Nanny McPhee Returns Composed by James Newton Howard
Varese Sarabande (2010)
Rating:
7/10
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“NANNY MCPHEE
RETURNS is a score compiled with no less grace than a normal HOWARD
score, but it is in the inevitable weighing-up against his previous
efforts that it comes up a little short on engaging ideas.”
Familiar Fantasy
Review by Richard Buxton
In a year of scores that includes a career-highlight for JAMES NEWTON
HOWARD in THE LAST AIRBENDER, one could be forgiven for overlooking the
likes of NANNY MCPHEE. Ever the diverse composer, HOWARD takes his first
foray into the NANNY MCPHEE universe.
The second of the NANNY MCPHEE titles, NANNY MCPHEE RETURNS, sees Emma
Thompson return to screenwriting and lead actress duties in this quirky
fantasy adventure.
HOWARD enters into familiar territory in NANNY MCPHEE RETURNS, having
scored for the fantasy genre in recent years with such efforts as THE
WATER HORSE and PETER PAN. With such familiarity comes reliability, but,
as is displayed in RETURNS, there is always the underlying risk of a score
composed on autopilot.
Of all HOWARD’S talents, perhaps the most comforting one for a director is
his ability to consistently match his compositions to the onscreen events.
While this is fundamentally all that is required from a film composer, it
is somewhat disheartening when it comes from someone of such undeniable
ability. NANNY MCPHEE RETURNS is a score compiled with no less grace than
a normal HOWARD score, but it is in the inevitable weighing-up against his
previous efforts that it comes up a little short on engaging ideas.
The score opens with “Coping Very Well”, an initially delicate assortment
of string harmonies that weave a dreamlike opening. This opening theme is
comfortably one of the strongest of the score and nothing less than what
is to be expected of HOWARD. A statement of intent for the majority of the
score is then heard throughout the subsequent piece, “The Person You
Need”. A relaxed, almost lethargic pace is established among the
woodwinds, providing a down to earth element before the fantasy is let
loose upon the listener in the form of a cacophony of brass.
In “Topsey and Turvey”, HOWARD continues to show that he is not one for
lacking in variety as the rolling plucks, previously foreshadowed in the
opening track, drive the minute long piece before the canvas is changed
once more. While HOWARD manages to avoid falling into the trap of
repetition throughout the score, there is still the niggling feeling that
someone of his ability and history is capable of so much more, as
exemplified by “The Cousins Arrive”. The piece is almost the template for
scoring such a film and is undoubtedly evocative of the emotion that
HOWARD intends to provoke in the viewer. However, never does it truly
invigorate as a listening experience.
As HOWARD continues to provide an unpredictable experience track after
track, he does so at a cost. Listening to the score throughout, it becomes
increasingly difficult to identify the themes. While they are clearly
present, they do not possess the standout factor that HOWARD is often
known for. In Both “Nanny Arrives”, and “Nanny Explains The Rules” the
dynamics experience constant change before swelling into a their
respective finales. This perpetual shift in ideas comes to a sudden stop
in “Self Punishing Spell” as HOWARD ups the ante in a scurrying piece that
is almost the embodiment of the typical children’s fantasy score and as a
result one of the stronger tracks overall.
At long last HOWARD unleashes his creative ability in “Pursuit of The
Piglets”, a thrilling, often breathless adventure-piece. “Pursuit of The
Piglets” signals the beginning of the score’s second half and by far the
stronger half of the soundtrack. Not willing to forsake the consistent
variation of music on offer, the very next piece, “Synchronized Snouts”
breaks out the big band sound, followed by the welcome delicacies of
“Celia Gets A Delivery”.
The greatest reasoning for calling the second half the superior one is a
genuine sense of excitement and magnetism that is just not present for the
duration of the first. “Triumphant Trappers” begins in frantic style
before subduing itself. Unlike previously, this transition works very well
and provides a good balance between the sections. This newfound rousing
personality only grows stronger in “Nanny McPhee We Need You”, which
precedes an example of how effectively HOWARD can utilise strings to pull
at the emotions of a listener. An interesting take can be heard in the two
parts of “Defusing The Bomb”. Part one creates the tension before it is
released and the orchestra finally erupts in glorious triumph. The two
parts juxtapose each other sufficiently to achieve the required result.
HOWARD’s take on Nanny McPhee’s adventures comes to a stirring and
inspiring close with “Miracle of the Harvest” and “Homecoming” as the
inevitable triumph is revealed. “End Credits” forgoes this spectacular
sound of resolution in favour of a vigorous reprise of the fantasy
elements heard throughout the entire score.
If anyone were looking for a perfect template for a children’s fantasy
score, NANNY MCPHEE RETURNS would be a strong candidate. It does
everything you would expect, but the fact that it is the sublimely
talented James Newton Howard at the helm, there is an ever-present feeling
that it could have been so much more.
