A review by JAMES SOUTHALL

An unusual (almost indescribably so) movie about a children's entertainer who gets so distraught following his wife's death that his young son is left to take charge of the family, with a subplot involving racial hatred built in for good measure, Jack the Bear was directed by Marshall Herskovitz (probably better known as a writer and producer) and released with little fanfare in 1993.  It is probably not much of an exaggeration to say that the only people who remember it today are film music fans, specifically those of James Horner, for whom it was one of ten (TEN!) films worked on during that year.  For some time it was that rare thing, an unreleased Horner score, but fortunately the ever-enterprising Intrada label put an end to that situation a couple of years ago by releasing it through their Special Collection.

It's a really lovely score; not perhaps one of Horner's most memorable, but showing a lightness of touch which grace all of his better scores when he's trying for a tender atmosphere, as opposed to the slightly over-full and overwrought drama he can sometimes bring to this type of film.  It is a simple score, which is exactly what it needs to be.  Scored largely for strings, piano, harp, flute and very subtle harmonica, it really does have a beautiful hue, a lovely shine which makes the bulk of the score very pleasant to listen to, and really very enjoyable.  

Horner brings a kind of tragic beauty to the music which he would revisit later in Iris, a score which I am tempted to describe as similar, though in truth "near identical" would be a closer term, especially in the gorgeous violin solos (heard to best effect in Jack the Bear's final track, "Resolution").  There is slightly more instrumental colour in Jack the Bear and one or two more dramatic moments, particularly in the eleven-minute "Norman Attacks", the closest this score comes to action music.  Aside from the core instrumental group I mentioned earlier, Horner uses electronics frequently in the score, and it is during that lengthy track they come most to the fore, functioning effectively as a tension-building device, though never quite satisfactorily enough at relieving that tension towards the end.

Jack the Bear isn't first-rate Horner by any means, but it's an attractive album which is sure to appeal to the composer's fans, and the lack of any of the traits which attract so much criticism towards Horner (yes, the four-note calling card is here, but used only very subtly) means it should have a broader appeal as well.  Overall it's a nice package which comes recommended.

Tracks

1. Main Title (3:01)
2. Exploring the Neighbourhood (1:52)
3. Bogeyman Norman (3:06)
4. Flashback (7:27)
5. Dead Dog (4:27)
6. Bridge Talk (5:10)
7. Dylan's Gone (2:02)
8. Dad Learns Dylan's Gone (1:00)
9. Crying in Hospital (2:07)
10. Norman Attacks (11:17)
11. Jack the Bear (1:32)
12. Resolution (4:20)