1995 was a busy year for James Horner.  The popularity of Braveheart and Apollo 13 means that the three scores he wrote for children's films that year are pretty much glossed over (OK, so his other score of the year, Jade, is probably better off left being glossed over).  Balto and Jumanji are both lovely scores, and so is Casper.  The film itself was amiable enough, with director Brad Siberling creating a decent atmosphere, with some nice effects.  It is of course based on the old cartoon which even I remember (you can tell it's old because if it had been thought up today, the character would be called Kaspa).  The familiar main title song is here, though its performance by Little Richard is, shall we say, rather idiosyncratic.

I used the word "familiar" in the last sentence.  It's not the first time that word should be used when talking about Casper.  Before that, though, Horner's two main themes must be signled out for praise.  "Casper's Lullaby" is as beautiful and lilting a theme as he's ever written to bless a film, a gorgeous piece usually heard played by solo piano with soft string accompaniment and heavenly choir.  It's just gorgeous.  The other, more comedic theme is another treat, a vaguely jazzy piece that has just the right amount of black humour in it.  So, onto the familiar stuff.  There's another theme which is pure Nino Rota - filtered through Danny Elfman's own appropriations of it (which were no doubt the temp-track) - and the ghost (if you excuse the pun) of Amacord looms large.  Other sections feature a trademark Elfman-style "la-la-la" female choir.  It works just as well here as in any of Elfman's scores, but it's hard to remember that you're not actually listening to an Elfman score at times.

There are a couple of other enjoyable set-pieces.  From time to time, Horner uses a keyboard approximation of a theremin, which has the appropriately spooky effect; and at others, an electric organ, which adds the requisite humour to the spooks.  Then, there's "The Swordfight", a delightful piece ripped off straight from Erich Wolfgang Korngold, but which is so much fun you can forgive Horner.  Indeed, that probably applies to the score as a whole - it works so well and is so entertaining, it's difficult to bare too much of a grudge towards the composer for his borrowings.  The album is far too long (30 minutes should be knocked off to get a far better presentation of the score) but it's very enjoyable and fans of the composer should love it.