestral spirit of yesteryear to match the film's vintage
charm, confessing, "It has a wonderful retro feel, like an adventure
movie from the 1940s... it was immensely gratifying." He responded by
composing three dominant themes, three secondary themes, and three
motifs closely targeted at specific scenes or minor concepts. The most
interesting aspect of his thematic choices was the establishment of
separate but similar themes for the leads, Frank and Lily, before
blending them into one common identity for their shared goals and
exploits.
Howard arranged a fantastic "Jungle Cruise Suite" for the
end credits that rotates through eight of the film's themes and motifs,
and this cue opens the album. (There do seem to be some differences
between the credits edit and the album's version.) The primary franchise
theme for
Jungle Cruise is a jaunty, march-like series of
three-note phrases heard first at 0:46 and 1:14 into "Jungle Cruise
Suite" before a brassy rendition takes center stage at 3:14. On screen,
the theme serves as the main title announcement on brass at 0:08 into "A
Steamer to Brazil" before panpipes and others take the idea for the
remainder of the scene. The theme, while rooted in Frank's cruises,
becomes a general representation of heroics and escape by the exuberant
chasing at 0:46 into "Market Chase" and the all-out action at 0:14 into
"Sub Attack." The latter cue offers the theme at 1:47 for the
victorious, explosive finale to the scene. The idea takes a propulsive
but hopeful and lighter tone at 1:24 into "I Built a Boat," adapting to
a moment of brief glee once back in action at 2:21 into "Conquistadors
Arrive." The theme's figures inform later action in "One Last Cruise"
and shift to a sense of longing and survival by 1:32 into "I Want You to
Rest Now," a solo oboe passage for the theme especially effective. By
Frank's revival, the idea returns to stately horns at 2:46 into that
cue, and the full ensemble resolves it at 3:05. In the epilogue, the
theme returns in its stately form but reprises its original playful,
panpipe personality for Frank's driving, this time in a car instead of a
boat. Some listeners may assume that Frank's own theme, which is often
intertwined with the main theme for the concept, is itself the movie's
primary identity. But it does serve to underline the character's wild
antics rather than the main theme, which instead is focused more on
Frank's perceived sophisticated sense of coolness. Frank's theme is
heard at 0:10 and 1:33 into "Jungle Cruise Suite," though a solo horn
performance at 7:31 sets the stage for several subsequent reprises on
that instrument to represent the character's wish to escape his
lifestyle. The theme extends directly out of the score's secondary
adventure theme at 0:43 into "Jungle Cruise" and is caught up in
frenzied chasing at 0:34 and 1:10 into "Market Chase" before taking a
big, victorious march-like form at 2:34. The theme smartly loses footing
in fragments during "The Rapids" but starts reasserting itself by the
background trumpet action at 1:19 into "The Tree Fight."
Howard's fascinating transformation of Frank's theme in
Jungle Cruise really starts to take hold as he and Lily converge
on their targeted destination in the story. The theme is simplified to
horn once again at 0:57 into "La Luna Rota" and extends in that manner
at 3:19 into "Underwater Puzzle," by which time this slower take really
starts to meld with Lily's theme. A return to wild action mode awaits at
0:17 into "Conquistadors Arrive," a larger, more elegant, and very brief
reference following at 1:00. Opposite the main theme, the solo horn
version of Frank's theme opens "I Want You to Rest Now" and is
sentimental on strings by 1:16, only partial phrases utilized by Howard
to denote the lost character. Much of Frank's theme is supplanted by the
love theme thereafter, though by 0:30 into "Absolutely Exhausting,"
Howard allows the idea some sudden, frantic fun to close out the film.
