Restored Isolated Scores: Homeward Bound

[Holko 9,529]

Disney's 1993 remake of their older adaptation of The Incredible Journey was very popular on release for its craft and heart. The filmmakers mostly succeed in making us believe all the trained animals are the same character, the voice acting gives them a ton of personality, and even the obligatory 90s family drama (the kids are separated from the pets because they have to move into the city for their new stepfather's job) succeeds in adding some depth.

Bruce Broughton's highly thematic score for the journey through the Sierra wilderness is an appropriately beautiful sweeping Americana score with some interesting textures and a ton of heart.

 

The themes are:

Main Theme/Shadow's Theme/Journey Theme: A determined theme with a triumphant resolve associated with Don Ameche's wise but stubborn, fiercely loyal Golden Retriever, and the journey in general (of which he's the main driving force). I'll be referring to it with Journey or Shadow interchangeably depending on which fits the specific statement better.

Chance's Theme: A more wild and fun, folksy theme for Michael J. Fox's young, playful and unattached American Bulldog, played on guitar or fiddly strings.

Sassy's Theme: Feline strings for Sally Field's comfortable and sarcastic Himalayan.

Family Theme: A heartful theme for the trio's humans or the whole bunch together.

 

Minor recurring melodies also include Molly's theme (a lullaby waltz for the little lost girl they come across near the end of the journey) and a spiralling motif seemingly very loosely associated with the humans' search efforts for the pets.

 

 

1m1 My Name Is Chance (Main Title) - After a Main Theme for the title card, nervous strings underline a guitar line introducing Chance, a sudden hit ending it for his PTSD about the Pound. The Family theme quickly softens the mood, and starts alternating with a proto-Chance for the cut back and forth between the wedding and his antics, with Sassy also getting a short introduction. Within the wedding, Broughton plays with the orchestration of the Family theme a lot to introduce characters and dynamics - turning playful on flute for Jamie's antics, beautiful on oboe for Shadow, sweeping on strings for the kiss, but a bit colder on strings for Peter's reaction to his new father now being official. After a comedic percussion hit we get more proto-Chance antics. I had to stretch a shot or two to make it fit.

 

 

1m2 Sassy's Shrimp - Appropriately, some variations of Sassy.

 

 

1m3 The Cake - A simple Family plays off the scene where Peter questions Bob why they have to leave the pets, then we get some comedic scoring with Chance's guitar.

2m1 Flying Pussy - Sassy's theme and Chance's guitar compete in some delightful Mickey Mousing, we get a full Family theme, first half on flute for the closeups of the kids and animals, second half on sweeping strings for the more distant shots.

 

 

2m2 Left Alone - A sad piano Family plays as Peter says goodbye to Shadow, then one on strings as the family leaves.

 

 

2m3 Shadow's Confusion - A short cue for Shadow dealing with missing Peter.

 

 

3m1R Birdzilla - Meanwhile, Chance is having more fun exploring the farm, and his theme finally plays properly, first in slow guitar form, then in its energetic string setting.

 

 

3m2R The Note - Kate temporarily leaves the animals, but leaves a note behind for her friend to take care of them, which unfortunately gets misplaced. The first introduction of the Journey theme and a fateful woodwind twirl score this beat.

 

 

3m3R The Journey Begins - As Kate leaves, Shadow snaps out of his depression and starts getting truly worried. The music uneasily reflects this, starts building and building, then resolving when the loyal old dog makes the decision to go home, at which point his theme takes over on horn, then oboe as he convinces Sassy as well. Chance is ambivalent, but the return of Birdzilla convinces him too - his escape is scored with his theme, then Journey takes over on happily motivated brass and strings.

 

 

4m1 Where's The House? - A bleak soundscape for the mountain range with no house in sight turns warm with the Journey theme as Shadow goes on anyway. It also gets passed around the entire orchestra for the following travel montage.

 

 

4m2 Gives Me The Creeps - Creepy textures for the gang's first night in the wild.

