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But even that absurdity can’t compete with the sound of Tom Hanks singing the titular track: “With a little luck we'll be on time, there's no need to stress,” he chunters. But those who like their Christmas soundtracks with an edge can find seasonal cheer here too: alongside White Christmas’ wholesome lyrics, .
“That's the way things happen on The Polar Express! Translated wordlessly to the screen, Raymond Briggs’ picture book relies on Howard Blake’s score to provide its colour.
The stomping woodwind and tip-toeing harp conjure up our hero’s sludgy escape, climaxing, of course, in that familiar rising and falling piano and haunting choirboy voice.
Aled Jones found global fame with his 1985 cover, but Peter Auty’s original vocals are the real treat – they even make up for James Nesbitt’s narration (replacing Bernard Cribbins) on the latest album release.
From Vaughn Monroe serenading the end of John Mc Clane’s adventure to Danny Elfman’s Nightmare before the big day, soundtracks are a big part of that seasonal feeling.
(Probably.) main theme feels a tad clichéd, but taps directly into its leading lady’s swooning emotions. Vince Guaraldi’s bluesy score, a jazzy arrangement of Christmas carols and other standards, nails that balance between festive joy and seasonal malaise.
Slow strings and twiddling flutes slush around like a Saturday afternoon under the duvet, making way for blazing trumpets on the now-iconic Robert Zemeckis’ 3D mo-cap mess may be a sea of dead-eyed mediocrity, but Alan Silvestri’s soundtrack is anything but. A stripped-down combo of piano, bass and drums, Guaraldi’s trio improvise around with a dexterity that flourishes on the lively piano-driven Linus and Lucy – an infectious tune that soon became the signature theme for all of the Peanuts animated features. Irving Berlin’s songs earned Paramount’s musical an Oscar that year and Robert Emmett Dolan's score stitches them all together with class.
Chugging along like all good train-based music, the composer carries that momentum throughout the score, lobbing out big band hokum ( with a group of CGI Aerosmith lookalike elves. Who knew there were so many words to rhyme with “express”? Amid all that, Guaraldi still finds time for a simple choral version of that provides the film’s heart-warming finish. Thankfully, the soundtrack goes on for twice as long. The overture blends Happy Holiday and White Christmas for a gorgeous opening before jumping straight into mouth organs and festive bells – accompanied, naturally, by dancing.
Skip through those tracks and just listen to Blake's instrumental work instead. One of film music’s all-time greats, Jerry Goldsmith approached Joe Dante’s classic with a suitably dark sense of humour.
Full of keyboards and pitch-bending synths, it’s as 1980s as it gets.
It begins with a full-on fanfare, a la classic Hollywood, before descending into a warped world of cheeky offbeat clashes ( feels the most complete.