TheUlyssesian

I mean we discussed this right. Rowling couldn’t be fired. She ultimately owns the copyright for the entire wizarding world. 
firing her would topple an empire - WB’s empire. I don’t think they want to do that.
 
if Rowling were a lower level ordinary scriptwriter, of course she would have been fired.

So just Jungle Cruise next year for JNH fans  .

This series is doomed.

Depp was indeed very good in the role.
 
WB had the chance to fire him before movie 2. They should have done that. Because he appears for a like a few minutes in Movie 1. So the recast wouldn't have been jarring.
 
Now he had a big role in Movie 2. So this recast will be more problematic.
 
But then again, the character is heavily made-up with a specific look. So maybe if they do a good make-up job with the next actor, it will be close enough.

We'll be better off when we have all-virtual actors who don't have personal lives, or wrong opinions.

This series is doomed.

This series is doomed.

Only the first two choices are legit. The rest is trash.
 
Seriously a score that came out a year ago is one of the 3 greatest of all time? What suckers all the composers in history were. 

What a bs PR thing to say. 
His agent told him "Listen, it's best if you stay on the Academy's good side, but include a classic composer or two to acknowledge the traditionalists!" 

My post is not a political post - I am not expressing a political position or expressing political views. My post is discussing a reviewer which is pertinent as that is literally the point of this thread.
 
With that said CC of filmtracks announced an endorsement of Joe Biden.
https://www.filmtracks.com/
(See front page)
 
I am immensely disappointed. Not because of who he endorsed but because he endorsed somebody. This really is outrageous.
What next, my elevator technician solemnly announcing an endorsement?
 
That he felt the need to do this is troubling. Like who on earth does he think his readers are? We go there to read about the statement of the second theme in the climax of a mid-tier goldsmith score etc.
 
What the fuck do we care about his political leanings? Does everything have to be polluted with politics today? Do I need to brace for an endorsement next time I visit my favorite tennis site to read tennis news.
 

My post is not a political post - I am not expressing a political position or expressing political views. My post is discussing a reviewer which is pertinent as that is literally the point of this thread.
 
With that said CC of filmtracks announced an endorsement of Joe Biden.
https://www.filmtracks.com/
(See front page)
 
I am immensely disappointed. Not because of who he endorsed but because he endorsed somebody. This really is outrageous.
What next, my elevator technician solemnly announcing an endorsement?
 
That he felt the need to do this is troubling. Like who on earth does he think his readers are? We go there to read about the statement of the second theme in the climax of a mid-tier goldsmith score etc.
 
What the fuck do we care about his political leanings? Does everything have to be polluted with politics today? Do I need to brace for an endorsement next time I visit my favorite tennis site to read tennis news.
 

My post is not a political post - I am not expressing a political position or expressing political views. My post is discussing a reviewer which is pertinent as that is literally the point of this thread.
 
With that said CC of filmtracks announced an endorsement of Joe Biden.
https://www.filmtracks.com/
(See front page)
 
I am immensely disappointed. Not because of who he endorsed but because he endorsed somebody. This really is outrageous.
What next, my elevator technician solemnly announcing an endorsement?
 
That he felt the need to do this is troubling. Like who on earth does he think his readers are? We go there to read about the statement of the second theme in the climax of a mid-tier goldsmith score etc.
 
What the fuck do we care about his political leanings? Does everything have to be polluted with politics today? Do I need to brace for an endorsement next time I visit my favorite tennis site to read tennis news.
 

Probably Williams should just have written three fictional scores based on Lucas' treatments and let Giacchino do the actual films.
Really, TROS killed the sequel trilogy for me. Williams music is really the last actual spirit that is left in the movies. It deserves a respectful publication if not respectful movies.
 
But somehow I knew before that episode 9 would be bad. When I looked at my personal ranking of the previous movies I dscovered a pattern:
 
Best ever                                  5
brillant                                 4         6
very ok                         3                      7
defective               2                                  8
dissapointing   1                                              ?
 
So, I knew in a way what to expect. But I did not expect it to be that bad.
 

In this dystopia of Gotham...
 
The bleak and hopeless villain theme is represented by power brass.
 
 
Coming to save the night, the high winds like bats screech in procession.
 
 
Overall summary:
 
 

I actually think Williams might not have taken as dark an approach as Elfman. I still think it would have been slightly on the brighter side.

As everyone here knows, the music in the second Avengers movie is a poor mixed mess. 
 
Last year, both of the the recording sessions from composers Brian Tyler and Danny Elfman leaked. So, I decided to see what was the original intention of them with the movie, before Disney and Marvel interfered. 
 
