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Part One - Edward Meets the World
Although not in
chronological order, this section represents Edward's most joyous and/or
inquisitive moments.
1.
Main Titles - The main titles establish the tone
of the film from the first notes played from the glockenspiel and celeste.
Elfman wisely decided to incorporate a fantasy element coupled with
a seasonal winter motif. The result is a score that creates its own
fictional world, while still maintaining the charm, and quasi-reality,
of Christmas (indeed, the climax of the film is set against the Christmas
season, while major portions of the film deal with winter landscapes
created by the main character himself). As the titles literally swing
into view, Elfman uses the choir and strings to sway with the credits.
The result is less of a typical movie march, and more of well crafted,
hauntingly elegant waltz. This Waltz, which is later to be revealed
as Edward's first theme, is one of only two major
themes in the film (the other being the romantic Ice Dance theme). However,
there are really three themes that are associated with Edward. This
stems from Elfman's inclusion of two nickname themes that, when placed
together, comprise the Ice Dance theme as a whole. The
first half of the Ice Dance theme morphs into Edward's second mini-theme.
The second half of the Ice Dance theme - five
adjoined notes played in ascending order - represents the romantic theme
(played only during scenes with his love interest).
Something must also
be said of the waltz's connection with Bernard Herrmann. Elfman's use
of harps, strings and celeste in this score seem reminiscent of Herrmann's
Fahrenheit 451 (and a few choice others). Indeed, there is a similarity
in styles, but the connection is, for the most part, only skin deep.
Unlike his earlier works, Elfman's similarity to Herrmann, in this score,
is only one of style, and not necessarily plagiarism. In addition, several
musical signatures and the addition of a choir truly make it clear that
this is Elfman's pride and joy. Thus, any similarity to Fahrenheit 451
(or any of Herrmann's other works) should not take away from Elfman's
own genius, but merely reiterate that Elfman was more or less influenced
by Herrmann.
2.
Storytime - As the
credits draw to a close, Elfman slows the theme down and allows the
celeste/bells to take precedence again. This creates the tone of a lullaby,
ensuring the viewer that they are about see a fairy tale unfold. Yet,
there is also a homely quality established by the strings, which are
played in a semi-country fashion (much like Sommersby). As the view
shifts toward the outside, Elfman slowly dilutes this lullaby (very
hauntingly through the use of the choir) and dissolves it into the first
half of the Ice Dance theme. This theme, which is prevalent in the romantic
scenes, also serves as the introduction to the story. It was a clever
decision, for the story is introduced with a snowfall outside of Edward's
home, and ends with the exact same shot at the end of the film. Consequently,
Elfman mimics Burton's technique musically - opening with the Ice Dance
theme, and exiting to the Ice Dance theme.
3.
Castle on the Hill - The sole purpose of this
piece is to heighten the sense of mystery surrounding the castle, and
(through the music) reveal that mystery inside. Thus, Elfman uses the
choir and orchestra in a totally un-thematic fashion. The music moves
and builds (delicately and mysteriously), but purposely lacks the structure
of other key moments in the score. Elfman used this technique in Batman
during The Bat Cave (Batman 11), and this track maintains that exact
same quality (especially at 1:48 - 2:30). In addition, he also introduces
the mechanical/industrial motif (which is showcased in Cookie Factory)
during a key point where Diane Wiest's character encounters the remnants
of the inventor's bizarre machinery. The result is a six minute track
that manages to continually build to a crescendo, and then fall back
on its diluted self.
4.
Beautiful New World/Home Sweet Home - Elfman uses
harps, strings, and anything else that can be plucked to create this
light hearted romp through Suburbia (the piece is also a direct descendent
of Travel Music [2] from Beetlejuice). In addition, the choir interjects
with near laughter (joyous) as the brass pumps away. As Edward enters
his new home, the relative giddiness of the music gives way to a sentimental
reflection. The Ice Dance theme comes into play as Edward first gazes
at a picture of Kim (Winona Ryder's character), cleverly hinting at
the romance to come.
Early on, Elfman
establishes the direction the music is going to take by the tone he
uses in this scene. Here, and in most of the scenes involving the town's
residents, Suburbia is very rarely scored- This technique was used by
Herrmann in Fahrenheit 451. In that score, Herrmann stated - "Since
the story takes place in the distant future and involved a society that
was politically oppressed from displaying any outward emotion or compassion,
I felt that the music score should mirror the most innermost thoughts
and feelings of the lead characters." Elfman uses this approach
as well: creating a score that reflects the world through Edward's eyes,
and very rarely through those of Suburbia. This is why the music takes
on such an innocent, joyous tone in the beginning, especially this track.
Throughout the entire score, every note is played with Edward in mind
(with only a few exceptions).
5.
