French director Luc Besson is nothing if not ambitious, as any quick glance at his filmography will show. But his 2006 feature Arthur and the Invisibles (given the equally off-putting title Arthur and the Minimoys in most foriegn markets) was perhaps his most ambitious yet. Based on a series of children’s books that Besson himself had written, the film was a lavish animated fantasy (about warring factions of tiny fairylike creatures) from a director who had little experience with either animation or fantasy. With a budget of 65 million euros, the most costly French film of all time up to that point, Besson attracted a voice cast glittering with stars in every language dub, from Madonna to Nena and Bavid Bowie to Gackt. Critics, especially those who viewed the film’s US cut, were generally savage to the quality of Arthur’s animation and its seeming resemblence to The Dark Crystal and The Ant Bully, among many others. But the film was a financial success despite this, leading to at least two Besson-helmed sequels thus far.
A Luc Besson film almost inevitably means an Eric Serra score, the two men being longtime friends and collaborators since their early days. With Serra scoring all but a few of Besson’s films, his employment for Arthur and the Invisibles was probably the least surprising feature of the production. Serra himself has often a divisive figure for film score fans, with his background in pop and electronic music often being at odds with what many listeners expect. The controversial score for Goldeneye is of course well-known, but some reviewers also felt that Serra’s lack of orchestral experience hamstrung his attempts to do more traditional scoring in films like The Messenger. On the other hand, Serra’s scores for Nikita, Leon the Professional, and (perhaps the closest film to Arthur in terms of tone) The Fifth Element remain highy regarded.
Interestingly, Serra opted for an almost entirely traditional score for Arthur and the Invisibles, eschewing the sort of jaunty acoustic/electric fusion that had characterized his Fifth Element score. Instead, the composer opted for a traditional orchestral children’s score, complete with the London Session Orchestra and the Metro Voices, both conducted at least in part by Serra himself. While his electronic tools were used, they were strictly relegated to a supporting role in a large-scale acoustic, choral, and thematic whole.
There’s a distinct sense of Danny Elfman’s early fantasy scores about Arthur and the Invisibles,, largely because of the way that Serra (who shares a similar musical background) uses his wordless choir as a potent orchestral color, with cooing children’s voices for the heroes and ominously deep male vocals for the villains. More importantly, Arthur is a very strongly thematic score, with an ebullient theme for the heroic Minimoys in evidence from the very first cue, “The Minimoys Overture.” Presented boldly across a number of cues and in flighty fragments across others, the theme is quite tuneful and attractive, and is integrated into some of the most complex orchestral writing of Serra’s career. The villains of the piece are given a percussive theme of their own, again often with choral accompaniment, and it too is used very robustly across Serra’s score.
In short, the composer is able to provide a surprisingly potent dose of old-fashioned thematic fantasy, with flighty variations on his themes and a near-constant supply or orchestral and choral colors. It’s not innovative by any means, following in the footsteps of past children’s fantasy scores much in the same way that Arthur and the Invisibles itself draws on earlier films. But Serra’s music is presented very robustly and attractively, and his themes are memorable enough, that it’s still a pleasant package regardless. The real difficulty with the score is its structure: 39 tracks for the 68 minutes of Serra’s music on album. With no tracks longer than 5 minutes and many shorter than two minutes, the music winds up feeling rather bitty and stutterstop at times. This is especially true when similar material appears several times in the music, making the lengthy work at times a bit of a slog. There’s no doubt that virtually every note of the score is present on disc; a little judiciousness in combining or rearranging cues might have gone a long way.
Still, it’s hard not to like Serra’s Arthur music. It’s clear that the composer has grown in his orchestral skills since his early career, and he offers a pleasant thematic base for the broad childrens’ fantasy music on display. The commercial album, readily available for a very low price due to the film’s relative obscurity, includes three throwaway songs in addition to Serra’s score. It’s well worth checking out for enthusiasts of fantasy scores, and provides an interesting counterpoint to Serra’s earlier and much more electronic music.