From: [sic: Beetlejeuce]:
Danny Elfman's contribution of the opening titles for this cartoon (in fact
ANY cartoon) is entirely within the expectations of his stylistic
capabilities. The music for most of his films up to--but not including--
Batman (1989) show us a composer instantly at home with quirky comedy,
outrageous plot-lines, silly people and social satire (the latter portrayed
most memorably in Beetlejeuce and Scrooged). From this aspect of his
repertoire the movement to the bitingly funny satirical Simpsons is less a
leap, more of a dolly-step (pardon the twee playground slang).
What makes The Simpsons the most enduring of modern "cartoonism" is its
combination of intelligent plotting, instantly recognizable
characterization, and attention to detail. These observations are
ironically the values which not just recent cartoons (with the exception of
Disney--though at the cost of today's cinema seats you've got to expect a
bit of effort) lack, but also many of the goofy films (did anyone say
Flubber?) which might consider themselves appropriate to Elfman's magic
touch. In short, this is one "classic" that deserves as much critical
praise as it has ratings all over the world.
Elfman's role was to provide striking opening/closing title music which
would be both suitable curtain-opener to the show, and provide the series
composer (Alf Clausen) with meaty material to work on. In effect what was
required was a typical operatic overture. In some sleeve notes for "The
Simpsons. Songs in the Key of Springfield" Matt Groening (series creator)
claims to have requested "a big, fully orchestrated, obnoxious, arrogant
theme that promised you the time of your life". Perhaps not opera as we see
it today, but still fitting.
The result is success on a par with the opening of Beetlejeuce--without the
headache of a whole film to fill later.
A mere 1'29 in length it crams in references to various visual cues, from
the raucous brass writing in the town-driving scene...to the pizzicato
delicacy (accompanied by rushing strings) of little Maggie's faux-driving
scene...to Lisa's saxophonic disruption of the school band scene (in
succeeding episodes this moment provides ample opportunity for
improvisation)...This is all stuff that Elfman in this style is immediately
suited to and associated with. In fact films such as Beetlejeuce and Pee
Wee are often accused of being live action cartoons. This is not without
reason, but shouldn't be taken as criticism because: a) they make
entertaining films, b) if cartoons were judged on the Simpsons' standard
they really would be a "standard" and c) we can enjoy Elfman's style from
this period, knowing that what he has written since has proved him to be
both imaginative and innovative in other film genres.
Without a doubt the music is concentrated perfect, complimenting the
cartoon in a way that few other composers would dare, without disregarding
thematic tunefulness. The mood is fun fun fun to an exaggerated extent, and
it is perhaps this which lends it that illusive sense of weight and the
wickedly dark under-current The Simpsons hides beneath its own flamboyant
exterior. Certainly the orchestration is top-notch, and bears an almost
infinite number of listenings without giving up all its secrets--a good
strength to have when you really are going to hear it that many times.
VERDICT: A miniature catchy-but-classic masterpiece. A must for all fans of
this aspect of Elfman's style, and especially for those (like myself) who
can usually only take it in small doses!!!
I. Davis
====================
mb: The piano reduction is of course only a very thin representation of the
real score. This MIDI file is pretty good:
.
There is an impressive list of Simpsons Theme MIDI files at
, but I suspect
many of those are actually identical.
Michael Bednarek http://mbednarek.com/