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| Zanelli |
Maleficent: Mistress of Evil: (Geoff Zanelli/Various)
Although it annoyed film critics with its underlying
commentary on rape and capitalism, 2014's
Sleeping Beauty
spin-off,
Maleficent, was a hit with audiences. Turning the
classic film's villain into the protagonist was a twist well worth
exploration, and 2019's direct sequel,
Maleficent: Mistress of
Evil, further explores the relationship between Queen Aurora and
Prince Phillip that proved to be the red herring of the prior story. As
Aurora's adopted mother, Maleficent must reconcile that the two
youngsters are to be married, and the mother-in-law in this case is more
than a handful. With most of the cast returning despite a changeover in
crew for
Maleficent: Mistress of Evil, Michelle Pfeiffer steals
the show as Prince Phillip's conniving mother, Queen Ingrith, a truly
evil bitch of epic proportions who plans to use her kingdom of Ulstead
to destroy the fairies despite the marriage of her son to the queen of
the Moors. All-out war ensues, and Maleficent leads a band of hidden
"dark fey," her kindred, against Ulstead to save themselves and the
fairies of the Moors. The film allows Angelina Jolie to expand the
expressiveness of her titular character, though the visuals suffer from
poor continuity in their major effects sequences. With the arrival of
director Joachim Ronning to this franchise, his collaborators from
2017's
Pirates of the Caribbean: Dead Men Tell No Tales were
brought to the table, and one of these was the highly capable composer,
Geoff Zanelli. The score for
Maleficent by James Newton Howard
was a classic success, among the best of its year and containing some of
that composer's most outstanding melodic passages of the 2010's. There
is no indication that Howard was even asked to return for
Maleficent:
Mistress of Evil, Zanelli hired to do what he has done for countless
Hans Zimmer and John Powell scores since the 1990s: write music in
someone else's shoes. Although Zanelli had won an Emmy award for his own
musical voice by this point in his career, his paychecks had definitely
been earned by adapting others' styles into additional music for
blockbuster films. Such is the case once again with the
Maleficent franchise, and his talent, as well as that of
co-writers Phill Boucher and Zak McNeil, is reflected in the surprising
quality of his score for the second film.
When James Newton Howard is in top fantasy and adventure
form, few composers can compete with his output. Zanelli has somehow
managed the near-impossible by writing not only in Howard's voice for
much of
Maleficent: Mistress of Evil but also expanding upon that
base with compelling new identities and instrumentation for the
continuing story. It's challenging enough to emulate Howard in any
circumstance, but to do so in the context of a sequel requiring a blend
of old themes and new is even more daunting. A novice listener would not
be able to tell the difference between Zanelli's output here and
Howard's prior entry, Zanelli's phrasing, orchestration, and choral
usage all masterfully emulating Howard at every turn. There are hints of
other influences at times, but they are never distracting enough to
merit worry. The composer and director decided early on to reprise the
usage of Howard's themes from the first film, and at least seven of them
do return. More impressively, though, is the addition of seven all-new
themes, making
Maleficent: Mistress of Evil a melodically complex
and satisfying tapestry with a clear and compelling musical narrative.
The base instrumentation employed by Zanelli is comparable to Howard,
the full and vibrant orchestra joined by a diverse percussion section
and seemingly omnipresent choir. Key solos for piano and woodwinds exist
throughout, though Howard's solo boy vocals are dropped. Zanelli
approached the instrumentation with zealous over-achievement, addressing
the characters of the story with sounds sensible to their culture. The
"dark fey" species of Maleficent's heritage is, of course, adverse to
iron and can be destroyed by it. Zanelli thus constructs his dark fey
themes and supplemental underscore without any metallic percussion aside
from inevitable light chimes used as always for a sense of magic.
(Expect some beefy brass to still convey the fey theme; it would have
been interesting to hear Zanelli do without even that.) For these
characters, Zanelli brings a range of exotic woodwinds, duduk, and drums
into the equation for a primal feeling. Conversely, the Queen Ingrith
and Ulstead material is heavily metallic in its percussive applications,
a dulcimer aiding in the abrasive sheen of that realm. Meanwhile, the
fantasy element is addressed by a Howard-like adult choir in a typically
supporting role, expressing frequent whole-note accompaniment rather
than chanting at the forefront.
The emotional range of Zanelli's music for
Maleficent:
Mistress of Evil is perhaps more impressive than Howard's preceding
work, the humor and daintiness of early character interactions a
highlight of the sequel. In cues like "What is Going on Here?" and
"Etiquette Lessons," Zanelli allows the score some jubilant interludes
with the innocence of Joel McNeely's flighty
Tinker Bell scores.
On the other hand, Zanelli never does express the massively melodramatic
monstrosity of Howard's most powerful sequences, particularly his
monumental "Maleficent Suite," and listeners will likely find this
sequel a step behind its inspiration because of that diminishment alone.
