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| Elfman |
Fifty Shades of Grey: (Danny Elfman) If the
popularity of British author E. L. James' bestselling novel "Fifty
Shades of Grey" and the 2015 film adaptation of it is any indication of
social desires, then we must really be one sexually repressed lot.
Spawned from fan fiction relating to the popular "Twilight" series of
books, the
Fifty Shades of Grey concept was nothing less than a
sleazy bondage fantasy that somehow managed to acquire the taste of
women in the mainstream, making the novel one of the most highly sought
properties by film studios in the early 2010's. The adaptation stays
true to the original plot, following the story of a rather average and
unexciting undergraduate female in Vancouver, Washington coming into
contact with a wealthy young Seattle executive and commencing a
contractual relationship with him that involves a variety of kinky sex
rituals mainly related to bondage. Despite the fact that the story is
basically trash,
Fifty Shades of Grey did achieve some notable
milestones, including lawsuits between Universal Pictures and a porn
parody production company, protests from both fundamentalist religious
and women's organizations over the content of the sex, controversy over
skirting the dreaded NC-17 MPAA rating, and shattered box office records
in a variety of categories immediately upon its debut. The fact remains,
though, that no glossy exterior and quantity of nudity can salvage a
badly written script, and much of that box office return owes to the
taboo nature of the concept in general. Let's face it; organized
religion is losing the battle for morality in the long term, and whether
or not you believe that this film exploits women, you have to commend
the studio for feeding the apparent repressed sexual desire of women
worldwide. The song compilation soundtrack for
Fifty Shades of
Grey, presenting a number of new cover versions of favorites and
some fresh material, was an equal bestseller in several nations. Lost in
the equation was Danny Elfman's unsurprisingly competent score for the
film, the project well suited for his own balance of knowledgeable
musical technique and a kinky sense of humor. The composer has, since
the beginning of his career, maintained a side track that features his
soft rock inclinations, evident in
Anywhere But Here and parts of
Reel Steel, among others. Combine that sound with that of his
music for Errol Morris documentaries and you have a general idea about
what you'll hear in
Fifty Shades of Grey, albeit with the romance
quotient a little tortured by design in the process.
The ensemble Elfman employs for
Fifty Shades of
Grey is predictable, a string section joining piano, electric and
acoustic guitars, electric bass, limited woodwinds, metallic accents,
general rock percussion, and mixed choir. The straight light rock
material from Elfman is always pleasant when he doesn't attempt to steer
it in
To Die For directions, and here it is conservatively
straight forward. The same could be said of the guitars and piano, while
the choir is tasked with moments of orgasmic bliss (literally). The
devious portion of the score is owed to the skittish string
accompaniment, that group of players the most versatile in spanning the
gulf between wishy-washy and generic tones for the lead female and the
exciting and unpredictable nature of the male. That great disparity
existing between the two characters guides their themes; the former
receives a rather tepid and undefined idea in "Ana's Theme" that later
in the score oddly resembles Dario Marianelli's slow string crescendos
in
V for Vendetta ("Did that Hurt?" and "Show Me"). The latter's
theme, dominated by a series rising minor thirds in a trio of notes,
accompanies all the sex scenes, born in "The Red Room" but flourishing
later in "A Spanking," "The Contract," "Ana and Christian," "Counting to
Six," and "Variations on a Shade." The highlights of the score are those
cues above that are allowed to simply flow freely in the light rock
realm, both "Ana and Christian" and "Variations on a Shade" excellent
and long, rambling expressions of the idea (the latter even has some
nice, stuttering percussion style near the end). Balancing these easy
listening moments are several tentative explorations of the female's
theme in cues like "Then Don't!" and "Where Am I?" that don't accomplish
much in the narrative other than to reinforce her submission. Elfman's
humor does shine through at time, the slightly more mysterious "Going
for Coffee" plucking away on strings (reprised in "The Art of War" with
darker shades) and "Bliss" offering the choir in not so uncertain terms
(its return in "Show Me" is eerie in its uncertainty, a nice technique).
Perhaps the most amusing cue in the score is its first, "Shades of Grey"
a fanciful recapitulation of Elfman's main theme from
The Unknown
Known, the unique piano melody in this track very, very similar but
with a twist of John Ottman's
The Usual Suspects at its end. Like
The Unknown Known, this stuff is pure Elfman, and the light rock
highlights of
Fifty Shades of Grey are just as comfortable in his
career. You have to admire what he managed to achieve with this score,
the plot really not meriting more than a phone-in score. Even so, half
of the score passes without much notice, leaving the twenty minutes of
cool, skittish highlights to carry it to a fourth star.
**** @Amazon.com: CD or
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| Bias Check: |
For Danny Elfman reviews at Filmtracks, the average editorial rating is 3.12
(in 95 reviews)
and the average viewer rating is 3.26
(in 154,830 votes). The maximum rating is 5 stars.
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The insert includes a list of performers but no extra information about the score or film.