The Cookie Factory - This one of Elfman's brilliant
uses of literal music. Here, Tubas, trumpets, bizarre percussion instruments,
and anything that can be twisted or screwed convey the workings of a
strange machine. The lack of strings and abundance of brass was a technique
Bernard Herrmann used to convey the same industrial sound. Elfman's
rendition is reminiscent of the pounding of Herrmann's prelude to Jason
and the Argonauts, and the animalistic pieces to the giant creations
from Mysterious Island. Elfman's piece denotes a mechanical feel, but
is also delicate during a dance of cookie cutters. The music explodes
as the entire machine is revealed. When the inventor enters, Edward's
waltz reappears, thus establishing a musical connection between the
creator and the created. When the inventor contemplates creating Edward
(beautifully symbolized through a cookie shaped like a heart superimposed
over a machine), Elfman ingeniously switches to the second Edward theme
(which is the first half of the Ice Dance theme). Thus, Elfman establishes
Edward as the creation associated with the inventor (through the main
titles waltz), and Edward as the individual (through the first bars
from the Ice Dance theme).
6.
Ballet De Suburbia - Once again, this is another
great use of literal music that seems inspired from the likes of Bernard
Herrmann. In this case, Elfman uses the music to establish the countdown
to work. The percussion is played in such a way that it sounds like
a clock - emanating a constant "tick-tock, tick-tock." The music speeds
up to a faster tempo as the inhabitants of Suburbia leave in their cars.
Then, Elfman's signature bongo drums enter as the choir adds its quick
bursts. This piece, with its clockwork beat, charging strings, and xylophones/harp
strums seems reminiscent of Herrmann's Fire Truck from Fahrenheit 451.
Both are energetic, fluid, and quirky in their own unique ways.
7.
Ice Dance - Arguably Elfman's most harmoniously
beautiful piece, this dance will always conjure images of snowfall and
endless romance. The first fourth of the piece (which doubles as Edward's
second theme) is a beautiful build up for the second portion of the
theme, which begins at 0:42, and is preceded by those classic Elfman
descending string arpeggios. Ironically, the most amazing aspect of
this haunting cue comes from its unbelievable simplicity. The love theme
is merely five notes played in ascending order, one after another. A
toddler could play this cue with relative ease! It is truly Elfman's
writing, Bartek's orchestration, and the direction of the flawless choir
that gives this simple theme such a haunting, majestic aura. In addition,
the music flows with unparalleled grace as the choir and orchestra meld
into one, cohesive sound. Few words can describe the effect, and to
be honest, they couldn't do the music justice! Nor could any other composer
for that matter.
Nothing illustrates
this point better than the treatment this film received during a Fox
sponsored Christmas special that first aired a couple years ago. For
some reason, Elfman's score for the Ice Dance scene was replaced with
another composer's work (which was similar in instrumentation - bells,
strings, harp, etc.). The result was disastrous. The scene was ruined
thanks to the lack of Elfman's piece. To watch this particular scene
without Elfman's score would be akin to watching Janet Leigh's flight
from Phoenix (Psycho) without the use of Bernard Herrmann's frenetic
strings. In an experiment, this was actually done. A television special
on Bernard Herrmann actually removed the score from key scenes in Psycho.
The result was astounding - it was as if two entirely different films
were being presented. The fact of the matter was, Herrmann's score made
the film work. In the case of Edward Scissorhands, Elfman's score works
very much the same. Like Hitchcock and Herrmann - Burton and Elfman
could not have completed this particular film without each other. The
score and the film truly work in a symbiotic relationship. Destroy the
score, and it destroys film.
8.
Etiquette Lesson - Delicate, reflective, and exquisite;
a harp signifies the beginning of the flashback. In addition, the harps
and celeste signify a breeze (which blows the pages of a book displaying
Edward's blueprint). Edward's waltz is rightfully used here, signifying
the connection between the inventor and Edward. The piece is polite,
and turns whimsical as the inventor (played by the ever witty Vincent
Price) reads a humorous poem. Elfman adds a cute little touch by using
the choir to accentuate Edward's laugh - allowing the disembodied voices
to giggle with delight near the end of the piece.
9.
Edwardo The Barber - An absolutely ingenious use
of literal music. The first half of this selection accompanies a scene
in which the residents of Suburbia gather their dogs to be groomed by
Edward. The music literally pants like a collection of corny canines.
This is accomplished by some sort of instrument that emanates a sweeping
sound. Elfman also uses the brass (though muffled) and winds to allow
the music to actually bark as well! The quirky and light hearted tone
is reminiscent of Elfman's earlier work for Pee Wee's Big Adventure
and Beetlejuice. Ironically, Elfman would attempt this same use of literal
music for cats in the 1992 score for Batman Returns. Unfortunately,
that use of literal music would bring great disdain from many of the
composer's action fans.
After the quirky
barking, Elfman switches to a quick tango motif as the slinky temptress
asks Edward to cut her hair. As Edward begins, Elfman writes a frenetic
little section that showcases some wild fiddle work. The music cuts
with Edward in short, intertwined snippets that resonate with all the
speed of delicate scissors. Finally, Elfman returns to the Tango motif,
indicating that this is an erotic experience for the patrons. Certainly,
the choice to use a Tom Jones approach rather than a romantic approach
was a good one. For the women of Suburbia, this is a bizarre, erotic
experience that is less romantic, and more adventurous.
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