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Crocodile Tears
Review by Christopher Coleman

Crocodile Dundee
in Los Angeles
3/10

There are some things from the Eighties that were meant only for the Eighties, among them: Boy George and Culture Club, parachute pants, Reaganomics, Pac man and Crocodile Dundee. These found their window of fame and appreciation some two-decades ago and their glory will forever be trapped in that chapter of history. Attempts of rekindling their former appeal is generally a pointless exercise. Of course, such logic has never stopped Hollywood from trying to resurrect the unresurrectable.  Possibly inspired by Subaru's last television-ad campaign featuring the type-cast Mr. Paul Hogan, the Crocodile Dundee franchise has been forced, by Hollywood moguls, into the 21st century through Crocodile Dundee in Los Angeles.

The single ray of hope that shone from the credit list for this film was the name Basil Poledouris - a name most film music fans read with a good deal of respect and positive anticipation. While getting his big break in the mid-Eighties himself for Conan the Barbarian, Poledouris has gone on to compose memorable scores such as The Hunt for Red October and Les Miserables. Some of his lesser known works have been getting a bit more attention with Prometheus' recent releases of Amanda and Flyers/Fire on the Mountain as well. These scores were deserving of release but contributed to the minor amount of expectation on this most recent Poledouris score.  Just maybe Poledouris could bring a saving-grace for this doomed film.

The official release of the music from Crocodile Dundee in Los Angeles has been met with some surprise.  The releasing label, Silva, doesn't usually tinker with film's like this and instead focuses on compilations and re-recordings of classic film music. With scores such as John Powell' Shrek facing the prospect of no official release, why would any label take the time and money to release Dundee in LA?  Perhaps, Silva hopes to capture the attention and dollars of the Eighties-nostalgia community (if such a community really exists). Being a teenager of the  Eighties, I would consider myself a likely target for such a movie and soundtrack, but I can say that Crocodile Dundee is not something that would cause those warm-fuzzy-feelings of Sadie Hawkins dances and video arcades to come rushing back; nevertheless, here, in front of me, the brightly packaged soundtrack from Silva sits.

The soundtrack is broken down into two sections. First, 12 tracks of score totaling just over 28 minutes. Basil Poledouris pours in a large helping of For Love of the Game - simple guitars and strings, but also, in reflecting the supposed "hipness" of Hollywood, he throws in wild electric guitar riffs and two-bit synthesizers. Of course, what film involving anything Australian would pass up the employment of the native didgeridoo? None, including this one. The overall effect is nearly impossible to listen to with a smile on one's face. The simplest elements of the score, guitar melodies and string accompaniment, are actually are nearly as nice as those in For Love of the Game.  Tracks which feature these elements in isolation from he intrusion of synthesizers or electric guitar battles are rare, namely tracks 6 and 12.  Not coincidently, these two receive the highest track-rating of the soundtrack with 3 stars.

The second section contains around 17 minutes of horribly kitch, club music. That being said, I have to admit the Down Under (remix) (13) was mildly nostalgic for me, but it is a rather sad statement when such a track is the highlight of the album. The last four tracks which comprise "The Songs" section degenerate from one to the next and the CD concludes in the worst possible way...yes, a head-splitting, country and western cut.

Poledouris' entry into the 2001 film music crop, is not an auspicious one. Agreeing to score this doomed-film must have been a financial decision, for his heart is apparently not fully in this work. Given the subject matter, it's hard to blame Poledouris much.  Knowing of the quality that Poledouris is capable of, Crocodile Dundee in Los Angeles is a major disappointment.  With the large amount of enjoyable Poledouris music available, Crocodile Dundee in Los Angeles will find little play time.  Still, the most serious Basil Poledouris fan may find room in his collection for Crocodile Dundee in Los Angeles. If such a fan is trying to have Poledouris' complete works, then Silva has done them a mild favor by releasing this album.

*The Experience-O-Meter displays the track to track listening experience of this soundtrack based on the 5-Star rating given to each track.  It provides a visual depiction of the ebbs and flows of the CD's presentation of the soundtrack.

Referenced Reviews
Amanda  |  Flyer/Fire on the Mountain  |  For Love of the Game 

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