Nevertheless, Giacchino does a wonderful job of having tracks that do not depend on “Mickey Mousing” - or “Remy Mousing” in this case. After all, Bradley was the undisputed master of cartoon scoring - even though many will argue in favor of Carl Stalling. More importantly, it is in this track that we start to notice a little bit of Scott Bradley’s influence on Giacchino’s work. In “Heist to See You” we hear again that bassoon/clarinet theme we heard early on. These two tracks are as exciting as they get - and quite enjoyable too. One can’t help but notice some elements of The Incredibles in “Losing Control” and “The Paper Chase,” which I think reinforce the idea that Giacchino has mastered the art of providing jazzy scores for animated films. Giacchino proves that he can write some fabulous lines with complex rhythms and a variety of instruments. “Special Order” and “Collete Shows him le Ropes” have more of latin flavor to it - Tango, anyone? Yet the listening experience is superb. This is one track where we really get to experience some beautiful themes by Giacchino.
In this track we get to hear some wonderful harmonica lines, combined with whistling, beautiful guitars, and muted trumpets. “Remy Drives a Linguni” has some of the same characteristics. One is destined to become immersed in this music and believe they are taking a trip through France. However, tracks like “A new Deal” offer a wonderful listening experience that is romantic and melancholic at the same time. Understandably, the constant use of accordions and minor chord progressions might upset some people - particularly those tired of clichéd French music. Although at times this track has a more militaristic sound to it, the variations force the music to explore different harmonies, taking it through different styles of music. Moreover, he still uses accordions, guitars, among other instruments to try to keep the style focused on the French theme. This track contains elements that Giacchino used in his Medal of Honor scores. “A Real Gourmet Kitchen” is, in my opinion, the best track of this album. Eventually, this piece evolves into a very sentimental piece that gradually begins to emulate George Fenton’s jazzy scores for romantic comedies. In “Wall Rat,” for instance, the flutes have those "pseudo Jean-Pierre Rampal riffs" that are outstanding. Let me say that in all of these tracks the instruments’ ranges and timbres are very well used, hence making the orchestrations sound very solid and full. “100 Rat Dash” is an exhilarating piece that contains both dramatic and humorous moments within it. Still, some of the first tracks like “Granny Get Your Gun,” “100 Rat Dash,” and “This is me”, offer very interesting musical moments.
Admittedly, I couldn’t understand the song itself, yet the vocals are clear and very beautiful.Ī few tracks are fairly short in duration, thus having many musical fragments that never connect with one another. The chord progressions are very mellow, sweet, and extremely appropriate for the required mood of this movie.
“Le Festin” is the first track on the album and is a very nice introductory song. This score breaks away from many of the usual scoring conventions found in animated movies and creates a score that has a great degree of originality, while still maintaining the right amount of French music clichés. Of course, the results were simply terrific. Michael Giacchino, who had composed the score for The Incredibles, was hired to do just that.
#RATATOUILLE SOUNDTRACK COVER PLUS#
For a project like this one the music required all of those energetic phrases found in other Disney movies, plus some French elements and originality.
#RATATOUILLE SOUNDTRACK COVER MOVIE#
The movie is extremely enjoyable, funny, and sentimental all at the same time. After all, this movie is one of the best to come out from Pixar. It really came as no surprise when Ratatouille won the Oscar for best animated film of the year in 2008.
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