REVIEW: Mark Mothersbaugh / "Holmes & Watson"

Old-fashioned comedy adventure filled with fun moments

Mark Mothersbaugh Holmes & Watson

Rating: (4 / 5)

Sony Classical 21/12/2018

TT: 39:13

Say what you want about Mark Mothersbaugh, DEVO or any thought you have about his compositions. For me, lately, I am always interested in what he has to offer since his wonderful work on “Cloudy with a Chance of Meatballs”. Most of the work I heard from him I have enjoyed it, one way or another. Mostly thanks to his interest in composing scores with a melodic and classical sound that made them really enjoyable. This “Holmes & Watson” is one more example of what I am talking about. And a really good one at that.

You can bash the film all you want. Like it or not, being Etan Cohen directing, I did not expect much from the movie. Even being a huge Will Ferrell fan myself. And no, the director is not one of the brothers of the “famous duo” (I wish!!!). But the way Mothersbaugh faces the challenge of giving life to this comedy about the famous British detective is, probably, the most redeeming element of the whole project. Just listen to the initial cue on the score “The New Kid”, which serves as a prologue to the story. In it, we will hear a classical sound, with a certain Victorian tone and a very interesting old-fashioned adventure music. That cue introduces some of the main brief concepts for the score that we will heard throughout it.

If I have to refer to what kind of “sherlockian” sound Mothersbaugh seems to be looking for, I would have to say that the music is very close to “Young Sherlock Holmes”, without taking itself so seriously and never developing its motifs and themes too much. Although interspersed there are many moments that will brings us memories of what Hans Zimmer and his team did for the Guy Ritchie’s movies. Especially on moments like “Mosquito Fight”, or “Toilet Sized Chunks”. It seems that the idea for those is to accompany some of the most gross comedic moments, musically speaking. Some other, music finds more classical “investigative sounding” music to accompany this crazy adventure like "Follow the Tatoos" or "Sherlock Arrives in Court".

If I had to define it, the whole score seems to be constructed in a very serious way. Never going after an easy joke or comedy sound. Even some original source cues (“Birthday Party Source” or “Men’s Club Source”) are pure Victorian-english music. In addition, different dark and tension moments like “Take Him Away”, “Dr. Watson is the Killer” or “Moriarty’s Daughter” complete and give depth to a very fun and entertaining score. To pick one, its main problem is that, like the film itself, never tries to go further or deeper into developing into a really serious work, with some cues falling a bit short of what they could have done, which is a pity.

Drama, adventure, fun and emotion are present all along its forty minutes. Of course, it will probably be one of the lesser-known works of the composer. However, it really deserves praise and being enjoyed by fans all over. Its “End Credit Suite” is a really fun compilation of main motifs and themes, and even presented in a more modern way, closer to that zimmeresque Sherlock sound (even with some electric guitar). And although it sounds a bit different that during the score, is a great example of what the score includes in it. Enjoy it!