Songs In Animated Features
(continued from page 1)
Writing songs for the stage has many of the
same requirements as writing songs for an animated movie. This is
why so many of the most successful animated musicals have been written
by theater people. It is interesting to note that both Beauty
and the Beast and The Lion King have become long running
successes on both Broadway and worldwide, transferring animated
musicals to the musical stage.
Song Placement
In analyzing the song placement in animated musicals of the
last decade one detects a clear pattern. There is an opening number
which usually establishes the theme and/or conflict, frequently
identifying the lead character/characters set against a larger community.
Beauty and the Beast, The Prince of Egypt, The Lion King and
Tarzan are excellent examples of this. In almost all
animated musicals there is a big ballad early on where a lead character
expresses a desire for something more. "Part Of That World"
from The Little Mermaid and "The Colors Of The Wind"
from Pocahontas are perfect examples. Comic characters often
have the big comedy number...the genie in Aladdin, Sebastian
in The Little Mermaid, Lumiere in Beauty and the Beast.
The villain has a song moment, revealing his/her treacherous ways
and wicked plan to undermine the hero/heroes... Ursula ("Poor
Unfortunate Souls") in The Little Mermaid, Gaston and
the villagers ("Kill the Beast") in The Beauty and
the Beast, Scar ("Be Prepared") in The Lion King.
The big production number abounds with movement and choreography
on the animated screen as in "Be Our Guest," "Under
the Sea," and "The Circle of Life." In the third
act one can usually find a finale, a resolution song. My personal
favorite is the exquisite, haunting "Beauty and the Beast"
sung by Mrs. Potts.
Some people in the industry feel that such utilization of songs
has become too predictable, as though the audience has been conditioned
to expect songs in the aforementioned slots. There is some truth
to this, but when a song is working like gangbusters for the character/scene,
I don't really believe anybody is truly thinking about song placement.
Hopefully, the audience is transformed in such moments, transported.
When one considers that most animated musicals are less than an
hour and half in length, it is crucial that the songwriter be very
selective about where to place songs. With this said, it must be
acknowledged that the song slots mentioned here are the logical
candidates for songs because they allow the characters to express
goals, desires and needs clearly. Still, the songwriter's challenge
is to look for new and interesting ways to use song.
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In
the opening number of Beauty and the Beast, Belle sings,
"There must be more than this provincial life."
© The Walt Disney Company.
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Openings
As mentioned previously, most successful openings present the
overall theme and/or conflict of the story, often contrasting the
leading character/characters within the larger community. Beauty
and the Beast, The Lion King, The Prince of Egypt and
Tarzan all accomplish this magnificently. In Beauty and
the Beast the opening contrasts Belle with the townspeople.
She sings, "There must be more than this provincial life."
Her music is a wistful melody with lyrics that express a longing
for something more, something that will take her away on an adventure.
Ultimately her feelings are reflected visually on the screen as
we see her in a wide open expanse in the fields, a visual metaphor
for her dreams.
In contrast, the music sung by the townspeople consists of a busy
patter, having the feel of the workday. It sets up many of the characters,
including the narcissistic Gaston and his desire for Belle. By the
end of the opening an immense amount of storytelling has taken place
through the splendid marriage of music, lyrics and animation.
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The
Lion King's "The Circle Of Life " is
one of the most incredible openings in the history of animated
features.
© The Walt Disney Company.
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In The Lion King, "The Circle
Of Life " is one of the most incredible openings in the history
of animated features. Not only is it stunning to look at visually,
but it presents a new kind of sound with African rhythms and harmonies,
unlike anything we've ever heard before in an animated musical.
It establishes the theme of the movie which will become the center
of the conflict. Mufasa (the king) will pass down the throne to
his son Simba, but Scar (Mufasa's brother) will try to steal it
away for himself, breaking the circle, upon which the tremendous
opening has placed great importance. Not only is the sequence inspiring
to look at and listen to, it immediately tells us what this story
is going to be about.
In "Deliver Us To The Promised Land" from The Prince
of Egypt the opening number instantly establishes the hierarchy
of the two groups, the rulers and the slaves, the oppressors and
the oppressed. Immediately we are thrust into the conflict and the
theme of the movie.
In Tarzan ,"Two Worlds, One Heart" accomplishes
a multitude of goals. Through the lyrics and visuals, an enormous
amount of story is covered. Again the theme and conflict are established
from the beginning. We are introduced to both the human and animal
worlds right away. We see Tarzan's parents survive the sinking of
the ship, and build a new home, only to be killed by a tiger. Tarzan
is rescued and eventually adopted by Arla, the gorilla. All of this
happens in the opening number to Phil Collins sensational song,
full of the rhythmic, pulsating sounds of the jungle.
Lehman Engel, the esteemed teacher of the BMI Musical Theater Workshop
and original conductor of Porgy and Bess, emphasized that
an opening to a musical must clearly establish the primary theme
and conflict of the evening. If you don't get it right and grab
the audience at the top, it's hard to play catch up. This applies
to animated musicals as well.
Ballads
There shouldn't be too many of them. The musical theater convention
of breaking into song is most exemplified by the ballad. Though
it is a heightened reality, it is also a distorted one. People and
animals don't typically break into song, expressing their innermost
feelings. Ballads are by their very nature at a slower tempo and
can be cumbersome for an audience to sit through, no matter how
great the animation is. Most successful animated musicals tend to
have only one or two, keeping the visuals moving so the song doesn't
stop everything in its tracks.