 

 

4m3R Breakfasting With Bears - Playful Mickey Mousing.

 

 

5m0 Fording The Stream - A joyous new motif for the dogs swimming and Sassy finding another way to cross, interrupted by her theme:

5m1 Sassy In The River (The Wet Pussy) - A desperate action cue for the first action scene. Shadow's theme briefly changes the mood to heroic, but it quickly dies down as the situation proves to be hopeless and Sassy falls. After some uneasy scoring, the theme returns softly for Shadow teaching Chance about a dog's nature.

2m3 Shadow's Confusion #2 - A faster take of the same material, tracked here in the movie, reproduced on the Intrada.

 

 

5m2 Breakfast - Chance bungles a rabbit hunt, his theme energetically scoring the attempt and some comedic scoring following.

 

 

6m1 The Kids Find Out - A sad oboe and a harp Family, with more dramatic scoring in the middle for Peter's outburst, and a hint of a spiralling motif at the end as we transition to Bob working on a "Lost pets" flyer.

 

 

6m2 Sassy Wakes Up - When we finally see the flyer he was working on, a quick Family plays on piano, easy guitar scores the cutaway to the dogs, then strings distantly suggest Sassy as she wakes up in the care of the old woodsman who found her washed up on the river shore.

 

 

6m3 The Cougar! - The boys are in danger, stalked by a mountain lion, accompanied by eerie scoring. Some quite tense action follows for the chase with only sparse comedic distractions for some Chance antics. The music only truly lets up when the cat is outsmarted and thrown off, and the only thematic bit in this piece is the relieved Shadow theme and variation capping it.

7m1R Reunion - One cat is out, the other is back in. Sassy's theme scores her running off to catch up with the boys, who are off frolicking to a unique brass figure. Held strings give them pause, oboe twirls hopefully, then the Journey theme's first half explodes in its most joyous form yet as they reunite. Chance's guitar transitions us to a calm reading of the second half, the gang being happy and content back together after a proper meal.

 

 

7m2 You Got My Lip!! - A Chance/Sassy mix scores her trying to get the porcupine needles out of his face, then some comedic bassoon for the porcupine walking away.

 

 

7m3 Who Made These? - Peter got advice at the police station to print "missing pet" flyers, but at home he finds the one Bob already made to a warm piano Family, which transitions to an oboe one for him missing Shadow. As we fade to the animals, the spiraling motif returns from the end of The Kids Find Out. Uneasy oboe scores them finding Molly, a lost little girl, and her theme enters as Shadow comforts her.

 

 

7m4/8m0 Shadow's A Hero - After Shadow leads the rescue party to her and she's reunited with her parents, Molly's theme plays again in full. The spiralling motif also returns when the Forest Service people recognise the gang from the flyers, Journey warmly finishing the cue with the hopes of finally getting home.

 

 

8m1 We Found Them - Strangely, this excited cue avoids the Family theme entirely for the kids' joy at finding out about their pets. Then the cue turns uneasy, and finishes on a straight up horror stinger.

 

 

8m2 Impossible Mission - Shadow was captured and Chance was taken to the vet's torture chamber, but Sassy managed to slip away, and is now coming back to rescue the boys. The break-in is scored with a groovy arrangement of Lalo Schifrin's Mission: Impossible theme (which at that point had of course already been well known for decades, but being 3 years before the first movie, surely wasn't quite as eye-rollingly overused and overparodied as it would be 10 years later), and the cartoonish breakout is accompanied by Broughton's fun riffing on Khachaturian's Sabre Dance, with the Journey theme again closing the cue for the triumphant escape.

 

 

8m5 A Funny Feeling - Sad strings score good old Shadow's sixth sense telling him that they just missed their humans who came to pick them up, but they push onwards anyway. Oboe suggests the Family theme but a calm string Journey theme takes over for another travelling montage, the gang back together healthy, happy and motivated again, stronger than ever.