That love theme is somewhat elusive in its opening phrases, though its
secondary ascending phrases can offer a touch of pure James Horner and
Jerry Goldsmith wonder depending on how it is performed. The structure
of the theme almost makes one think that the interlude phrases of the
identity are conveyed prior to the main melody itself, which may make it
a little challenging for some listeners to identify. Ultimately, though,
it's the tone of this theme that matters, and Howard presents it at 2:00
into "Jungle Cruise Suite" and more whimsically at 6:54. It takes a
while for this theme to emerge, understandably, as the characters spend
much of the first half of the film bickering with one another. Howard,
for instance, only references semi-relevant fragments during the
spritely "Preparing to Set Sail." The idea finally starts to emerge in
the frantic action at 1:18 into "The Rapids" and informs the romantic
relief to end the cue. The theme begins working its magic throughout the
pretty "Encantado," a cello rendition that is particularly lovely. It
turns playfully coy at the start of "Lily Snoops" and starts its deeper
duties on strings at 0:10 into "Lily Finds Frank." Howard chose to open
"I Built a Boat" with this theme on woodwinds and piano, an interesting
suggestion that Frank's feelings for Lily are compelling him to open up
about his cursed past. A brief but sensuous release for the theme occurs
during the aftermath at 3:01 into "Underwater Puzzle" (but not during
the necessary underwater kissing preceding, another intriguing choice),
while it's very slight on strings at 1:16 into "Conquistadors Arrive."
Howard allows a massive ensemble and choir resolution for it at 2:09
into "I Want You to Rest Now."
Of the secondary themes in
Jungle Cruise, none is
more interesting and perhaps disappointing than Lily's theme. Her idea
is clearly connected to Frank's structurally, so much so that Howard can
effectively merge them as the two become a team. But Lily's theme is a
more impatient, simple, and linear variant of Frank's progressions,
accurately suggesting musically that he is the more complicated
character. As such, we only hear Lily's theme in the first third of the
score before it sadly departs, a shame given that her variant on the
general idea is more fluidly enjoyable in a romantic sense. The "Jungle
Cruise Suite" presents her theme at 0:30, and only two cues featured on
the album move it along. Upbeat, frenetic fragments of the theme are
everywhere starting at 0:12 into "Stop Her!," but the best moment for
her theme comes at 1:29 into "Jungle Cruise," where a redemptive, pretty
statement on strings accompanies Lily's confident arrival in Brazil.
Lily's antics receive their own adventure theme, though the idea could
also represent her and Frank causing mischief together. The six-note
phrase leading this theme is the score's true swashbuckling spirit,
heard at 0:59 and 1:45 into "Jungle Cruise Suite" and debuting in the
score at 0:36 into "Jungle Cruise." It is frantically repeated at 1:23
into "Market Chase" and is afforded a momentous moment of triumph at
2:26 in that cue. A wild rendition returns at 0:43 into "Absolutely
Exhausting." Howard, meanwhile, counters the protagonists with a
surprisingly elusive march for the German, Joachim, pursuing them. The
5-note phrases of this theme ooze Richard Wagner but aren't always
enunciated with the brassy pomp one might expect. Featured at 3:53 into
"Jungle Cruise Suite," the theme starts with playful variants at 2:28
into "Breaking into the Archives" and becomes increasing agitated at
1:22 and later into "Stop Her!," eventually comically twisted in defeat
by the end. Howard doesn't often present Joachim's theme with genuine
malice, though its most menacing moment comes at 0:53 into "Sub Attack"
for almost parody duties during the hilariously preposterous scene. More
impressive is the imposing ensemble performance over swirling insect
techniques at 0:14 into "Joachim and the Bees" and a fluid
deconstruction of the idea for one final performance at 0:12 into "One
Last Cruise." Both the Lily and Joachim themes are underplayed in the
score, and while the former can be explained, the lack of better
enunciation for the main villain identity remains puzzling, especially
considering his hefty screen time.
