Filmtracks: Maleficent: Mistress of Evil (Geoff Zanelli/Various)

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Written 8/23/20

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Buy it... if you loved James Newton Howard's score for Maleficent, for you will be relieved by the care with which Geoff Zanelli adapts and advances Howard's themes and style to impressive new heights.

Avoid it... if you expect to hear some of the score's highlights on the inadequate album arrangement, Disney also failing to provide this deserving recording with necessary lossless availability.

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.

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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: *****

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