My family members laugh at me when I say that if a movie has music that I find disagreeable within the first couple of scenes, I really can't hang tough to watch the movie all the way through. (That's only partially true.)
But I definitely think that the musical scores for a movie or show or musical are so important to the success of the project. Sometimes the music is just too present, doesn't suit the era, is too heavily orchestrated, or is just distracting from the more important elements (in my estimation).
Last night I rewatched a movie musical from 1976 that should have worked better for me. I remembered seeing it when I was in college and liking it, sort of. It was one of those period dramas that had top-notch dramatic talent (not necessarily singing talent), but came off a bit out of sync with itself.
But I definitely think that the musical scores for a movie or show or musical are so important to the success of the project. Sometimes the music is just too present, doesn't suit the era, is too heavily orchestrated, or is just distracting from the more important elements (in my estimation).
Last night I rewatched a movie musical from 1976 that should have worked better for me. I remembered seeing it when I was in college and liking it, sort of. It was one of those period dramas that had top-notch dramatic talent (not necessarily singing talent), but came off a bit out of sync with itself.
The story was set against glorious scenery in Austria and England with fancy Baroque costuming and set decorations, but something was off about the filming. (Probably too wide in scope for such a whimsical tale.)
I think that the combination of the setting placed during the Baroque period (1685-1750), songs with 1960s roots, and full over-the-top orchestrations heavily influenced by the Romantic composers (late 1800s), this movie musical clearly had an identify crisis.
Now if the orchestrations been treated with a lighter hand, I think I could have enjoyed the rest of the elements of the movie better. It was like trying to sit through a Wagnerian Opera without the rich voices and heroic quest.
I think that the combination of the setting placed during the Baroque period (1685-1750), songs with 1960s roots, and full over-the-top orchestrations heavily influenced by the Romantic composers (late 1800s), this movie musical clearly had an identify crisis.
Now if the orchestrations been treated with a lighter hand, I think I could have enjoyed the rest of the elements of the movie better. It was like trying to sit through a Wagnerian Opera without the rich voices and heroic quest.
Sometimes the creators of Children's Theater also fall into that trap. They try to pair sophisticated music with unsophisticated, untrained beginner talent. It just doesn't work very well.
Keeping the supporting elements subservient to the children's abilities is so important. We don't want those kids to be overpowered by the sets, costumes or music.
We want them to SHINE!
Here's the cute Opener from "The Frog Prince" hearkening back to European Fairy Tale musical styles. "On a Once Upon a Time."
Keeping the supporting elements subservient to the children's abilities is so important. We don't want those kids to be overpowered by the sets, costumes or music.
We want them to SHINE!
Here's the cute Opener from "The Frog Prince" hearkening back to European Fairy Tale musical styles. "On a Once Upon a Time."
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