 

 

9m1 We Made It - An anxious piano riff on the Family theme's opening moves onto oboe, then flutes soften the mood, then a relieved trumpet and string Journey theme scores the reveal of the hometown, the incredible journey being seemingly almost at an end.

 

 

9m2 Shadow's Fall - In his hurry, Shadow steps on a bad plank and falls into a pit of mud. Anxiously dark and murky scoring roots for him to get out but his age and broken leg make him give up, to a very off woodwind Shadow theme. Rhythmic percussion enters as Chance takes over the role of motivator in the group and goes down the hole to try and get him out, but the cue finishes on a sad Shadow on oboe as the old dog fully resigns to his fate and gives his final bit of teaching.

 

 

10m1 Reunited - The human family is strong, at home for thanksgiving, everyone including Peter having accepted Bob as the new father. Jamie suddenly hears barking and seems to recognise Chance. The score joins in, hoping with him with little staccato bits of the Family theme. But of course he's right, and Chance's theme happily sings out in counterpoint to a string Family theme, the unattached stray finally really being part of a whole. Sassy is not far behind, her theme played in an uncharacteristic setting, on winds instead of strings. The Family theme plays in full again... or does it? The end trails off as Peter is still waiting for his friend Shadow. The moment is milked very effectively with mourning strings, until suddenly Shadow's theme enters on horns as he stumbles up the hill. The tempo fastens excitedly and the theme is picked up by the full orchestra as boy and dog are happily reunited. It's scaled down to oboe then flute for Chance's observations, then the Family theme plays once more on piano as he really realises he's home now.

10m2 End Credits (+ 10m2 Alternate Start) - The revised opening is based on the jolly figure from 5m0 Fording the Stream, then plays a folksy Shadow on strings. Chance enters on quiet guitar and fiddly strings. A reprise of the Journey theme renditions from 4m1 Where's the House? follow, then Sassy's theme and the frolicking brass from 7m1R Reunion. After a unique Family theme statement, we bridge to what else but a reprise of the brass Shadow for his appearance in 10m1 Reunited, which slows down near the end, and gives way to the real endcapper, a short Chance guitar.

 

 

Bonus:

10m1 Reunited (End segment) + *10m2 End Credits (Original version opening segment) - The original opening was a quiet Chance guitar base and a soft harp Journey. I added the end of Reunion to contrast how it would have joined in.

 

[ThePenitentMan1 744]

I gotta set aside some time to watch these.  More Broughton is never a bad thing!

[Holko 9,529]

Especially when it's his best score!

[Holko 9,529]

For the 1996 sequel, Disney turned to the tried and true formula - copypaste the major beats of the original so the same thing happens to the same characters, and place it in a more comfortable and accessible location. The family drama this time is that Jamie doesn't play with Chance enough anymore, and so Chance is less motivated to return home when he finds companionship. Thus we get Homeward Bound II - Lost in San Francisco.

Broughton, however, did not do a copout job at all, I don't think there's a single bit of copypasted music from the original. He was inspired by the location change and consequently the score has a much more urban and contemporary feel than the timeless sweeping rural first score - we have synths, saxophone, rock percussion, metal percussion, spoons, harmonica, bass and electric guitar.

 

All themes for the 3 main characters return, Shadow's theme of course still stands in for the major journey milestones, Sassy's theme makes an occasional appearance, and Chance's theme has evolved from the fiddly guitar folk theme to a fun percussive sound.

Broughton also added new themes for the new characters: Delilah, a love theme for piano or saxophone for Chance's newfound love interest, Rumble, a groovy action piece for the gang's confrontations with the first new villain duo, two tough-looking but not very smart city dogs, and The Blood Red Van, a somewhat bumbling march (with many varied settings) resembling Prokofiev's Dance of the Knights for the second villain duo, men who patrol the streets of Frisco picking up animals (stray or not) to sell to a lab for experiments.