1. Opening 
 
For the actual movie, this scene is scored with tracked music from the first Avengers, then bits here and there from Tyler and Elfman mixed so low you can't hear no music. 
 
Brian Tyler version
 
https://drive.google.com/file/d/1DHVG64mVDjZ2OWRE0LJsz67YZXMi0H39/view?usp=sharing
 
Tyler originally scored the first action scene of the movie with his own Avengers theme. I decided to restore also his Marvel fanfare he composed for The Dark World. The footage of the movie mostly fits with Tyler's cue 1m01-02B Watch Your Language, with the exception of one black screen that I had to add.
 
Danny Elfman version
 
https://drive.google.com/file/d/1PUwB4DDzuCi5-D_uW9HuDCDlYRW8YRZA/view?usp=sharing
 
Elfman scored it with some action music that is less showy than Tyler's. The footage fits with the available cues, suggesting the cut he scored was more "final" than Tyler's.
 
2. Title Card
 
The movie uses Tyler's version. Let's see how Elfman's version was supposed to be:
 
https://drive.google.com/file/d/1_L7HnIbUQ8YtXmlWRieykgztAjpkX0Rv/view?usp=sharing
 
It fits.
 
3. Arrival at base
 
The movie again uses a tracked cue from Silvestri.
 
Brian Tyler version
 
https://drive.google.com/file/d/1qoiweyITlTqCEew2jK4SUZws9ykTSTb_/view?usp=sharing
 
Tyler scores the scene with his new Avengers theme.
 
Danny Elfman version
 
https://drive.google.com/file/d/1vYydydFiUrrTHIj3Pd60MbhSGMMNKh79/view?usp=sharing
 
Much like Tyler, Elfman also scored the scene with his theme.
 
4. Ultron crashes the party
 
Scored with bits from everyone on the actual film (and again mixed very low).
 
Brian Tyler version
 
https://drive.google.com/file/d/1PnU0poAmnWP47JzJsA25KWFTN8q8BGTA/view?usp=sharing
 
Danny Elfman version
 
https://drive.google.com/file/d/1lYKQdJiRyOfnip-wq9_RFjtiIWRn1roA/view?usp=sharing
 
Both versions fit the footage, which means that they didn't mess with this scene after the scoring sessions.
 
5. Hawkeye's Farm
 
Brian Tyler version
 
https://drive.google.com/file/d/1SgG9Rw7Qe3UcmUgNxKIb9McvOvoDxL94/view?usp=sharing
 
Danny Elfman version
 
https://drive.google.com/file/d/1FpbHYMqXQ90DyeO216BHAGWCATvLZ2DK/view?usp=sharing
 
Both fit the footage.
 
6. Seoul Chase
 
Since the sessions only included two small cues from Elfman for this setpiece, I decided to restore it with Tyler's original intent:
 
https://drive.google.com/file/d/1Y-95fEcwZt4LF1okV_FoUFy2ls42Rsw1/view?usp=sharing
 
Mostly fits, despite the black screens and a few cuts here and there.
 
7. Birth of Vision
 
Brian Tyler version
 
https://drive.google.com/file/d/1JRwcnl3yqrZwQ-jeZdfKAcyZQpQGMTpn/view?usp=sharing
 
Danny Elfman version
 
https://drive.google.com/file/d/1tFVlEwzln8zfZNWHcQxe5qGq7g5yDlpA/view?usp=sharing
 
Mosty fits, despite the fact I had to make a cut in Tyler's version and add a black screen to Elfman's.
 
8. The Battle of Sokovia/Hawkeye's speech
 
Brian Tyler version
 
https://drive.google.com/file/d/1EHdmgXvo9eW8nfzLc2M9VKv0Mew0VgH5/view?usp=sharing
 
Danny Elfman version
 
https://drive.google.com/file/d/13f3VyJ5StQxjVI01rpcXPDSBpVT702jG/view?usp=sharing
 
That was complicated! Presumably the climax of the movie went through several changes after the scoring sessions, removing some scenes, which is why I had to include several black screens in Tyler's version. Elfman just provided one alternate for Hawkeye's speech to Wanda, which went unused.
 
