MOVIE MUSIC UK

I’m pleased to present the latest instalment in my on-going series of articles looking at the best under-the-radar scores from around the world. This article, the seventh of 2023, covers five scores from across genres and countries: a documentary about female conductors, an animated short film in the classic Disney style, a Spanish romantic comedy, a French political comedy, and a bloody horror film about sloths on the rampage!

MAESTRA – Anne Chmelewsky

In March 2022, fourteen women gathered in Paris to compete in ‘La Maestra’, the only competition in the world for female conductors. A mother of twin toddlers from Athens determined to show her kids anything is possible, a Ukrainian doing all she can to focus on her art and the competition in front of her while Russia invades, a Polish student just starting out, and a French immigrant returning to the city that closed its doors to her many years ago – these personal stories of survival, passion and perseverance are woven together with the documentary feature Maestra, directed by Maggie Contreras.

The score for Maestra is by the London-based French composer Anne Chmelewsky, who first appeared on the film music scene in 2018 with her excellent score for the 1940s-set drama Where Hands Touch. She has since written numerous scores for film, television, and the stage, and her work recently has included the ‘Dreams in the Witch House’ episode of the horror anthology series Guillermo Del Toro’s Cabinet of Curiosities, and the Disney+ short film The Shepherd.

Considering that this film is amount women in classical music, Chmelewsky was inspired to write a gorgeous romantic orchestral score enlivened with moments of sweeping classical opulence, but which also offers some more subtle and intimate emotions where appropriate. Several cues stand out for me. The opening “La Maestra” is an inspiring brassy fanfare full of life and vivaciousness. The first part of “Zoë, New Mexico” has some lovely writing for acoustic guitar while the second part is tender and introspective, with a pretty piano part. “Paris” slowly emerges into a triumphant orchestral anthem, the boldness of which continues on into the dramatic “Arrival”.

There is a spirited playfulness and lively energy in “First Round,” which is tempered by some appropriately downcast and bittersweet cello textures in “Rejection,” and low-key piano writing in “Out”. “Winner” is lyrical and tender, a lovely combination piece for strings and piano that adopt a tone of warm satisfaction and low-key triumphant celebration of musical excellent, while the conclusive “Onwards” is subtly optimistic, light and pleasant with a notably hopeful attitude.

This is an excellent score by Anne Chmelewsky, which treads the fine line between bold and celebratory, and tender and lyrical, and is careful never to overwhelm the story of these musical groundbreakers with music that feels overly-manipulative or mawkish. Unfortunately, the score is not available for commercial purchase at this time but, as always, I hope this review inspires a release at come point in the future.

Track Listing: 1. La Maestra (2:06), 2. Tamara (2:01), 3. Mélisse (0:50), 4. Zoë, New Mexico Part 1 (0:34), 5. Zoë, New Mexico Part 2 (1:32), 6. Paris (1:43), 7. Arrival (1:40), 8. Nauseating Memories (2:30), 9. Reflections (1:26), 10. First Round (1:27), 11. Rejection (1:49), 12. Second Round (2:44), 13. Out (1:56), 14. Taichi (1:08), 15. Life is Beautiful (1:47), 16. Winner (3:18), 17. Onwards (2:50). Promo, 30 minutes 43 seconds.

MUSHKA – Fabrizio Mancinelli and Richard M. Sherman

Mushka is a delightful Disney animated short film, and is the directorial debut of Polish animator Andreas Deja, who previously worked on Enchanted and The Princess and the Frog, among others. The film is set in Russia and follows a young girl named Sarah who raises an orphaned Siberian tiger cub she finds in the woods; the title, Mushka, comes from a Russian term of endearment similar to ‘sweetheart’. The film is a gorgeous hand-drawn animation in the classic Disney style, and the music is in the classic Disney style too, bringing together one of the best young talents to emerge in film music over the last couple of years, alongside one of the greatest there has ever been.

