By John Mansell. ©2019. Movie music international.
Christmas, ah yes. Tis the season of good will, cheer, warmth and of a peaceful and contented feeling throughout the world, or so we are told. But Christmas can also be a time for tales of witchery, mystery, monsters and ghosts. A Christmas Carol being the obvious go to tale of ghosts and things that go bump in the night, but also ending with a wonderfully heart-warming message. Lilly’s hometown prepares for the festive celebrations, and all things Christmas are uppermost in the hearts and minds of everyone, (but are these the right thoughts?) Until that is Lilly accidently summons Rupert who is said to be a companion of Saint Nicolaus. In a modern-day environment Rupert begins to feel uncomfortable and is filled with anger and disappointment when he sees what he thinks are unnecessary material things that are everywhere and are linked with the so-called festive season. In his rage he decides that he will teach the people of Lilly’s town the true meaning of the festive season and install within them respect and good manners. Anne-Kathrin Dern became involved with the film LILLY’S BEWITCHED CHRISTMAS via her on-going collaboration with composer, Klaus Badelt with whom she had been working alongside on various projects for a few years. Badelt, had created the scores for the ﬁrst two instalments of the movie series and introduced her to the production team who were working on the third. She recorded the score in Belgium in the summer months of 2017, with the music being performed by members of the Brussels Philharmonic orchestra under the baton of conductor Matt Dunkley. Badelt provided the main theme for the movie, (Evil, Can Create Evil) which was a feature of his previous scores. Dern’s score will enthral, enrich and delight, and is one that has so many vibrant musical colours and textures. There is a creative and innovative style present throughout the work, with an inventive and imaginative use of both strings and choir that combine to fashion a magical and ethereal sounding work, which is perfect for a movie that is set during the festive season. It is also a work that is literally dripping with melodious and richly thematic pieces, but also has to it a certain amount of quirkiness and a mischievous quality which underlines and emphasises the more jovial and lighter moments of the film, this quirky style glimmers within and through the main fabric of the score adding another dimension to the movie and also bringing a mysterious and magical musical persona to the soundtrack.
There are a handful of styles present within the score, one of which can be likened to that of Danny Elfman in THE NIGHTMARE BEFORE CHRISTMAS, with touches of John Williams in HOME ALONE mode and little strokes of James Horner as in CASPER, which I think cannot be a negative in any way. There is an impish and devilish aura that weaves in and out of the musical proceedings, and at times this evokes a sweeping, otherworldly and urgently rich style employed by composers such as John Debney in scores such as HOCUS POCUS and again John Williams in THE WITCHES OF EASTWICK. A melancholy and romantic style also begins to make its presence felt as the score progress’s and develops, which at times is interrupted by an adventurous near swashbuckler of a theme as in shades of PIRATES OF THE CARRIBEAN. One thing is certain there is no shortage of sparkling, mysterious, dramatic, luscious and magical thematic properties here. The soundtrack has to it an intimate side too which can be fragile, delicate and childlike, the tantalising score is filled with an appeal which is haunting as well as charming and it oozes character and quality.
John Mansell. (c) 2019.
“Having grown up during the 90s with Alan Menken’s music for the Disney animations, I’ve always known that music and movies were my passion, but I decided at around age 12 that I wanted to pursue it professionally. I had been playing various instruments and got theory lessons, but it wasn’t until I heard John Williams’ score for “Harry Potter and the Philosopher’s Stone” that I began to research the profession of a ﬁlm composer. That same year, just a month later, Howard Shore’s “Lord of the Rings: The Fellowship of the Ring” came out and by that time I was completely taken by the idea of writing music for movies. It seemed like an unlikely thing to do at the time, with the ﬁlm industry being on the other side of the world and without the internet as a resource completely out of reach as well. But I simply continued to study scores on my own, hoping that everything would fall into place eventually”.
Anne-Kathrin Dern. (c) 2018 MMI.
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