9. Fury and SHIELD save the day
 
For the film version, Tyler had to re-record Silvestri's Helicarrier cue from the first movie. Here's his first attempt with his theme:
 
https://drive.google.com/file/d/1PK0DfbLZD6Zvn0q_RmXv9ODbSqO1kE71/view?usp=sharing
 
10. Avengers Unite
 
The film uses Elfman's cue for this scene. Tyler's cue was hard to fit, I had to guess where it begins, and I'm still not totally satisfied with it.
 
https://drive.google.com/file/d/1dsn77BM6_RMNEPdE7olqXTYtfZ5-IDzr/view?usp=sharing
 
11. Homecoming
 
The film again uses Elfman's version. Tyler's version would be something like this:
 
https://drive.google.com/file/d/191ObNaHh1G8EmIyxAgarmqwwz4aMd4II/view?usp=sharing
 
12. New Avengers
 
The film again tracks another cue from Silvestri. Here's Tyler's and Elfman's attempts:
 
Brian Tyler version
 
https://drive.google.com/file/d/1TfMFQ3MbLRDiwpqFpzfhxanXNjw-EEtI/view?usp=sharing
 
Danny Elfman version
 
https://drive.google.com/file/d/1usfojeOgF0uwi2xq4QpbsfFgVR95WA2e/view?usp=sharing
 
13. End Credits
 
The film uses Elfman's version of the credits. Here is Tyler's version, including his own Avengers theme:
 
https://drive.google.com/file/d/1Rt4KMKKAUQjzfdXSJVTm28f1Rcsr_kvQ/view?usp=sharing
 
 

A good performance of themes from Portman's Chocolat - an outstanding score. 
 
 

His score for Mary Poppins Returns is outstanding. Probably the best of its year.
 
And I mean - the main theme from The American President - damn! Talk about an all-timer classic.

His score for Mary Poppins Returns is outstanding. Probably the best of its year.
 
And I mean - the main theme from The American President - damn! Talk about an all-timer classic.

I hope with Tintin dead he can finally get around to his Dambusters remake 

The Jackson sequel is dead folks. I think that has been obvious for years now.
 
And if they make a french live action movie, you can bet a fortune that Desplat will score it.

It does have a fantastic hero theme. It just doesn't have a concert suite. You need to listen to the score to enjoy the theme. But it is there. And it is extremely memorable.
 
How do I know this? I was doodling on the piano for some friends of mine and they are film fans but not film score films. And even they could recognize the Tintin theme when I played it for them.

So this is my first attempt at a thematic analysis for Enola Holmes. Please correct me or propose additions in case I have missed anything. I actually think there are still other small motifs in the score. 
 
After doing this analysis, I actually think this might be the best score of the year.
 
Themes & Motifs
 
1. Mystery Theme - De facto main theme of the film in its normal guise and specially the more prevalent adventure theme. You can tell DP thinks this is the most important theme as this is the first theme you hear - over the logos before the main title. The regular mystery theme is a slightly slower and more fully articulated version of this theme. Check out the piano solo rendition in An Old Friend.
01 Enola Holmes 0:16 - 0:31
06 Train Escape 1:53 - 2:01
13 The Limehouse Puzzle 1:36 - End
17 Basilwether Hall 0:26 - 0:57
24 For England 0:00 - 0:35
27 An Old Friend 0:00 - End (piano solo)
28 Mother 0:32 - 0:59
 
2. Enola's Theme - The title theme, very good and memorable. Used sparingly but always with great impact. For example Fields of London really stands out as it is used for a scene transition. The fullest versions are the main title and end credits in the first and lack tracks respectively.
01 Enola Holmes 0:32 - 2:38
03 Mycroft & Sherlock Holmes 0:00 - End
09 Fields of London 0:00 - End
22 School Escape 0:00 - 1:07
25 Ha! 0:00 - End  (De-constructed variation?)
29 Enola Holmes (The Future Is Up to Us) 0:00 - End
 
3. Mystery Theme (Discovery) - Used just twice, it is the mystery theme over a bed or swirling figures denoting a sense of discovery.
02 Gifts from Mother 0:00 - End
14 Limehouse Lane 0:00 - 1:10
 
4. Eudoria's Motif - A haunted solo vocal voice that denotes a sense of loss and is slightly spooky but also sad as it represents Eudoria who isn't here any more. This might be a vocal version of the Mystery theme or the same theme as the Mother-Daughter theme also featured on solo voice later on. Best expressions are identification renditions in Gifts from Mother and Limehouse Lane.
02 Gifts from Mother 0:35 - 0:49
14 Limehouse Lane 0:38 - 0:52
14 Limehouse Lane 2:18 - End
24 For England 0:36 - 0:58
 
5. Mystery Theme (Adventure) - The most prevalent theme - it is the bouncy strident action theme of the score and has a great sense of propulsion and drive. This is different in the sense that it uses the first notes of the mystery theme in a different rhythm and then does its own thing. The Game is afoot has a nice rendition with it exploding into the full orchestra at the end. London Arrival also goes through the many contours of this theme. The first rendition in the Enola and Tewkesbury is also memorable and could be its own theme.
04 Cracking The Chrysanthemums Cypher 0:00 - 1:42
05 The Game Is Afoot 0:00 - End
10 London Arrival 0:00 - End
15 Fight Combat 0:00 - 0:08
15 Fight Combat 2:59 - End
18 Forest Clues 0:39 - 1:10
18 Forest Clues 1:49 - End
22 School Escape 1:31 - End
26 Enola & Tewkesbury Farewell 0:47 - 1:22
26 Enola & Tewkesbury Farewell 2:23 - End
 