But
Maleficent: Mistress of Evil has more than enough force of
will to stand well on its own, mostly because of its intense loyalty to
the themes by both Howard and Zanelli. Howard's assignment of themes in
Maleficent was always up for debate, especially in the
squishiness of melodies applied to both Maleficent and Aurora, and
Zanelli offers some clarification (or re-interpretation) in the sequel
by applying Howard's more nebulous, lighter character ideas a bit
differently or outright replacing them with similarly structured but
more cohesive alternatives. Returning are both the primary and auxiliary
curse themes, the main one going so far as to keenly inform the new
Queen Ingrith theme. Also to be heard are Maleficent's main theme and
her motif of evil, the former barely touched upon before the finale but
the latter expressed liberally throughout. The romantic material for
Aurora and Maleficent's softer identity returns, though these themes are
stated in somewhat counterintuitive placements until you accept that
Zanelli has sought to give them different meaning here. More prevalent
in the work are new themes for the dark fey, including a main idea and a
secondary war motif, and dual identities for Ulstead and Queen Ingrith,
the latter eventually usurping the former as one might expect. Her
scientific goblin, Lickspittle, receives a little motif of ominous
mischief. Anchoring the score, however, are the fresh themes for Aurora,
a new one for her and the Moors finally consolidating her musical
identity into what could be considered this sequel's main theme. And, of
course, after Howard intentionally left
Maleficent without a love
theme for Aurora and Phillip, Zanelli supplies one as appropriate now,
culminating in the obligatory statements of romantic drama for both the
proposal and wedding scenes.
Before proceeding with discussion about the themes from
Maleficent: Mistress of Evil, a complaint must be made against
Disney's album for the score, as the thematic narrative is hindered
considerably by its omissions. Only 69 of 105 minutes of music in the
film is released, leaving out a huge portion from the first third of the
work (all of the Ulstead arrival, banquet, and king curse scenes). Both
the Maleficent and curse themes are thus underrepresented on the album.
The curse theme by Howard was made up of two parts, first the hypnotic
series of two note phrases in a choral crescendo and secondly in the
dramatic motif for the casting of the spell itself as heard at the end
of "The Christening" in the prior score. Both are applied by Zanelli
here and not always as expected. The primary curse theme is co-opted by
Ingrith's character for her theme, a clever acknowledgement of connected
plotlines, and at 2:18 into "Ulstead" and 1:21 into "All He Wanted Was
Peace," you get the two ideas clearly merged. The latter statement is
especially sly. The most obvious use of the curse theme in
Maleficent: Mistress of Evil is during the banquet scene, and
this pivotal sequence, although relying heavily on Howard's
arrangements, is absent from the album. After a cameo in suspense mode
at 1:41 into "Protecting Our Kind," the idea gets a full airing during
the resurrection scene at 1:48 into "The Phoenix," Zanelli adding a
snare drum to the rhythm for additional militaristic implications. The
secondary casting of the spell motif is heard during the protagonists'
first, rather unconventional arrival at Ulstead (not on the album),
during the banquet curse scene (as another red herring), and to herald
the Ingrith/Maleficent confrontation at the outset of "The Phoenix." As
Maleficent lightens up at the wedding, Zanelli responds with some brief
humor for the curse theme at 1:35 into "Time to Come Home." From the
same origins of the curse material is Maleficent's theme of evil, and
this idea gets ample representation here, starting with the scene in
which Maleficent flies to confront Aurora about Phillip's proposal and
the aforementioned banquet scene. (Neither cue is on the album.) By
"Maleficent Returns," the theme is in full battle mode (0:58, 1:21,
4:29, and 4:49), and its rhythm extends to 4:12 into "The Phoenix."
Zanelli includes the theme at 0:27 into "Mistress of Evil," the opening
sequence to the end credits score suite. A touch of humor also graces
this theme at 0:31 into "Etiquette Lessons," as Maleficent grimly
practices her smile.