 

 

This Is Home, Main Title - Right off the bat, Broughton picks up where he left off. After a brass fanfare, we drop right into a homely Shadow for the title screen and the new house's introduction. Chance jumps in with a new setting, for woodwinds and percussion. Broughton applies some fine dramatic tension scoring for comedy, then we get another quick Chance and Sassy for her introduction.

 

 

Nose Radar - More Chance and Sassy variations.

 

 

Chance Enters The Game - Another quick Chance on guitar.

 

 

Dog In The Outfield - Finally some full-bodied energetic Chances in the new setting, on brass and strings.

 

 

To The Airport - The family's flying to Canada for a holiday, but after the last time, they smartly take the pets with them. Journey variations score the start of a new adventure.

 

 

Gimme Another Chance - Ominous strings and flute score the animals being taken away to luggage, Chance being especially worried that he's being taken back to the Pound because he's been bad.

 

 

Airport Escape - Our first action setpiece, set to a Chance-related backbone. Sassy scores the cat once again being the jailbreaker, and a grand brass chorale Journey plays as all the gang are free and run back to the lobby.

They’ll Stop - The setpiece continues, this time all set to Journey variations - fragmented ones when they're confused where to go, a particularly excited one when they set off, and tense fragmented ones again as they're waiting for the plane to stop.

Run For Your Lives - The Chance-related idea comes back for the final stretch, the escape from the airport. Sassy plays in an unusual form as she climbs over the fence, and of course we get a triumphant and a playful Journey for the ending.

 

 

So We Walked - A nice little athematic connective cue.

 

 

Further Than I Thought - Journey plays on woodwinds as the gang realises they're really in for it again. The rest of the cue introduces the Blood Red Van in ominous, sneaky and more comedic settings.

 

 

In The City - Bright uptempo statements of Journey with a piano accompaniment.

 

 

Boy On The Porch - Some varied Sassy bits: a classic reading for her trying to work her charms on the boy, a ridiculous high-pitched one as Chance tries to copy her technique, then a deflated one as they all miss out on food. Bass and percussion at the end signal that the sound of the score is about to shift.

 

 

Dog Fight - Chance's playing around with the "goofy sidekick" dog is mostly scored comedically, but for Shadow's real clash with the "mastermind" and the entrance of Riley's ragtag gang of strays, the Rumble starts grooving. The harmonica at the end signals that this isn't the last we'll see of the bullies.

 

 

Delilah - The cue's centerpiece is the big chase, based on variations of Chance. As he then attacks Delilah, the score evokes the Van, but the mood sweetens quickly.

 

 

Chance Meets Delilah - Over curious string chords, piano introduces Delilah to Chance. However, things are less rosy when we cut back to the extended gang - the Blood Red Van is just around the corner, accompanied by perhaps its most threatening statement in the score.

 

 

In The Park - Romantic Delilah statements for guitar, then later saxophone, with a guitar interlude for Riley's backstory which curiously seems to ironically suggest the Family theme from the first movie, which is otherwise never reprised in this score.

 

 

Thinking Of Chance - As the family heads home, Jamie feels bad about his neglectfulness towards Chance, scored by a skeletal Chance.

 

 

Dog On A Date - This cue moves from a playful Chance to a warm piano then saxophone Delilah - but the ending is ominous as we cut away from the lovers.

 

 

Bungled Ambush - An ominous flute twirl and Van marks the event that will put a familiar side character in danger soon, but the mood is more playful when we spot the now reduced gang of Shadow and Sassy in the distance. The rest of the cue is a harmonica-focused blues for the two bullies, with a quick unused Shadow at the end.