6. Decision Motif - A superb idea by DP and very very effective. Instead of repeating Enola's Theme all the time, every time Enola makes a big decision, this motif bursts forth to great effect. And because Enola makes big decisions in big moments, several important scenes feature this motif. Watch out for the standout rendition in Escaping Lestrade where it takes on a monumental gravity. Is it the organ I hear there? But a great motif and since Enola's theme is very light and peppy, this works very well for all the big moments. 
04 Cracking The Chrysanthemums Cypher 1:42 - End
06 Train Escape 2:31 - End
13 The Limehouse Puzzle 0:43 - 1:14
15 Fight Combat 1:06 - 1:15
20 Escaping Lestrade 0:00 - 1:23
22 School Escape 1:08 - 1:30
26 Enola & Tewkesbury Farewell 2:03 - 2:22
 
7. Tewkesbury’s Theme/Love Theme - An outstanding swoony theme for the budding romance between Tewesbury and Enola. He's basically the love interest so its fitting he got a theme like this. It is a romantic theme but not necessarily overtly feminine, it has a dreamy masculine edge too so works quite well for the character. The first rendition in Marquis is the best one. In the sequels, this theme has a lot of promise for development. 
08 Marquis 0:00 - End
19 Tewkesbury’s Trail 0:00 - End
24 For England 1:37 - 2:02
26 Enola & Tewkesbury Farewell 0:00 - 0:46
 
8. Linthorn's Theme - A complex theme of a percussion and pulsing brass with scary flute figures. This is a good churning villain theme for the henchman pursuing Teweksbury. Maybe a bit Gia-esque. 
14 Limehouse Lane 1:14 - End
15 Fight Combat 1:20 - 2:35
23 Tick Tock 0:42 - 3:10
 
9. Mother-Daughter Theme - A solo voice theme for Enola's relationship with her mother and her memory. Best heard in the track Mother. That track is so good that it is used twice - also tracked earlier in the film where Sherlock comes to meet Enola at the girls' school.
21 Making a Lady 2:19 - 2:51
23 Tick Tock 3:11 - End
24 For England 1:00 - 1:26
28 Mother 1:00 - End
 
Track by Track Analysis
 
01 Enola Holmes
0:16 - 0:31 Mystery Theme
0:32 - 2:38 Enola's Theme
 
02 Gifts from Mother
0:00 - End Mystery Theme (Discovery)
0:35 - 0:49 Eudoria's Motif
 
03 Mycroft & Sherlock Holmes
0:00 - End Enola's Theme
 
04 Cracking The Chrysanthemums Cypher
0:00 - 1:42 Mystery Theme (Adventure)
1:42 - End Decision Motif
 
05 The Game Is Afoot
0:00 - End Mystery Theme (Adventure)
 
06 Train Escape
1:53 - 2:01 Mystery Theme
2:31 - End Decision Motif
 
07 Nincompoop
Standalone cue
 
08 Marquis
0:00 - End Tewkesbury’s Theme/Love Theme
 
09 Fields of London
0:00 - End Enola's Theme
 
10 London Arrival
0:00 - End Mystery Theme (Adventure)
 
11 Dressing Up Box
Great standalone cue
 
12 Messages for Mother
Great standalone cue
 
13 The Limehouse Puzzle
0:43 - 1:14 Decision Motif
1:36 - End Mystery Theme
 
14 Limehouse Lane
0:00 - 1:10 Mystery Theme (Discovery)
0:38 - 0:52 Eudoria's Motif
1:14 - End Linthorn's Theme
2:18 - End Eudoria's Motif
 
15 Fight Combat
0:00 - 0:08 Mystery Theme (Adventure)
1:06 - 1:15 Decision Motif
1:20 - 2:35 Linthorn's Theme
2:59 - End Mystery Theme (Adventure)
 