Three more specific, minor motifs recur in the
Jungle Cruise score, the most substantial of which belongs to the
magical tree, Tears of the Moon, at the end of the film's journey. Its
material is pure Howard, full-ensemble and choir fantasy in the
spectacular mould of
Lady in the Water,
The Last
Airbender, and
Maleficent, hinted throughout the score before
the tree's pivotal scene at the climax. With the "Jungle Cruise Suite,"
he supplies the fullest performance of this idea twice, the suite
assembly introducing the theme at 5:15 before the complete melody
follows at 5:52. The same general rendition for the full performing
group and electronics is realized in the movie at 1:50 into "Petal
Negotiations." Before then, however, Howard teases a fluffy clarinet
version at 2:09 into "Breaking into the Archives" but transitions to a
bit more nobility in its phrasing at 3:17. A passage at 3:37 into "The
Tree Fight" offers similar progressions. A cleverly inverted,
suspenseful version of the theme comes forth at 0:17 into "Underwater
Puzzle" and consolidates into its regular form at 1:45. After the
monumental performance in "Petal Negotiations," Howard allows the
theme's chords to inform the latter half of "Conquistadors Arrive"
starting at 1:49. Ancillary to the Tears of the Moon theme is a rather
hypnotic motif for the arrowhead medallion sought by all the characters
to guide them to the magical tree. In the "Jungle Cruise Suite," this
idea is conveyed at 4:19, though don't expect it to retain the same
exact structure throughout. Howard instead relies on the underlying
chords and woodwind and percussion textures to define this motif,
including at 0:33 into "Breaking into the Archives." It is hinted in
inverted form early in "The Rapids" and has its phrasing rearranged
again at 0:40 into "La Luna Rota." Only at 0:53 into "Petal
Negotiations" does the motif's total incarnation flourish on flute as
the medallion is properly placed to activate the tree. The final lesser
motif in
Jungle Cruise belongs to Paul Giamatti's comic relief
character, Nilo, who is in charge of port from which Frank operates.
It's not a well-defined motif, tangled throughout "Nilo" and shades of
its underlying lines persisting in "Frank Breaks In." It's mixed into
the rhythmic figures of "Sub Attack" before being fully revealed again
at 1:33. Don't expect Howard to return substantively to this theme at
the end when the character reappears. There was something of a missed
opportunity in the relationship between Nilo's theme and Frank
pretending to be Nilo in "Frank Breaks In," Howard not exploring an
interplay between their themes quite as hoped.
The final thematic attributions in
Jungle Cruise
exist for the conquistadors cursed for centuries, both in the "Nothing
Else Matters" adaptation and a motif unto their own for their
contemporary, nasty, ghostly selves in Howard's score. The latter dark
motif consists of rolling, ascending brass figures over choir and guitar
heard most prominently at 0:20 into "The Tree Fight." (Any music written
for their underground resurrection scene prior is not on album.) The
outlines of this material recur in "La Luna Rota" and "Conquistadors
Arrive." The "Nothing Else Matters" adaptation represents only those
characters' past, and the irony of their inclusion is that the first of
the two cues is really fabulous on screen and album. Heard over the
Disney castle logo and the opening scene, this initial version conveys
lovely female vocals over the guitar, percussion, strings, and choir.
It's fabulous work by Howard and proves that he would have made an
excellent composer for
Coco. This mode continues for the first
two minutes of the second cue before the full Metallica guest appearance
ruins the moment. Howard doesn't make much attempt to carry over the
song's melody to the score proper, though a potentially related,
dramatic choral passage ensues at 3:39 into "The Tree Fight." The only
other musical identity of note in
Jungle Cruise exists for the
(now female) Trader Sam character, her soft pan pipe, guitar, and
woodwind theme a dainty but pleasant diversion for her supporting role.
Confined to "Trader Sam," this music is appended to the "Jungle Cruise
Suite" at the conclusion of the film's end credits, which is a strangely
low-key way to send off the score. Despite the movie containing over two
hours of music, the 73-minute album conveys all the vital performances
and does not suffer any blatant omissions. The product's narrative is
strong even with all the rowdiness and frantic pacing of the many action
cues. Ultimately,
Jungle Cruise represents most of what his
collectors love about Howard's writing, reminding of the scope and tone
of
Fantastic Beasts and Where to Find Them in the best of ways.
The score doesn't provide its themes with the same shamelessly
extroverted, easily identifiable character in all expected situations,
but the main theme definitely excels at the catchiness factor. Any
chance this score had to earn a top rating vanished with the heinously
inappropriate rock intrusion during the second "Nothing Else Matters"
cue, however, a tremendous frustration given how well Howard adapted the
Metallica song into its softer incarnations. One can only hope that a
wayward Disney executive won't interfere next time if Howard returns for
the franchise's continuation.
**** @Amazon.com: CD or
Download
| Bias Check: |
For James Newton Howard reviews at Filmtracks, the average editorial rating is 3.41
(in 66 reviews)
and the average viewer rating is 3.42
(in 79,185 votes). The maximum rating is 5 stars.
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