Review
by Bluntinstrument
For a film about a very angry green giant inside a repressed
smitten scientist's body (that's most of the plot covered, by the way),
Danny Elfman's score is quite a shock. For all its brassy raw in violent
scenes, this is a very cold score. The descending motif (usually in the
form of a clustered chord progression) that runs through it and dominates
the main titles is emotionally ambivalent, somehow violent but also rather
weak, an icy streak rather than a hot spike, sometimes reduced to flutes
only. The rumbling bass motif (with a general upwards directiona
neat musical balance which allows the two themes to coexist more comfortably
in parallel) is more successful, often providing the forward momentum
than simple midi-sampled percussion (a Hulk motif all of its own,
and possibly a little too insistent) cannot provide.
This isn't to say that Hulk is a poor score. Elfman's
use of wordless voice (Natacha Atlas), no doubt partly inspired by the
far more spare score Mychael Danna (Patrick Goldstein calls it 'ethereal'
[Los Angeles times, 2003.06.24]), is a chief asset, and appears
in many of its strongest moments - the dialogueless mass helicopter flight
scene [5. Captured] and when he's free in the desert [13. Hulk's freedom]
are the finest examples of Elfman given aural space and using it to his
advantage. In fact the sparsity of dialogue and even sound effects is
quite a catch for a composer of blockbuster movies. This was, as mentioned,
to be Mychael Danna's honour, but after disappointing screenings, the
director was forced to drop the score - no doubt a source of friction
for Elfman, brought in at the last minute. In a situation that must have
brought deja vu to the composer of Mission: Impossible, Elfman
was elected to work with a distressed director on a film undergoing further
tinkering, in hopes that he might turn a seemingly under-performing film
into a smash. Whether or not Danna's score, like Silvestri's for M:I,
would have proved the studio wrong is open to conjecture, but in both
cases Elfman delivered to schedule and his contribution to both has rarely
been criticised. Incidentally an element from Danna's score is retained
and faithfully credited in the end credits. I digress, but the situation
is important: Ang Lee, the director, was insistant that Danna's score
was perfect for the film, and resented any "Elfmanism" being printed on
the score. Perhaps this explains the 'ethnic' voice, the intensification
of ethnic sampled percussion (and even the duduk) and the cooler, sometimes
whistful, sometimes creepy style, but nevertheless, there is much here
that is, ironically, very much the Elfman of today. The similarities of
the main title to that of Red Dragon only a year previously are
evident - there's is a hardness to the sound - brittle string textures,
ominous bass instrumentation, short-lived driving rhythms, and an employment
of a number of motifs that can be repeated endlessly in the style of Herrmann's
Vertigo (et al). The use of flutes and the more languid moments
of Hulk occasionally hark back to Elfman's coldest score, A
simple plan. Only that 'ethnic' feel is very new, and even here an
audience might mistake it for following the post-Gladiator style of nameless
eastern influence, though I have a suspicion that Elfman's influences
here, away from Danna, may be quite specific if he'd had the chance to
make note of them. Danny's interest in world music and instruments is
genuine and by now quite an established part of his recreational interest
(the earliest interview I can find dates to 1987, with Oingo Boingo!).
Hardly a weak score, then, since it has a strong sense
of identity, with genuine highlights that thrill the listener. Yet its
coldness drives you away, widening the gap between audience and Hulk,
and the listener and CD experience. On film the violent, brassy moments
are lost since they are used predominently when Hulk is crunching scenery,
but the score as a whole reflects the action and cutting very closely,
and those opening credits invest the film with a sense of drama and urgency
that help bridge the lethargy of it opening scenes - this is Elfman trying
very hard; moments of repose, though, occasionally show signs of empathy,
and one of the CD's best moments is its quietest: 13. 'The truth revealed'
also uses wordless female voice, but here it feels intimate, not distant
or alien, and the whole score hushes round it, sometimes ebbing, sometimes
flowing. There is only a ripple of direction, but for once the subtlety
of the emotional exploration and timbre is enough to keep the listener
on the edge of his seat.
This is a very difficult score to gauge, and for many listeners,
Elfman fans included, it requires quite some work to listen to it for
almost an hour away from the film. We may never get a clear picture of
exactly how much Elfman was influenced by Danna's score or what he might
have produced had he had more time and a more trusting director. But there
are rewards, despite the feeling that perhaps the film itself lacked something
Elfman just wasn't equipped to supply.
Score rating: * * *
CD rating: * *
N.B. It might be a good idea to miss the pop song final
track. It ruins the atmosphere like no song since The frighteners
was released. Whether it matches an original cue for electric guitars
in Danna's score is open to conjecture but not relevant here.
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