Composing Greatness: #7. The Musical or Comedy Scores - "The First Wives Club" (1996)

Scene from The First Wives Club

Welcome to Composing Greatness: a column dedicated to exploring the work of film composers. This will specifically focus on the films that earned them Oscar nominations while exploring what makes it so special. This will be broken down into a look at the overall style, interesting moments within the composition, and what made the score worth nominating in the first place. This will also include various subcategories where I will rank the themes of each film along with any time that the composer actually wins. This is a column meant to explore a side of film that doesn't get enough credit while hopefully introducing audiences to an enriched view of more prolific composers' work. This will only cover scores/songs that are compiled in an easily accessible format (so no extended scores will be considered). Join me every Sunday as I cover these talents that if you don't know by name, you recognize by sound.

Series Composer: Marc Shaiman

Entry: The First Wives Club (1996)

Collaborators (If Available): N/A

Nomination: Best Original Score (Musical or Comedy)

Did She Win: No

Other Nominees:
-Emma (Rachel Portman)

-The First Wives Club (Marc Shaiman)
-The Hunchback of Notre Dame (Alan Menken)
-James and the Giant Peach (Randy Newman)
-The Preacher's Wife (Hans Zimmer)

Additional Information

This is to help provide perspective of where each composer is in their Oscar-nominated life as it related to the current entry.

Oscar Nomination: 3

Oscar Wins: 0

Track List

1. "Cynthia"

2. "Annie"

3. "Elise"

4. "Brenda"

5. "Bad News"

6. "Wham, Bam, Divorce Me Ma'am"

7. "Letter to Three Wives"

8. "The First Wives Club"

9. "Gathering Information"

10. "Setting Up Shop"

11. "Tea Time with Gunilla"

12. "Duarto Makes His Entrance"

13. "The Big Break In"

14. "Phone Tag"

15. "The Auction"

16. "Operation Hell Hath No Fury"

17. "The Unveiling"

Note: Listen to here

Exploring the Music

The area of the column where I will explore the music in as much detail as I see fit for each entry.

Theme Exploration:

"Cynthia"

In almost every way, this is a short and melancholic way to enter a score that is largely bombastic and full of life. It's a simmer that kicks off a series of motifs that slowly grow more jubilant, building personalities for each of the different characters. Even then, the melancholy has a bit of a lilt to it that suggests that something good is about to pick up, and that things are about to be a lot more upbeat. It's an interesting way to start the score, if just because it makes everything that follows a bit more unassuming, not fully recognizing what lies in store. 

Interesting Standout:

"Tea Time Gunilla"

Marc Shaiman's saving grace is that this score ends better than it starts. Every track after the halfway mark has this wondrous energy to it that manages to mix in marching motifs and echoing drums in such a way that you understand why it would be nominated for a comedy category. This is a score that emphasizes it perfectly, and rarely is that clearer than here, managing to cut from subdued melodies to something more intense and energetic. Everything about it has a cadence that is swift and enjoyable, making the accompanying movie pop with life.

Best Moment:

"The First Wives Club"

The titular track has so much clarity compared to everything that followed. Whereas the first half of the score is more melancholic, this is the moment where everything lifts and you begin to find purpose, making everything move faster. It's so delightful and manages to convey the unity of the different motifs, and how they will come together to represent a cooperation to make every manic development to follow into something memorable and exciting. We've seen them at their most subdued. Now it's time to see them in action.

Did This Deserve an Oscar Nomination?:
Yes

While I am not somebody who likes short scores necessarily, I think that Marc Shaiman has redeemed himself by the end, finding ways to blend styles of score into something eventful. Whereas the first half is slow and calculated, everything after the halfway mark is rich with a unique personality, making you understand what a comedy score can be. It's not all funny sound effects. Sometimes it's just the pace and energy by which the notes play. Everything here has a purpose that is enjoyable, making it a delightful ride. For whatever it lacks in length or memorability, it more than makes up for in the realm of an overall creative score.

Up Next: Original Musical or Comedy Score - Alan Menken & Stephen Schwartz, The Hunchback of Notre Dame (1996) 

Best Theme

A ranking of all themes composed by The Best Original Musical or Comedy Score nominees.

1. Randy Newman: "Andy's Birthday" - Toy Story (1995)

2. Marc Shaiman: "Main Titles" - The American President (1995)
3. Alan Menken & Stephen Schwartz: "Pocahontas" - Pocahontas (1995)

4. Rachel Portman: "Main Titles" - Emma (1996)

5. Marc Shaiman: "Cynthia" - The First Wives Club (1996)

6. John Williams: "Sabrina" - "Track 01" (1995)

7. Thomas Newman: "End Titles"- Unstrung Heroes (1995

Best Winner

A ranking of all themes composed by The Best Original Musical or Comedy Score winners.

1. Alan Menken & Stephen Schwartz: "Pocahontas" - Pocahontas (1995)

2. Rachel Portman: "Main Titles" - Emma (1996)