Many in the film score community were left with puzzled looks on their faces when it was announced that Ilan Eshkeri would be providing the music for Stardust, a film directed by Matthew Vaughn and based on Neil Gaiman’s book of the same name. Of course, the surprise wasn’t because Eshkeri is a relative newcomer to the score scene, but because he was originally on board for the film back in January, but it was announced that John Ottman would be taking over the position. Ottman recorded his score in Feburary, it was rejected, and the producers announced the Eshkeri was on the project again. Whether it stemmed from upset filmmakers or was simply a matter of scheduling, I’m here to talk about the score, not analyze the inner workings of Hollywood.
Eshkeri’s music for the wonderfully adventurous, witty, and romantic Stardust is the very definition of a serviceable and ordinary fantasy score. There are very few ideas presented here that we haven’t heard before, and because of that the score lacks a true identity and has a very familiar feeling for most of its runtime.
As with many scores these days, the final music is, at times, highly influenced by the temp track. John Debney’s Cutthroat Island, Harry Gregson-Williams’ Narnia, and even Wojciech Kilar’s Dracula make appearances in the film. This might not bother some listeners, but it needs to be pointed out. The other problem I have is the often boring percussion work. If the percussion is going to used as a solo instrument and be mixed so loudly, at least do something interesting with it. The orchestrations can also be somewhat bland at times and by the end of the album I had grown a bit tired of all the string ostinati.
If it sounds like I’m being ridiculously harsh, it’s because there are some really nice thematic ideas here and I can’t help but wonder if Eshkeri had been on the project the whole time and been allowed to stray more from the temp track that we would have our first great score of 2007. His adventure theme, which is used far too little, is the first bit of music from this year that I found myself humming subconsciously. The love theme for Tristan and Yvaine, presented primarily on oboe and lush strings, is quite beautiful. The flying music for Robert DeNiro’s Captain Shakespeare is fun, and the film’s finale is scored perfectly with Star Wars like brass and a grand rendition of the love theme. In between all the problems, there’s a great score that just wants to burst out.
While certainly not groundbreaking, Ilan Eshkeri’s Stardust shows that he is a composer to keep an eye on in the future. If you liked what you heard in the samples, chances are you’ll enjoy the album. It’s available for purchase now through iTunes and will be in stores on September 11. For now though, I recommend you go to the nearest cinema, sit down, and enjoy this great film. If you like your movies fun and adventurous (and you’re a fan of The Princess Bride) you won’t be disappointed.
3/5