The score is by Italian composer-conductor Fabrizio Mancinelli, who has written music for projects such as The Land of Dreams and Il Viaggio Leggendario over the last couple of years, as well as numerous short films going all the way back to 2007, but who is probably best known as being the conductor for Kris Bowers on acclaimed works such as Green Book, The United States vs Billie Holiday, and King Richard, as well as Haunted Mansion and The Color Purple this year.

What makes Mushka special is that it also contains brand new music by the legendary Richard M. Sherman, the composer/lyricist of classic Disney projects like Mary Poppins, The Jungle Book, Chitty Chitty Bang Bang, Bedknobs and Broomsticks, and many more. Sherman is 95 years old now, and for him to be contributing music to brand new projects at his age – and for it still to be this good – is extraordinary. Sherman’s main contribution to the score is the theme heard in “Mushka’s Lullaby,” which is performed in two versions: a straight instrumental, and then as a song with gorgeous cut-glass vocals by Holly Sedillos. It’s a classic, timeless theme which reminds me a little of “Hushabye Mountain” from the Chitty Chitty Bang Bang score, crossed with Russian classical/folk music, and it is sure to melt the hardest of hearts.

Sherman’s lullaby theme features in a couple of the other cues in the rest of the score, notably “I’ll Call Him Mushka/Growing Together,” “Instinct Awakes/Sarah’s Nightmare/The Card Game,” and the conclusive “Grandma Needs Me/Big Cat Rescue Team,” and whenever it appears it elevates everything, but Mancinelli’s original compositions should not be overlooked either. His music is every bit as rich and grand, tender, and emotional as Sherman’s, and it also has that classic Disney sweep running through every gesture.

There’s some beautifully bittersweet melancholy in the cello textures of “A New Home,” vivacious prancing strings and charming whimsy in “Out There in the Forest,” and a couple of unexpectedly intense action sequences in “Chasing the Tiger,” “Instinct Awakes,” “Sarah’s Nightmare,” and all throughout “They Want Mushka/Chase in the Forest” which have a more prominent brass part and more energetic rhythms. I haven’t really heard Mancinelli write music this boldly before, and it brings out a whole new side of his musical personality that I really like.

I should also mention “I’ll Call Him Mushka/Growing Together,” which sees Sedillos’s beautiful wordless vocals enlivening the orchestra – she comes across as one part Julie Andrews, one part Paige O’Hara from Beauty and the Beast, all gorgeous. I also like how Mancinelli subtly references the old folk song ‘Korobeiniki’ in “The Card Game,” drawing parallels between it and Tetris.

The two pieces at the end the album, “Fantasia from Mushka for Flute and Piano” and “Mushka’s Lullaby for Flute and Piano,” are two classical concert arrangements of the score’s main themes, featuring flute performances by Sara Andon and piano performances by Simone Pedroni. They are both superb – lyrical, expressive, and with a virtuosic sweep to them that is wonderfully appealing. The whole thing is a delight, and fans of classic Disney music should be especially pleased with the results. It is available to stream and download from all the usual outlets via Lakeshore Records.

Track Listing: 1. Happy New Year (1:22), 2. I’ll Be Alright (0:52), 3. Arrival at the Station (0:57), 4. The Miners/A New Home (1:36). 5. Out There in the Forest (2:28), 6. Chasing The Tiger (1:42), 7. I’ll Call Him Mushka/Growing Together (2:25), 8. Instinct Awakes/Sarah’s Nightmare/The Card Game (2:50), 9. They Want Mushka/Chase in the Forest and Farewell (4:57), 10. Grandma Needs Me/Big Cat Rescue Team (3:11), 11. Mushka’s Lullaby (2:54), 12. Mushka’s Lullaby (Instrumental) (2:49), 13. Fantasia from Mushka for Flute and Piano (4:50), 14. Mushka’s Lullaby for Flute and Piano (2:39). Lakeshore Records LKS36496, 35 minutes 32 seconds.