16 Edge of a Cliff
Standalone cue
 
17 Basilwether Hall
0:26 - 0:57 Mystery Theme
 
18 Forest Clues
0:39 - 1:10 Mystery Theme (Adventure)
1:49 - End Mystery Theme (Adventure)
 
19 Tewkesbury’s Trail
0:00 - End Tewkesbury’s Theme/Love Theme
 
20 Escaping Lestrade
0:00 - 1:23 Decision Motif
 
21 Making a Lady
2:19 - 2:51 Mother-Daughter Theme 
 
22 School Escape
0:00 - 1:07 Enola's Theme
1:08 - 1:30 Decision Motif
1:31 - End Mystery Theme (Adventure)
 
23 Tick Tock
0:42 - 3:10 Linthorn's Theme
3:11 - End Mother-Daughter Theme
 
24 For England
0:00 - 0:35 Mystery Theme
0:36 - 0:58 Eudoria's Motif
1:00 - 1:26 Mother-Daughter Theme
1:37 - 2:02 Tewkesbury’s Theme/Love Theme
 
25 Ha!
0:00 - End Enola's Theme (Variant)
 
26 Enola & Tewkesbury Farewell
0:00 - 0:46 Tewkesbury’s Theme/Love Theme
0:47 - 2:02 Mystery Theme (Adventure)
2:03 - 2:22 End Decision Motif
2:23 - End Mystery Theme (Adventure)
 
27 An Old Friend
0:00 - End Mystery Theme
 
28 Mother (Tracked earlier in the film too)
0:32 - 0:59 Mystery Theme
1:00 - End Mother-Daughter Theme
 
29 Enola Holmes (The Future Is Up to Us)
0:00 - End Enola's Theme

So this is my first attempt at a thematic analysis for Enola Holmes. Please correct me or propose additions in case I have missed anything. I actually think there are still other small motifs in the score. 
 
After doing this analysis, I actually think this might be the best score of the year.
 
Themes & Motifs
 
1. Mystery Theme - De facto main theme of the film in its normal guise and specially the more prevalent adventure theme. You can tell DP thinks this is the most important theme as this is the first theme you hear - over the logos before the main title. The regular mystery theme is a slightly slower and more fully articulated version of this theme. Check out the piano solo rendition in An Old Friend.
01 Enola Holmes 0:16 - 0:31
06 Train Escape 1:53 - 2:01
13 The Limehouse Puzzle 1:36 - End
17 Basilwether Hall 0:26 - 0:57
24 For England 0:00 - 0:35
27 An Old Friend 0:00 - End (piano solo)
28 Mother 0:32 - 0:59
 
2. Enola's Theme - The title theme, very good and memorable. Used sparingly but always with great impact. For example Fields of London really stands out as it is used for a scene transition. The fullest versions are the main title and end credits in the first and lack tracks respectively.
01 Enola Holmes 0:32 - 2:38
03 Mycroft & Sherlock Holmes 0:00 - End
09 Fields of London 0:00 - End
22 School Escape 0:00 - 1:07
25 Ha! 0:00 - End  (De-constructed variation?)
29 Enola Holmes (The Future Is Up to Us) 0:00 - End
 
3. Mystery Theme (Discovery) - Used just twice, it is the mystery theme over a bed or swirling figures denoting a sense of discovery.
02 Gifts from Mother 0:00 - End
14 Limehouse Lane 0:00 - 1:10
 
4. Eudoria's Motif - A haunted solo vocal voice that denotes a sense of loss and is slightly spooky but also sad as it represents Eudoria who isn't here any more. This might be a vocal version of the Mystery theme or the same theme as the Mother-Daughter theme also featured on solo voice later on. Best expressions are identification renditions in Gifts from Mother and Limehouse Lane.
02 Gifts from Mother 0:35 - 0:49
14 Limehouse Lane 0:38 - 0:52
14 Limehouse Lane 2:18 - End
24 For England 0:36 - 0:58
 
5. Mystery Theme (Adventure) - The most prevalent theme - it is the bouncy strident action theme of the score and has a great sense of propulsion and drive. This is different in the sense that it uses the first notes of the mystery theme in a different rhythm and then does its own thing. The Game is afoot has a nice rendition with it exploding into the full orchestra at the end. London Arrival also goes through the many contours of this theme. The first rendition in the Enola and Tewkesbury is also memorable and could be its own theme.
04 Cracking The Chrysanthemums Cypher 0:00 - 1:42
05 The Game Is Afoot 0:00 - End
10 London Arrival 0:00 - End
15 Fight Combat 0:00 - 0:08
15 Fight Combat 2:59 - End
18 Forest Clues 0:39 - 1:10
18 Forest Clues 1:49 - End
22 School Escape 1:31 - End
26 Enola & Tewkesbury Farewell 0:47 - 1:22
26 Enola & Tewkesbury Farewell 2:23 - End
 
