One of the great ironies of the science of film is that certain sequences (and indeed entire films on occasion) can be made doubly effective when juxtaposed with conflicting peripheral elements, and an easy example of this is found in music. A film's musical score which on the surface seems totally inappropriate for a given scene or story can often serve to bring out aspects of the narrative which would otherwise go unnoticed, and which can positively effect a film in innumerable ways.
The Informant! uses this technique to exceedingly great effectiveness with its jazzy, bouncy, carefree score by Marvin Hamlisch, who has not scored a film since 1996's The Mirror Has Two Faces. For The Informant!, there are oodles of easy harmonica, blaring trumpets, bass guitar, tapping cymbals, whistling solos and grandly romantic piano interludes.
These conspire to resurrect memories of the long-lost, psychedelic big-band soundtrack of the 60s and 70s. This is at such odds with the straight-laced corporate environment of the 1990s displayed in Soderberg’s outrageous film that it works surprisingly brilliantly, becoming a revelation to the audience not of the narrative’s circumstances or overall story arc, but instead of the mind of the main character.
High-Spirited Jazz Score for The Informant!
Indeed, the story of The Informant! (based on an amazingly true series of events involving high-level corporate crime, espionage and deception) is well served by Hamlisch’s deliriously buoyant instrumentals, complemented by a decidedly retro title sequence and the practically irreverent attitude in which the story is presented.
Featuring a stylistic similarity to classic works by Henry Mancini, Burt Bachrach, and John Barry, the resultant James Bond-Meets-Mister Rogers-Meets-Sesame Street sound is a flamboyant delight and a breezy, outrageous, over-the-top musical treat.
Themes in Hamlisch's Retro Score
The score’s main theme is introduced in somber fashion on bassoons and an extremely elegant performance on grand piano, and is fully explored in all its pretentious romanticism before the next cue, “Meet Mark,” featuring breezy flutes, groovy bass work and a role for Hammond Organ and muted trumpet which will never fail to bring a smile to the face.
After the flowing grandeur of the opening cue and the potently good-natured second track, yet another pastiche is presented in the form of “Car Meeting,” featuring a role for electric bass guitar, brass and big-band percussion which instantly recalls the finest moments of John Barry’s James Bond scores, reflecting the pretentious imaginings of the film’s inept protagonist.
Diverse, Stylish Series of Cues
No possibility for musical entertainment goes unexplored by Hamlisch, with “Polygraph” emulating a hokey, western-fashioned bluegrass style, and a highly stylish piece showcasing jazz trumpet in “Golf.” A winning, sultry original song is even featured, titled “Trust Me,” performed by Steve Tyrell and backed by an impressive jazz orchestra.
An instrumental version of the song is also featured on the album, as well as a solo piano suite which closes the score in a quiet but cheery, winking fashion.
Conclusion
All of the themes and melodies presented receive some sort of reprise or further exploration during the course of the album, and the length and arrangement of the album is perfect to sustain this style of music without causing it to wear out its welcome.
To hear a retro score this thoroughly and affably composed, coupled with its stunning modern sound recording quality, is a treat not to be missed; both by jazz fans and collectors of diverse film music. Marvin Hamlisch is to be roundly praised for this excellent and wholly delightful score. Unequivocally recommended!
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