OCHO APELLIDOS MARROQUÍS – Vanessa Garde

Ocho Apellidos Marroquís is the third instalment in the ‘Ocho Apellidos’ series of Spanish comedy films, after Ocho Apellidos Vascos in 2014 and Ocho Apellidos Catalanes in 2015. The film follows the family of a wealthy but recently-deceased fish canning executive, who travel to Essaouira in Morocco in order to recover the patriarch’s first fishing vessel, but find more than they bargained for when they realize that their beloved father had a secret daughter. The film is directed by Álvaro Fernández Armero and stars Julián López, Michelle Jenner, and Elena Irureta, and was a popular box office hit in Spain when it was released in December 2023.

The first two Ocho Apellidos films were scored by Fernando Velázquez and Roque Baños, respectively, and this third one sees composer Vanessa Garde taking over the reins. Garde is one of a group of talented female Spanish composers making names for themselves in the film music world (the others being composers like Zeltia Montes, Maite Arroitajauregi, and Aránzazu Calleja, among others), and Marroquís is probably my favorite of the ones I have heard from her to date.

Garde’s score is a wonderful combination of a standard western orchestra, blended with an array of North African specialty instrumental and vocal stylings acknowledging the film’s Moroccan setting. The resulting work is a superb piece of exotic lyricism and mysterious intrigues, with a sexy, twisty, and beguiling recurring theme running through it. The opening cue, “La Llegada a Marruecos,” is a great example of the score’s overall vibe; Garde uses what sounds like a rhaita woodwind, sintir guitars, taarija drums, and wordless vocals alongside her orchestra to create a wonderfully intoxicating sound that shimmers like the desert heat.

The rest of the score develops along the same lines. Cues like “No Me Mate,” “Quitarnos lo Español,” “Lo Conocías y Tú Aquí no Puedes Estar,“ “El Puerto de Essaouira,” “Plan” and the exciting “Helicóptero” have an energetic caper-esque vibe, light and rhythmic action-thriller music that is really engaging. Other cues like “Álbum de Fotos,” the haunting “Siempre Me Arrepentí,” and the lovely “Hacer Cosas Tan Bonitas” are more romantic. “Lo Siento Mucho, Begoña” and “Debate” have a more comedic and playful edge, the Arabic vocals are more prominent in “Essaouira,” and “La Boda” is full of expressive guitar flurries, but really it’s all just superb in the way it blends North African music traditions with the orchestral hi-jinks.

The score passes by on a quick thirty-minute breeze that is thoroughly engaging from start to finish, and will be especially appealing to anyone who enjoys their orchestra with a touch of Saharan spice. In the five years or so since she first emerges onto the film music scene Vanessa Garde has developed into a really interesting and accomplished composer, and I look forward to her next score with anticipation. This score is available to download and stream from most of the usual online sources.

Track Listing: 1. La Llegada a Marruecos (2:01), 2. Última Voluntad (1:09), 3. No Me Mate! (1:28), 4. Essaouira (1:24), 5. Lo Siento Mucho, Begoña (1:16), 6. Chicago (0:39), 7. Quitarnos lo Español (0:27), 8. Lo Conocías y Tú Aquí no Puedes Estar (1:24), 9. El Puerto de Essaouira (0:42), 10. Soy Hamida (0:42), 11. Sirena (0:31), 12. La Boda (1:55), 13. Álbum de Fotos (0:34), 14. Con Ella! (1:01), 15. Plan (1:49), 16. Siempre Me Arrepentí (1:05), 17. Media Vida (1:45), 18. Debate (1:02), 19. Una Patera (0:53), 20. Intereses (1:10), 21. Helicóptero (0:46), 22. Los Papeles (0:38), 23. Hacer Cosas Tan Bonitas (1:11), 24. Avión de Vuelta (1:08), 25. No Ha Podido Salir Peor (2:26), 26. Indecisión (1:25), 27. Su Hija (0:52), 28. Te Voy a Echar de Menos (2:12). Mira Mi Música, 33 minutes 35 seconds.