Heroic Deeds - The house on fire is scored with a sudden violent reveal. Shadow and Sassy's quick decision to go in and rescue the boy and his kitten is followed by a reprise of the action motif from the opening of Airport Escape, then we get this score's equivalent of Molly's theme for the equivalent "rescuing a random child" scene, a heroic melody first played unsurely when Shadow approaches Tucker, then crying out triumphantly when they get out, and finally happily on strings when Sassy's out too. Shadow's theme of course appears as Riley's gang admires his courage, as Tucker thanks him, and as the extended gang leaves. Sassy also makes an appearance on comedic woodwinds when she appears carrying Tiger.

 

 

Post Bonk - An oboe figure almost suggesting a very slow Chance gives way to a piano Delilah as they're revealed... uhh.. you know, post bonk.

 

 

Hopes & Regrets - Delilah plays on guitar - she has now taken on Chance's instrument!

 

 

Let Him Go (+ revised opening) - Fun Chance variations for him playing around, with a more solemn section for Shadow's talk with Delilah. But The Blood Red Van soon arrives to interrupt playtime. The theme plays in full force for the reveal, but then changes into sneaky modes as they try to lure Chance in.

Chance Ensnared

Attacking The Van - I have no idea where exactly the split is with these 2 cues. Spoons pick up the rhythm and Van plays in multiple dramatic variations. Sassy plays as she once more proves to be the brains of the operation when in a tight spot. After a grand fanfare for the reveal of the living roadblock and a quick Shadow, the pace picks up again, and the Van theme plays in a crazy form, almost falling apart. The mood turns more comedic as the attack begins and the gang gets the upper hand, Shadow pops up again as he asks Sassy to do her part, her theme of course scoring her feats. As the gang starts chasing the crooks, the chase motif from Airport Escape and Run For Your Lives briefly returns, then the Van theme starts breaking down more and more as its drivers are defeated and humiliated. The sequence finishes with a buildup to a gloriously celebratory Journey as the van is driven into the water.

Fun While It Lasted - Delilah rejects Chance for his own good, and a dejected Chance on guitar gives way to a sad harmonica and piano Delilah as he walks away from the group, then on flute as she says goodbye to Shadow and Sassy, then on oboe, which continues into the next Shadow theme. Sassy plays on strings and Shadow on brass chorale as the two say goodbye to Riley.

 

 

Thing Of Beauty - After an ominous introduction, the Rumble returns, but a sudden fanfare disrupts it. From here it morphs into a rock piece with Chance interjections.

 

 

Over The Bridge - Woodwinds play the end of Journey, then a new development transitions it to a new, constantly rising piano Delilah. Journey plays again in hopeful form as the gang crosses the Golden Gate Bridge and the family heads towards them.

 

 

One Last Look - Broughton starts the cue, cutely playing the chords for Chance singing I Left My Heart in San Francisco, then he switches to what could be that last Delilah theme, on Chance's guitar.

 

 

Reunion II - Brass cries out as the truck seemingly hits Chance. Journey plays in a carefully happy way and is cut short as Jamie starts looking for Chance. It only plays fully triumphantly when it turns out he's fine and the second reunion is complete.

 

 

Delilah Returns - Chance is at home, but depressed. In a play on the first movie's ending, he hears a bark... but it's not Delilah. Broughton scores his rut very effectively, but it softens hopefully the second time he hears it... and then Delilah finally enters on strings, meekly at first, then turning romantic. Soft friendly music and a flute/oboe rendition introduce her to the family.

Delilah Stays - Delilah plays full force for Chance's joy when she's accepted as a part of the family, and his theme and a short reprise of action material from Delilah finish the cue.

End Credits - The piece starts with a reprise of the fanfare and Shadow theme from This Is Home, Main Title, extending and intensifying the latter. A unique dance bridges to a reprise of Dog in the Outfield. Then an obligatory Sassy statement connects it to a full Deilah reading assisted by saxophone, followed by Chances and a bunch of particularly playful and peppy Journey theme statements to close the book on this duology.

 

 

Let Him Go (original opening) - This version started later, and was much more energetically playful, the interlude also less moody. When Broughton rescored it, he took the energy level down and started the cue earlier, when Chance starts playing with the tire.