Howard's themes for Maleficent and Aurora often bled
together in application, and Zanelli separates them
Maleficent:
Mistress of Evil by marginalizing Maleficent's own theme and moving
one of that theme's phrases to Aurora. The main Maleficent theme does
make two appearances prior to her finale flight sequence that is not
featured on the album. The first comes heroically and briefly at 1:55
into "Maleficent Returns" and the second is a soft choral performance at
1:05 into "Time to Come Home" that is missing one key note in the
melody. A secondary phrase of that Howard theme is a distinctive
descending line that Zanelli shifts over to Aurora for several
statements in the sequel, starting with two pivotal performances in
"What is Going on Here?" After a quick interlude for this phrase at 1:50
into the cue, Zanelli affords it a massively satisfying rendition at
3:56 as the Moors celebrate the prince's proposal. Soft woodwind and
string reprises of this passage are reprised with a slower tempo at 0:42
into "You Don't Have to Change" and 1:19 into "Hello, Beastie." In two
of these performances, Zanelli extends the idea to envelope the Aurora
and Maleficent relationship motif, an extension of the descending
Maleficent phrase heard best late in "True Love's Kiss" from the
previous score. You can hear this carry-over at 1:59 and 4:03 into "What
is Going on Here?" and 0:51 into "You Don't Have to Change," and in all
three cases, the choice by Zanelli to transfer this idea to Phillip is
highly effective. In fact, the exuberant performance of this
kiss-related material at the end of "What is Going on Here?" is a
highlight of the entire franchise. Finally, the other recurring melody
from
Maleficent in the sequel is the celebratory Aurora and
Maleficent friendship theme heard more memorably in "The Queen of
Faerieland" from the prior film. It is reprised for the wedding scene in
"Time to Come Home," first in full and lovely form at 2:21 and later
with gorgeous woodwind counterpoint at 3:45. There are singular passages
elsewhere that feature motifs that don't track to anything else in the
two scores, and yet Zanelli still keeps these moments rooted in Howard's
sound. One such example is a lyrical moment at 0:19 into "What is Going
on Here?" that shares roots with
Waterworld, of all things.
Zanelli's new recurring themes also retain this sensibility, and there's
plenty to like about them. The composer's choice to evolve Aurora's
thematic identity is acceptable because of the character's own
maturation, and Zanelli's repetition of certain figures in this music
follows a similar penchant by Howard.
The new theme for Aurora in
Maleficent: Mistress of
Evil isn't a showstopper, though it, like the new theme for the dark
fey, does utilize some chord progressions reminiscent of Claude-Michel
Schönberg and Andrew Lloyd Webber showtunes that might have made
these melodies well adaptable for a song. Heard first early in "What is
Going on Here?" as dual representation for the Moors, this idea is
afforded a darker variant as Aurora waits for Maleficent to discuss
Phillip's proposal (a cue not on album) and receives similarly somber
treatment at 1:12 into "Etiquette Lessons." After a slight reference at
0:22 into "Pinto's Recon Mission," the idea is deconstructed in despair
at 0:26 into "It's Love That Will Heal You." Its true demeanor returns
at 1:07 into "You Don't Have to Change" before shifting into battle mode
for Aurora at 3:17 into "I've Made My Choice, You'll Have to Make
Yours." A more stoic battle form awaits the theme at 1:26 into
"Protecting Our Kind," turning suspenseful at 2:02 into "Maleficent
Returns" before figuring at the forefront in "The Phoenix." After a
melancholy performance at 0:28 into "The Phoenix," the theme becomes
massively remorseful at 1:01, a solo violin dissolving the melody as
Aurora mourns her loss. Redemption for the theme arrives in "Hello,
Beastie," pretty renditions at 1:51 and 2:49 yielding to a majestic but
brief variation at 3:26. The idea is heard at 1:19 into "Time to Come
Home" as Aurora is supplied her wedding dress, and Zanelli closes the
theme with a compelling exploration after 0:48 into "Mistress of Evil."
Opening that end credits cue is a joyous performance of the
Aurora/Phillip love theme, which is first heard in the film with extreme
playfulness throughout "What is Going on Here?" It returns at 1:31 into
"It's Love That Will Heal You" and with appealing piano at 0:22 into
"You Don't Have to Change." Its references continue at 1:16 into
"Maleficent Returns," 3:51 into "The Phoenix," and on piano once again
at 1:05 into "Hello, Beastie." It takes an almost mystical turn at 1:19
into "Time to Come Home" and receives the heartwarming climax at 4:17
into that cue for the wedding vows. It's not the most obvious of themes
in the larger scheme, as its performances tend not to be overwhelming,
but it functions well enough and is easy to appreciate once you identify
it. Phillip himself doesn't have a theme, but the better side of Ulstead
does. You hear this theme upon first glimpse of the Ulstead castle (not
on album), and opening the "Ulstead" and "Our Fight Begins Now!" cues.
This theme understandably becomes displaced by Queen Ingrith's theme as
she takes control of the kingdom.
One must appreciate the intelligence with which Zanelli
bases the Ingrith theme upon the chord progressions of Howard's existing
curse theme in
Maleficent: Mistress of Evil, for the evil queen
uses Maleficent's sorcery as a decoy for her own rise to power.