SECOND TOUR – Christophe Julien

Second Tour is a French political comedy film written and directed by Albert Dupontel, starring Cécile de France, Nicolas Marié, and Dupontel himself. The movie follows Natalie Pove, a disgraced journalist who sees a chance at professional redemption when she is asked to follow the presidential campaign of the frontrunner Pierre-Henri Mercier, the 50-year-old heir to a powerful French family. Her work is intended to be a puff piece designed to boost Mercier’s chances of winning but, as the campaign progresses, Pove uncovers some unexpected truths about the candidate, and begins a more detailed investigation that threatens to derail his candidacy.

The score for Second Tour is by French composer Christophe Julien, whose previous work on scores like Délicieux and Au Revoir Là-Haut I enjoyed quite a lot; this score easily joins that list is really excellent works. The first thing you notice about this music is how unmistakably ‘French’ it is – I’m sure you will know what I mean by this when you hear it. The opening theme has that languid, jazzy, romantic style immediately associated with composers like Francis Lai and Pierre Bachelet, strings and guitars and enticing wordless female vocals, just gorgeous and so steeped in the history of French film music it can’t be anything but a superb throwback homage.

The rest of the score is no less entertaining, and is also very varied, showing different sides to Julien’s composing talent. “Lior” uses a cimbalom and pan pipes alongside the rich strings to create an unusual, exotic mood, but then becomes forceful and dramatic in its second half, a terrific driving action cue; later cues like “Droit Dans Les Yeux” also adopt this action style.

“L’Un Pour l’Autre” and “Papillons de Vie” are unexpectedly beautiful, religioso choirs and liturgical orchestral textures over a Vivaldi-like rhythmic core. “Deux Frères” is initially a lovely piano motif written in waltz time, which gradually expands to incorporate the full orchestra. “Mademoiselle Pove” and “Des Secrets” have a cool caper vibe, bass guitars and tapped percussion over tremolo strings.

“Souvenir d’Enfance” is a light and whimsical variation on the main theme. “Vous Savez Pourquoi?” and “Dans le Doute” are perhaps the most traditionally comedic-sounding pieces, and are awash in mischievous pizzicato. “Les Retrouvailles” has a more poignant, emotional sound, and then the conclusive “La Mère” is thoughtful and introspective and a little melancholy in the way Julien combines his piano with moody wordless vocals.

What’s interesting about this score, and which is apparent in all good comedy scores, is that Christophe Julien scored the drama more than the laughs, and this has resulted in a score which has much more depth and variation than one would expect from a film like this. This is excellent stuff, one of the best comedy scores of the year, and is especially recommended to anyone who likes their film music with a clear Gallic twist. This score is available to download and stream from most of the usual online sources on Milan Records.

Track Listing: 1. Second Tour (4:29), 2. Lior (2:47), 3. L’Un Pour l’Autre (2:21), 4. Droit Dans Les Yeux (2:02), 5. Deux Frères (3:23), 6. Le Parcours (1:20), 7. Les Cévennes (2:39), 8. Mademoiselle Pove (1:06), 9. Confiance En Nous (1:56), 10. Souvenir d’Enfance (1:25), 11. Des Secrets (1:08), 12. Papillons De Vie (2:17), 13. L’Aigle (1:44), 14. Vous Savez Pourquoi? (1:50), 15. Dans le Doute (2:58), 16. Les Retrouvailles (3:32), 17. La Mère (2:27). Milan Records, 39 minutes 24 seconds.

SLOTHERHOUSE – Sam Ewing

Slotherhouse is one of those movies that you can’t quite believe actually exists. It’s part of that same group of movies as Sharknado, or Cocaine Bear, in that it somehow taps into a weird cultural zeitgeist and becomes a sleeper success with horror fans who also know when the joke is on them. The film is directed by Matthew Goodhue and stars Lisa Ambalavanar, Sydney Craven, Bianca Beckles-Rose, and Olivia Rouyre; the plot involves a college student and social media influencer who, while on a vacation to central America, somehow smuggles an adorable sloth out of the jungle and takes it back to America, where she intends to use the internet’s love for the creatures to gain more popularity for her online persona – only to things to go horribly wrong when the sloth goes on a rampant killing spree.

