For Elfman's role in the
Big Eyes soundtrack,
the composer sought to diminish the score's function as a larger
narrative tool and tailor each moment individually to the instrumental
colors of his choice. The marimbas, strings, and piano are the core of
that sound, with guitars, electric bass, and sampled orchestral elements
keeping the overall tone of the music light, even in its more
suspenseful passages for Walter Keane. Elfman does defy the small
ensemble size by occasionally generating a significant depth of
exuberance, especially in the portions of the score dedicated to the
popularity of the paintings. Film music collectors may find this score
to be about as close as Elfman can come to emulating Thomas Newman in
his own lightly dramatic mode. A statement from the composer about not
writing themes for either concepts or character is something of a
head-scratcher, however, because Elfman did just that for this movie.
Several ideas recur throughout the film, and all of these themes and
rhythms utilize repetitive phrases. The following analysis is primarily
aimed at the 21-minute arrangement of Elfman's score on the otherwise
song-defined commercial album for
Big Eyes, though some
references are made to a 37-minute "for your consideration" album
distributed by the studio that contained a set of raw cues that didn't
always overlap with the contents of the commercial product. The main
theme of Elfman's score represents Margaret Keane and takes call and
answer form in a sum of seven notes over two phrases. It opens the score
lightly and is hinted very slowly at 1:35 into "Opening," returning at
2:30 on piano over optimistic string ensemble, guitar, and marimba. This
idea recurs at 1:02 into "Margaret" on piano and light plucking. While
barely evident at the start of "Victory" it is better teased in middle
of that cue before finally coming into focus in the final minutes. On
the promo, additional performances are illuminated in abbreviated form
in "Job Opening" and with smartly quiet taunts in "Walter Testifies." A
couple of other melodies breeze in and out of the score in relation to
Margaret, including an innocent theme on piano at 0:54 into "Who's the
Artist?" over slight strings that becomes fuller at 2:05 with oboe over
piano but remains subdued. It is reprised in the middle of the promo cue
"Money" on similar piano and strings.
A third largely positive theme in
Big Eyes seems
aimed more at the relationship between Margaret and Walter, with
three-note phrases over shifting chords recalling Michael Giacchino
mannerisms. It opens "Who's the Artist?" and is explored further on the
promo cues "Walter's Confession" and, faintly, "Jane's Discovery."
Walter himself doesn't receive structural consistency, but his material
is decidedly more ominous, with menacing, deep string minor shifts early
in "Walter" aided by meandering descents above. This material is the
most characteristic of jittery Elfman techniques on strings, with faint
organ and low woodwinds lending to the unease. It becomes a force in the
revelation cues in the final third of the score, ranging from "Going
Wrong" to the tense spirit that carries over to "Off to Court," cues
separated from the Walter suite on the promo. The final theme in the
score is its Newman connection; this popularity theme is a snazzy,
ten-note motif in repetition that is hinted early but consolidated at
0:50 into "Opening" on marimba over electric bass. A variant opens
"Margaret" in high spirit and morphs into a softer and more urgent,
suspenseful form in the first half of "Victory," accelerating into the
main theme's chords in the second half of the cue. This idea opens "End
Credits" lightly on marimba but is underplayed and dissolves at the end.
The popularity theme is the score's most memorable and enjoyable, and
those seeking additional performances will find them on the promo in the
exuberance of "Keane Fever" and force in "A Movement," reprised in
"Margaret Reveals" with different counterpoint on top. Overall,
Big
Eyes is a decent little score, its suite arrangements on the
commercial product recommended for all but Elfman completists. That
Interscope product offers both Del Rey songs as an equal attraction and
presents a pair of source songs ("Bludan" and "Tropicville"), the first
of which sounding remarkably similar to the theme of the "Sex and the
City" show. For those seeking bootlegged versions of the promo, expect
poor sound quality due to the highly compressed nature of the original
online presentation. Still, it has a few singular highlights, including
a nicely rolling melody in "Humpty Dumpty" and the bright guitar and
marimba enthusiasm in "The Brochure." Otherwise, it adds mostly short,
mundane atmospherics, the World's Fair cues minimal and uninteresting
while low, rambling Walter material is reprised in "Jane's Discovery."
Some Elfman music is unique to only the Interscope album, which remains
the best option.
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