6. Decision Motif - A superb idea by DP and very very effective. Instead of repeating Enola's Theme all the time, every time Enola makes a big decision, this motif bursts forth to great effect. And because Enola makes big decisions in big moments, several important scenes feature this motif. Watch out for the standout rendition in Escaping Lestrade where it takes on a monumental gravity. Is it the organ I hear there? But a great motif and since Enola's theme is very light and peppy, this works very well for all the big moments. 
04 Cracking The Chrysanthemums Cypher 1:42 - End
06 Train Escape 2:31 - End
13 The Limehouse Puzzle 0:43 - 1:14
15 Fight Combat 1:06 - 1:15
20 Escaping Lestrade 0:00 - 1:23
22 School Escape 1:08 - 1:30
26 Enola & Tewkesbury Farewell 2:03 - 2:22
 
7. Tewkesbury’s Theme/Love Theme - An outstanding swoony theme for the budding romance between Tewesbury and Enola. He's basically the love interest so its fitting he got a theme like this. It is a romantic theme but not necessarily overtly feminine, it has a dreamy masculine edge too so works quite well for the character. The first rendition in Marquis is the best one. In the sequels, this theme has a lot of promise for development. 
08 Marquis 0:00 - End
19 Tewkesbury’s Trail 0:00 - End
24 For England 1:37 - 2:02
26 Enola & Tewkesbury Farewell 0:00 - 0:46
 
8. Linthorn's Theme - A complex theme of a percussion and pulsing brass with scary flute figures. This is a good churning villain theme for the henchman pursuing Teweksbury. Maybe a bit Gia-esque. 
14 Limehouse Lane 1:14 - End
15 Fight Combat 1:20 - 2:35
23 Tick Tock 0:42 - 3:10
 
9. Mother-Daughter Theme - A solo voice theme for Enola's relationship with her mother and her memory. Best heard in the track Mother. That track is so good that it is used twice - also tracked earlier in the film where Sherlock comes to meet Enola at the girls' school.
21 Making a Lady 2:19 - 2:51
23 Tick Tock 3:11 - End
24 For England 1:00 - 1:26
28 Mother 1:00 - End
 
Track by Track Analysis
 
01 Enola Holmes
0:16 - 0:31 Mystery Theme
0:32 - 2:38 Enola's Theme
 
02 Gifts from Mother
0:00 - End Mystery Theme (Discovery)
0:35 - 0:49 Eudoria's Motif
 
03 Mycroft & Sherlock Holmes
0:00 - End Enola's Theme
 
04 Cracking The Chrysanthemums Cypher
0:00 - 1:42 Mystery Theme (Adventure)
1:42 - End Decision Motif
 
05 The Game Is Afoot
0:00 - End Mystery Theme (Adventure)
 
06 Train Escape
1:53 - 2:01 Mystery Theme
2:31 - End Decision Motif
 
07 Nincompoop
Standalone cue
 
08 Marquis
0:00 - End Tewkesbury’s Theme/Love Theme
 
09 Fields of London
0:00 - End Enola's Theme
 
10 London Arrival
0:00 - End Mystery Theme (Adventure)
 
11 Dressing Up Box
Great standalone cue
 
12 Messages for Mother
Great standalone cue
 
13 The Limehouse Puzzle
0:43 - 1:14 Decision Motif
1:36 - End Mystery Theme
 
14 Limehouse Lane
0:00 - 1:10 Mystery Theme (Discovery)
0:38 - 0:52 Eudoria's Motif
1:14 - End Linthorn's Theme
2:18 - End Eudoria's Motif
 
15 Fight Combat
0:00 - 0:08 Mystery Theme (Adventure)
1:06 - 1:15 Decision Motif
1:20 - 2:35 Linthorn's Theme
2:59 - End Mystery Theme (Adventure)
 
16 Edge of a Cliff
Standalone cue
 
17 Basilwether Hall
0:26 - 0:57 Mystery Theme
 
18 Forest Clues
0:39 - 1:10 Mystery Theme (Adventure)
1:49 - End Mystery Theme (Adventure)
 
19 Tewkesbury’s Trail
0:00 - End Tewkesbury’s Theme/Love Theme
 
20 Escaping Lestrade
0:00 - 1:23 Decision Motif
 
21 Making a Lady
2:19 - 2:51 Mother-Daughter Theme 
 
22 School Escape
0:00 - 1:07 Enola's Theme
1:08 - 1:30 Decision Motif
1:31 - End Mystery Theme (Adventure)
 
23 Tick Tock
0:42 - 3:10 Linthorn's Theme
3:11 - End Mother-Daughter Theme
 
24 For England
0:00 - 0:35 Mystery Theme
0:36 - 0:58 Eudoria's Motif
1:00 - 1:26 Mother-Daughter Theme
1:37 - 2:02 Tewkesbury’s Theme/Love Theme
 