The score for Slotherhouse is by composer Sam Ewing, who is one of the first composers to graduate out of Bear McCreary’s Sparks & Shadows organization and work on relatively major projects of his own. Ewing co-scored the last few seasons of The Walking Dead, and has written additional music on a number of recent McCreary scores, but his stock seems surely to rise further off the back of Slotherhouse, because it is unexpectedly and genuinely brilliant.

Imagine a horror score where the thematic ideas are based on Ennio Morricone’s score for The Mission, and that’s what Slotherhouse is. Clearly the Morricone homages are intended to represent the lush, beautiful jungle home of Alpha the Sloth himself – The Mission was based among the Guaraní people of modern day Bolivia and Paraguay – and Ewing’s approximation of this sound is excellent.

Cues like “Alpha’s Capture,” the first half of “First Blood,” the magical-sounding “Alpha’s New Home,” the Silvestri-esque “Meet the Internet,” and the unexpectedly tragic-sounding “It’s You Or Me” make excellent use of an array of these South American instrumental textures – notably pan pipes, angelic choral ideas, and certain percussion items – although I’m sure that if Morricone knew what his legendary score was being used for today he might roll in his grave!

There’s a pretty theme for “Emily,” the clueless but well-meaning influences whose actions initiate the sloth-centric massacre, and her theme comes back in cues like “That One Spark” and “Madison Forgives,” but most of the rest of the score is modern orchestral horror and action music. Thankfully, it’s also very good, and Ewing consistently finds ways of scaring and exciting the audience without resorting to tired genre tropes. Ewing takes some of the South American instrumental textures, especially the pan pipes and the percussion, and blends them with his large and kinetic orchestra to create a series of really excellent set pieces.

The strings slash, the brass roars, the percussion pounds, and once it kicks into high gear in the second half of “First Blood” it barely lets up. Cues like “A Death of Campus,” the more contemporary-sounding “Election Night Ceremony,” “Opus of the Killer Sloth,” “Jungle’s Perfect Predator,” and “The Good the Bad and the Sloth” are rip-roaring bursts of energy, but what’s most impressive to me is how creative the orchestrations are and how sophisticated the sound is, in comparison to what one would expect from the film itself. I really like how, in many of these cues, Ewing takes the lush theme for Alpha and turns it into an aggressive sloth-horror motif, where the lovely pan-pipes are replaced with shrieking strings. The conclusive “Final Slothdown” is near-operatic at times, and features a gorgeous, soaring final statement of the Morricone-style theme towards its end.

Films like Slotherhouse are perfect vehicles for young composers like Sam Ewing to have fun and show what they can do, far from the pressures of studio executives with more to lose. The number of major composers who cut their teeth on low-budget horror movies before going on to greater things is enormous, and on the back of this music Sam Ewing is likely to join their ranks before long. You can tell that Ewing learned a lot from Bear McCreary in his time at Sparks & Shadows, and hopefully this is just the next stepping stone for him to bigger and better things. This score is unexpectedly great, a ton of fun, and the Morricone homages are just the icing on the cake. This score is available to download and stream from most of the usual online sources on Milan Records.

Track Listing: 1. Alpha’s Capture (2:37), 2. Emily (2:44), 3. That One Spark (2:03), 4. First Blood (4:51), 5. Alpha’s New Home (1:57), 6. Meet the Internet (1:56), 7. It’s You or Me (0:52), 8. A Death on Campus (3:25), 9. Madison Forgives (2:27), 10. Election Night Ceremony (4:15), 11. Opus of the Killer Sloth (3:16), 12. Jungle’s Perfect Predator (2:11), 13. The Good, the Bad and the Sloth (3:08), 14. The Final Slothdown (4:48), 15. Last Selfie (performed by Candy Machine feat. Bedlow & Patricia Starlight) (2:48). Amaidi Universe, 43 minutes 18 seconds.