Audiences believe that Maleficent cursed the king of Ulstead when, in
fact, his ailment was Ingrith's doing via other means, and Zanelli plays
along with the deception. Her theme is introduced with a bang at 1:14
into "Ulstead," as audiences learn of her plans. The use of the theme
throughout "All He Wanted Was Peace" is a pleasure, ranging from
sinister to humorous. When she's not on screen, her menace is still
felt, as in slight references at 0:35 and 2:27 into "We Have Her," with
oddly noble horns at 2:25 into "We're Dark Fey," and in ominous shades
at 0:08 into "It's Love That Will Heal You." As her armies assault the
Moors, Zanelli juxtaposes the dark fey material with brutal interludes
of the Ingrith theme at 0:29 and 0:50 into "The Dance of the Fey." The
abrasiveness of the brass and percussion in these performances is
particularly raw. A major announcement of the theme comes at 0:57 into
"Our Fight Begins Now!" and is mobilized into battle fragments
throughout "Your Majesty, They're Coming from the Sea" and at 0:56 into
"I've Made My Choice, You'll Have to Make Yours." Repeated dramatic
statements of the theme start at 3:01 into "Maleficent Returns." For
Ingrith's goblin sidekick (Warwick Davis, of course... Why not?),
Zanelli supplies an uneasy rhythmic motif for dulcimer at 3:56 into
"Poachers on the Moors," 1:54 into "Ulstead" (the fullest exploration),
and 1:18 into "Pinto's Recon Mission." The dark fey are given perhaps
the most important theme of
Maleficent: Mistress of Evil, and it
too uses melodramatic progressions suitable for a stage song, shifting
chords under the same repeated phrases in the main melody. Zanelli opens
the film with this theme, the opening logo at 0:05 into "Poachers on the
Moors" receiving a sumptuous performance of the idea over the Disney
castle. The theme doesn't feature in the film until Maleficent is shown
a tour of the dark fey culture in "We're Dark Fey," the theme's only
fantastic fanfare variation existing here. The deep string rhythms
carrying the idea raise memories of John Ottman's backstory for the
giants in
Jack the Giant Slayer. Similarly dramatic shades await
the theme at 0:55 into "Origin Story" and 0:06 into "You Don't Have to
Change." The idea turns powerfully dramatic and ultimately traumatic at
0:17 and 2:40 into "I've Made My Choice, You'll Have to Make Yours," the
latter statement a massive choral and ensemble performance in slow
tempo.
The dark fey theme in
Maleficent: Mistress of
Evil has a few intriguing connections to Jerry Goldsmith, its
fanfare in the middle of "We're Dark Fey" reminiscent of
The Ghost
and the Darkness in its percussion, and the slower brass performance
at 2:32 into "Maleficent Returns" stomps with the spirit of
Baby:
Secret of Lost Legend in its low brass. At 3:53 into "Maleficent
Returns," brief choral sadness overtakes the theme, and this tone turns
respectfully optimistic at 0:31 into the following "Hello, Beastie." As
the dark fey, fairies of the Moors, and humans uncomfortably intermingle
during the wedding scene, Zanelli opens "Time to Come Home" with a solo
horn sendoff for the theme, the performance either incomplete or mutated
in melody to reflect a new existence for the fey. A secondary theme also
exists for the fey, one that serves as both a war theme and an
accompaniment for the militaristic fey named Borra, who leads the charge
against Ulstead. This idea is more of a rhythmic motif resembling Dario
Marianelli's
V for Vendetta, rumbling along at 2:01 into "We Have
Her" and 2:07 into "Origin Story" before its underlying rhythms join the
battle at 0:00 into "Your Majesty, They're Coming from the Sea" and
become overwhelmed by surrounding action at 0:45 into "Protecting Our
Kind." Together, these themes present an outstanding musical narrative
for
Maleficent: Mistress of Evil. Singular chase and fight cues,
such as "Pinto's Recon Mission" and "Back to the Moors," offer the few
moments without prominent themes, and they still serve well. The end
credits of the film opens with the Bebe Rexha pop song, "You Can't Stop
the Girl," which features really strong melodic ideas but suffers from
an awful, manipulated vocal performance. It is no competition for Lana
Del Rey's creepy take on "Once Upon a Dream" in
Maleficent. The
credits then go on to "Mistress of Evil" and the proposal cue and others
from the score. As mentioned before, the album is woefully incomplete,
missing the banquet and finale cues and leaving a huge gap between
"Etiquette Lessons" and "All He Wanted Was Peace." Multiple
introductions for the Ulstead castle are missing. Disney also failed to
release a CD of this score, so listeners will be left scrambling to find
a lossless presentation. (This review is based on a lossless digital
promo from Disney, and the score shines in this quality.) Ultimately,
Zanelli's work doesn't have the awe-inspiring highlights of Howard's
original, but it is extremely smart, cohesive, and accomplished from
start to end. All things considered, once Howard was not re-signed, this
was the best result that concept and film music fans could have hoped
for, a faithful adaptation and spell-binding evolution.
@Amazon.com: CD or
Download
- Music as Written for the Film: *****
- Music as Heard on Album: ****
- Overall: *****
There exists no official packaging for this album.
