Rating: 
Original Review: Black Beauty, based on the classic novel by Anna Sewell and directed by Caroline Thompson, marks the welcome return by Danny Elfman to the more conventionally melodic, lyrical style he adopted in his score for Sommersby and, although it still occasionally contains some of Elfman's unique orchestral touches and flourishes, is nevertheless a world away from the quirky, unusual styles that have characterised Elfman's career to date.
There is a definite Irish influence to the music (somewhat oddly, as the story is set in Yorkshire), with penny whistles and fiddles playing a major part. The main theme, as presented in 'Main Title', is omnipresent throughout the score, and virtually every cue on the album contains a refrain of it in some form or another. The theme is, in my opinion, one of Elfman's best - it resembles the theme from Sommersby somewhat (probably the reason I like it so much), and has a potent dramatic impact that is seldom seen in his work. Much of the mood of Black Beauty violently alternates between totally opposed feelings: the music is either gloriously, ecstatically happy or depressingly, heart-breakingly sad, and there is precious little middle ground where you are able to have a breather from the wildly fluctuating emotions. However, Elfman has such a grasp of the intricacies of his score that it never seems overbearing and instead sweeps you up and carries you along on the tide of joy and despair.
On the happy side, 'Gang on the Run' is fantastic, swelling to a rich full-orchestra crescendo halfway through; 'Jump for Joy' is full of frenetic, swirling strings; 'Frolic' contains a lovely, playful piano solo adorned with magical chimes; 'In The Country' has a feeling of freedom and wild abandon to it; while 'Memories' and 'End Credits' perform final, resounding refrains of the main theme. The morose cues include 'Sick' and 'Goodbye Joe', both of which present subdued strains of the theme on a piano with tender strings; 'Ginger Snaps', which is quite disturbing, and features a rendition of the theme offset with rumbling drums and awkward flute blasts; and 'Wild Ride', which is loud and boisterous, and performs an off-key version of the theme on pounding pianos.
Elfman himself has said that he used Black Beauty as an opportunity to "really turn on the sentimental valve up to maximum", and his affection for this score is obvious. I really wish Elfman would write, or be given the opportunity to write, scores like this more often. When he composes a glorious, epic-sounding score instead of the bouncy, la-la-la stuff he has been churning out for years (and which I personally feel is beginning to sound rather stale and old hat), Elfman ranks right up there with Hollywood's best.
Track Listing:
Running Time: 45 minutes 36 seconds
Giant Records 9 24568-2 (1994)
Music composed by Danny Elfman. Conducted by J. A. C. Redford. Orchestrations by Steve Bartek and Jeff Atmajian. Recorded and mixed by Shawn Murphy. Edited by Bob Badami. Mastered by Dave Collins,/B. Album produced by Danny Elfman and Steve Bartek.
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