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TheUlyssesian

Mary Poppins Returns - Marc Shaiman & Co

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I enjoyed this score very much. Broadway symphonic scoring with good song melodies. "Can You Imagine That" is the title song/theme I think, and that's the one I'll be humming after watching the film. The only complaint I had was there was more "sing talking" than I would've liked. Otherwise, it's a well done score and pretty well written songs. It's a worthy successor of the original.

 

Film rating: N/A

Score rating: 4/5 or A-

 

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24 minutes ago, TheUlyssesian said:

Some of the theme statements are full on John Williams level in their majesty and exhilaration.

 

I'm not hearing that.  But, I'm glad you like it.

 

It is rubbing me completely the wrong way.  The score is too self-consciously old school, has the form without the substance.  The themes seem rather simple and not all that memorable.  And the statements sound repetitive and predictable.  

But maybe I'm just in a critical mood this evening.

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The lead actress pretends to be Mary Poppins in a movie that pretends to be Mary Poppins with a score pretends to be Mary Poppins. Orchestration sounds very uninspired. The words that come to my mind are "correct", "a job", and "grade B". Melodies seem improvised. I didn't expect more, honestly.

 

 

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5 hours ago, TheUlyssesian said:

Any other fans of this score and soundtrack?

 

Yeah, it has some really great moments. As I posted in another thread, my favorite cue is this -- until 0:50:

 

 

Miranda's voice floats in with an incredible whimsicality ("Hold on tight to those you love, and maybe, soon, from up above"), and then the massive statement of Mary's theme (?) that follows it is just downright awesome. 

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17 minutes ago, crumbs said:

Why is Williams never asked to score musicals like this? He has the perfect sensibilities, even if someone else wrote the lyrics for him.

 

Well, if THOMAS AND THE KING is anything to judge by, it's not exactly his forte. Rather terrible, that.

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Although I've only heard a couple of songs from HOOK, I'm kinda curious how the other songs are, and how it would have turned out as a straight-up film musical. Probably better than THOMAS AND THE KING. Maybe not. But I'd rather see Williams do an opera than a musical at this point.

 

2 hours ago, TheUlyssesian said:

Like when was even the last time Williams wrote even a single song, let alone a dozen? 

 

Double Trouble?

 

Yes, that is his most recent song composition, AFAIK. And even that is kinda 'halfassed' as a song. I'd say "For Always" is his last, proper song.

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1 minute ago, TheUlyssesian said:

Williams is somewhat unique in that he has an excess of melody in his scores but rarely turns them into songs and such.

 

These days, yes. But back in the 60's, he was famous not only for composing theme songs for the films he scored, but also for being hired to write his score around songs composed by others. So it's very much in his backbone or musical DNA, if you will. We haven't seen much of that in the last two decades, though.

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48 minutes ago, Thor said:

But I'd rather see Williams do an opera than a musical at this point.

The window for opera was probably 1997-2008.  I just feel that John's style at that time would have translated very well to opera.

 

But, then again, Markings and Highwood's Ghost tell me that his sparser modernistic tendencies are doing quite well.  Perhaps an opera in that direction could be striking. 

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http://www.filmtracks.com/titles/mary_poppins_returns.html

 

An unabashed 5 star rave from CC!

 

Calls its "among the masterpieces of the children's musical genre" and "pinnacle of Shaiman long career."

 

As I said, I think it is quite delightful and the melodies are indeed quite good and memorable.

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I'm joining the "love" camp, for the score/songs and film. To be fair, I was never huge on Mary Poppins, even as a kid despite having seen it then (and re-watched it before seeing the new film). Sure, the original does some things better but, color me crazy, I feel like I connected with this film more. The songs and the film have several ways of tapping into depression/sadness, even the livelier ones if you pay attention, that I thought was both clever and meaningful. It definitely has some genuine heart and effort put into it above the usual "cash grab" attempts at reigniting a classic film. I'll take this any day over the BORING-looking remakes of Dumbo, Lion King, and Aladdin that all previewed before this film! At least here there was something new... and something catchy.

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8 hours ago, TheUlyssesian said:

http://www.filmtracks.com/titles/mary_poppins_returns.html

 

An unabashed 5 star rave from CC!

 

Calls its "among the masterpieces of the children's musical genre" and "pinnacle of Shaiman long career."

 

As I said, I think it is quite delightful and the melodies are indeed quite good and memorable.

 

CC really does like judging the reader based on whether or not they agree with him. Apparently you're a 'cynical, unimaginative asshole' if you don't go for this score. Alternatively, you might just not particularly go for musicals.

 

What a twat.

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I'm a few tracks into Poppins and it's not really doing anything for me.

 

I think the only musical-based track I've enjoyed recently is Someone In The Crowd from LaLaLand. I skimmed through the first bit of the film on Netflix once to see what was going on.

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1 hour ago, Stefancos said:

Why do people care what CC thinks?

Because he's been doing his thing for ages maybe.

 

I think the score is okay and the songs a little less than.

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This is neck-and-neck with SOLO for my favorite score (I'm also counting the songs, here) of 2018. The main theme is amazing; ever since I first heard its use in the initial teaser trailer, I desperately hoped that that music would make its way into the actual movie. So obviously I was overjoyed that not only was it in the movie, but it was everywhere, not to mention that the trailer music itself was included as the track "Theme from Mary Poppins Returns." The songs are also loads better than the original, in my opinion: I re-watched the original film the night before I watched MARY POPPINS RETURNS, and the massive upgrade in quality could not have been more obvious. I find myself returning to this one regularly. And as others have pointed out, Shaiman's instrumental score is also phenomenal. All in all I agree with all the praise this score is getting, and I'm happy to see CC gave it 5 stars.

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21 hours ago, Warrior of Wet Dreams said:

He hands out five stars to anyone named John Williams even when Williams was clearly asleep on the job!

 

You clearly have not read his reviews for Stanley & Iris, The Accidental Tourist, JFK and Always then (only two stars each) and a good number of the rest have received three or four stars only, even some beloved favourites around these parts (such as The Lost World).

 

21 hours ago, Richard Penna said:

I don't.

 

I just don't find his approach to criticism very impressive. And his reviews of RCP scores are usually pointless wastes of time.

 

I find them quite entertaining to read myself.

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Why are there so many fucking lamps on that one street? 

 

Eh, I think they're trying to go for the look and staging of the original film.

 

 

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6 hours ago, Arpy said:

Why are there so many fucking lamps on that one street? 

 

Eh, I think they're trying to go for the look and staging of the original film.

 

 

 

I think it is meant to be a dream sequence. I think everything from when they go down into the sewer to when Miranda catches the torch is meant to be imagined.

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