25 Ha!
0:00 - End Enola's Theme (Variant)
 
26 Enola & Tewkesbury Farewell
0:00 - 0:46 Tewkesbury’s Theme/Love Theme
0:47 - 2:02 Mystery Theme (Adventure)
2:03 - 2:22 End Decision Motif
2:23 - End Mystery Theme (Adventure)
 
27 An Old Friend
0:00 - End Mystery Theme
 
28 Mother (Tracked earlier in the film too)
0:32 - 0:59 Mystery Theme
1:00 - End Mother-Daughter Theme
 
29 Enola Holmes (The Future Is Up to Us)
0:00 - End Enola's Theme

So this is my first attempt at a thematic analysis for Enola Holmes. Please correct me or propose additions in case I have missed anything. I actually think there are still other small motifs in the score. 
 
After doing this analysis, I actually think this might be the best score of the year.
 
Themes & Motifs
 
1. Mystery Theme - De facto main theme of the film in its normal guise and specially the more prevalent adventure theme. You can tell DP thinks this is the most important theme as this is the first theme you hear - over the logos before the main title. The regular mystery theme is a slightly slower and more fully articulated version of this theme. Check out the piano solo rendition in An Old Friend.
01 Enola Holmes 0:16 - 0:31
06 Train Escape 1:53 - 2:01
13 The Limehouse Puzzle 1:36 - End
17 Basilwether Hall 0:26 - 0:57
24 For England 0:00 - 0:35
27 An Old Friend 0:00 - End (piano solo)
28 Mother 0:32 - 0:59
 
2. Enola's Theme - The title theme, very good and memorable. Used sparingly but always with great impact. For example Fields of London really stands out as it is used for a scene transition. The fullest versions are the main title and end credits in the first and lack tracks respectively.
01 Enola Holmes 0:32 - 2:38
03 Mycroft & Sherlock Holmes 0:00 - End
09 Fields of London 0:00 - End
22 School Escape 0:00 - 1:07
25 Ha! 0:00 - End  (De-constructed variation?)
29 Enola Holmes (The Future Is Up to Us) 0:00 - End
 
3. Mystery Theme (Discovery) - Used just twice, it is the mystery theme over a bed or swirling figures denoting a sense of discovery.
02 Gifts from Mother 0:00 - End
14 Limehouse Lane 0:00 - 1:10
 
4. Eudoria's Motif - A haunted solo vocal voice that denotes a sense of loss and is slightly spooky but also sad as it represents Eudoria who isn't here any more. This might be a vocal version of the Mystery theme or the same theme as the Mother-Daughter theme also featured on solo voice later on. Best expressions are identification renditions in Gifts from Mother and Limehouse Lane.
02 Gifts from Mother 0:35 - 0:49
14 Limehouse Lane 0:38 - 0:52
14 Limehouse Lane 2:18 - End
24 For England 0:36 - 0:58
 
5. Mystery Theme (Adventure) - The most prevalent theme - it is the bouncy strident action theme of the score and has a great sense of propulsion and drive. This is different in the sense that it uses the first notes of the mystery theme in a different rhythm and then does its own thing. The Game is afoot has a nice rendition with it exploding into the full orchestra at the end. London Arrival also goes through the many contours of this theme. The first rendition in the Enola and Tewkesbury is also memorable and could be its own theme.
04 Cracking The Chrysanthemums Cypher 0:00 - 1:42
05 The Game Is Afoot 0:00 - End
10 London Arrival 0:00 - End
15 Fight Combat 0:00 - 0:08
15 Fight Combat 2:59 - End
18 Forest Clues 0:39 - 1:10
18 Forest Clues 1:49 - End
22 School Escape 1:31 - End
26 Enola & Tewkesbury Farewell 0:47 - 1:22
26 Enola & Tewkesbury Farewell 2:23 - End
 
6. Decision Motif - A superb idea by DP and very very effective. Instead of repeating Enola's Theme all the time, every time Enola makes a big decision, this motif bursts forth to great effect. And because Enola makes big decisions in big moments, several important scenes feature this motif. Watch out for the standout rendition in Escaping Lestrade where it takes on a monumental gravity. Is it the organ I hear there? But a great motif and since Enola's theme is very light and peppy, this works very well for all the big moments. 
04 Cracking The Chrysanthemums Cypher 1:42 - End
06 Train Escape 2:31 - End
13 The Limehouse Puzzle 0:43 - 1:14
15 Fight Combat 1:06 - 1:15
20 Escaping Lestrade 0:00 - 1:23
22 School Escape 1:08 - 1:30
26 Enola & Tewkesbury Farewell 2:03 - 2:22
 
