Puss in Boots Composed by Henry Jackman
Sony Classical (2011)
Rating:
8/10
More soundclips below provided by AmazonMp3
“JACKMAN isn’t quite
there yet as a contender for King of Animation, but if he keeps
going like this, JOHN POWELL had better watch out.”
"Panache in Boots"
Review by Helen San
PUSS
IN BOOTS is a prequel in the SHREK series that tells of the title
character’s adventures and misadventures before meeting Shrek for the
first time in SHREK 2. It is more than a children’s animated parody about
stealing the Golden Goose from the Giant in the clouds with a girl cat and
Humpty Dumpty; it is also a story of deception and betrayal, conscience
and honor, friendship and sacrifice. Voiced by Antonio Banderas, Puss in
Boots is a Spanish cat through and through. With Salma Hayek voicing the
leading lady cat, Kitty Softpaws, it is clear PUSS IN BOOTS would have as
strong a Spanish flavor as KUNG FU PANDA had a Chinese one.
When we think of Spanish music, we think of the classical guitar and the
flamenco. To be sure, composer HENRY JACKMAN, included ample amounts of
both. There are more than a few hints of JAMES HORNER’s MASK OF ZORRO in
here, no doubt a parodied nod to Banderas’ portrayal of the rogue Spaniard
who inspired Puss’ personality. (Puss even swooshes out a “P” with his
sword, like the famous “Z” by Zorro.) A Bad Kitty (1), is probably the
most notable homage to MASK OF ZORRO, with a similar flamenco opening.
But JACKMAN, the latest “alumnus” of HANS ZIMMER’s Remote Control studio,
went beyond the stereotypical. Classically trained at Eton College and
Oxford University, JACKMAN drew inspiration from classical composers like
Spanish giant Manuel de Falla, and French icons Maurice Ravel (Bolero) and
Claude Debussy. He wanted the music to be large and symphonic, not just
acoustic classical guitar, mandolins, and other folk instruments. He also
wanted to stay away from the synth so characteristic of the Remote Control
sound, to capture the organic vitality and soul, as it were, of Latin
culture. The result is a grand, orchestral, Spanish-infused score brimming
with pizzazz and panache. Don’t get me wrong, it is still very much an
animation score, but it carries just enough depth to be engaging.
Part of the tangible vigor of PUSS IN BOOTS is attributable to the very
talented contribution to Rodrigo y Gabriela, a Mexican performance team
who plays a fusion, flamenco-rock, percussion guitar. Lending two of their
most popular compositions to the score, Diablo Rojo (6) and Hanuman (17),
Rodrigo y Gabriela also performed the flamenco parts of JACKMAN’s
composition in their ear-perking signature style. Rodrigo y Gabriela also
performed for ZIMMER’s PIRATES OF THE CARIBBEAN: ON STRANGER TIDES (to
accompany Penelope Cruz’s Spanish presence, I suppose), but the dramatic
composition there did not allow them to showcase their élan as much as
JACKMAN’s percussive score did here. If you get a chance to watch them
perform (check out Youtube), do so. Their fingers and hands do
circus-worthy acrobatics with an acoustic guitar that should drop your
jaw. Both Diablo Rojo (6) and Hanuman (6) are the equivalent of musical
caffeine. The new recordings for this soundtrack sound especially zestful
in comparison to the older ones I’ve heard.
The main theme belongs to Puss, a symbol of his over-the-top vanity and
swagger. In Chasing Tail (5) and the second half of Honor and Justice (9),
amongst others, we get a good listen of the leitmotif in mariachi trumpet
solos and lots of castanets. (If ZIMMER’s mariachi and parody heavy RANGO
gave you nightmares, don’t listen to this theme before bed.) JACKMAN’s
strength is not in the somewhat hackneyed leading theme, but in the
supporting action tracks such as That Fateful Night (10), The Wagon Chase
(11), Kitty-Cat Break-Out (20), or The Puss Suite (23). JACKMAN shows much
more maturity in action cues, and they stand out head above shoulders over
the rest of the more cartoonish ones.
There is also a secondary theme, what JACKMAN has called the “brotherhood
theme,” which provides a tender, dramatic contrast to the comedy and
bombast. You can hear it in Castle in the Clouds (15) and the Giant’s
Castle (24). Finally, other tracks that caught my attention are longer
ones with more narrative, Golden Goose of Legend (16) and The Great Terror
(21). They prove that when JACKMAN wants to, or is allowed to, he can be
the go-to composer in animation storytelling.
JACKMAN isn’t quite there yet as a contender for King of Animation, but if
he keeps going like this, JOHN POWELL had better watch out. PUSS IN BOOTS
is a fun and entertaining percussive treat for the ears.