7. Tewkesbury’s Theme/Love Theme - An outstanding swoony theme for the budding romance between Tewesbury and Enola. He's basically the love interest so its fitting he got a theme like this. It is a romantic theme but not necessarily overtly feminine, it has a dreamy masculine edge too so works quite well for the character. The first rendition in Marquis is the best one. In the sequels, this theme has a lot of promise for development. 
08 Marquis 0:00 - End
19 Tewkesbury’s Trail 0:00 - End
24 For England 1:37 - 2:02
26 Enola & Tewkesbury Farewell 0:00 - 0:46
 
8. Linthorn's Theme - A complex theme of a percussion and pulsing brass with scary flute figures. This is a good churning villain theme for the henchman pursuing Teweksbury. Maybe a bit Gia-esque. 
14 Limehouse Lane 1:14 - End
15 Fight Combat 1:20 - 2:35
23 Tick Tock 0:42 - 3:10
 
9. Mother-Daughter Theme - A solo voice theme for Enola's relationship with her mother and her memory. Best heard in the track Mother. That track is so good that it is used twice - also tracked earlier in the film where Sherlock comes to meet Enola at the girls' school.
21 Making a Lady 2:19 - 2:51
23 Tick Tock 3:11 - End
24 For England 1:00 - 1:26
28 Mother 1:00 - End
 
Track by Track Analysis
 
01 Enola Holmes
0:16 - 0:31 Mystery Theme
0:32 - 2:38 Enola's Theme
 
02 Gifts from Mother
0:00 - End Mystery Theme (Discovery)
0:35 - 0:49 Eudoria's Motif
 
03 Mycroft & Sherlock Holmes
0:00 - End Enola's Theme
 
04 Cracking The Chrysanthemums Cypher
0:00 - 1:42 Mystery Theme (Adventure)
1:42 - End Decision Motif
 
05 The Game Is Afoot
0:00 - End Mystery Theme (Adventure)
 
06 Train Escape
1:53 - 2:01 Mystery Theme
2:31 - End Decision Motif
 
07 Nincompoop
Standalone cue
 
08 Marquis
0:00 - End Tewkesbury’s Theme/Love Theme
 
09 Fields of London
0:00 - End Enola's Theme
 
10 London Arrival
0:00 - End Mystery Theme (Adventure)
 
11 Dressing Up Box
Great standalone cue
 
12 Messages for Mother
Great standalone cue
 
13 The Limehouse Puzzle
0:43 - 1:14 Decision Motif
1:36 - End Mystery Theme
 
14 Limehouse Lane
0:00 - 1:10 Mystery Theme (Discovery)
0:38 - 0:52 Eudoria's Motif
1:14 - End Linthorn's Theme
2:18 - End Eudoria's Motif
 
15 Fight Combat
0:00 - 0:08 Mystery Theme (Adventure)
1:06 - 1:15 Decision Motif
1:20 - 2:35 Linthorn's Theme
2:59 - End Mystery Theme (Adventure)
 
16 Edge of a Cliff
Standalone cue
 
17 Basilwether Hall
0:26 - 0:57 Mystery Theme
 
18 Forest Clues
0:39 - 1:10 Mystery Theme (Adventure)
1:49 - End Mystery Theme (Adventure)
 
19 Tewkesbury’s Trail
0:00 - End Tewkesbury’s Theme/Love Theme
 
20 Escaping Lestrade
0:00 - 1:23 Decision Motif
 
21 Making a Lady
2:19 - 2:51 Mother-Daughter Theme 
 
22 School Escape
0:00 - 1:07 Enola's Theme
1:08 - 1:30 Decision Motif
1:31 - End Mystery Theme (Adventure)
 
23 Tick Tock
0:42 - 3:10 Linthorn's Theme
3:11 - End Mother-Daughter Theme
 
24 For England
0:00 - 0:35 Mystery Theme
0:36 - 0:58 Eudoria's Motif
1:00 - 1:26 Mother-Daughter Theme
1:37 - 2:02 Tewkesbury’s Theme/Love Theme
 
25 Ha!
0:00 - End Enola's Theme (Variant)
 
26 Enola & Tewkesbury Farewell
0:00 - 0:46 Tewkesbury’s Theme/Love Theme
0:47 - 2:02 Mystery Theme (Adventure)
2:03 - 2:22 End Decision Motif
2:23 - End Mystery Theme (Adventure)
 
27 An Old Friend
0:00 - End Mystery Theme
 
28 Mother (Tracked earlier in the film too)
0:32 - 0:59 Mystery Theme
1:00 - End Mother-Daughter Theme
 
29 Enola Holmes (The Future Is Up to Us)
0:00 - End Enola's Theme