It's kind of gut-churning to look at the way this was promoted, courting awards left right and centre, all to further Miramax and their manufactured prestige. The soundtrack album also features a handful of pop songs by other artists, some of which blend in well ( the Waterboys, Luscious Jackson) and some of which don't ( Andru Donalds, the Dandy Warhols).Back in late 1997 while Titanic was tearing up the box office around the time it came to pick the nominees for awards season, this small, personal drama was impressing small, personal audiences everywhere. His whispered vocals and quietly nimble fingerstyle are perfect for the film's exploration of intimacy and underambition. While "Miss Misery" recalls the bouncy harmonies of Queen, most of Smith's contributions owe more to the mellow influence of Simon & Garfunkel.
That honor is almost exclusively reserved for Broadway-style musical numbers and adult contemporary superstars. Six Smith songs appear here, including one new tune, "Miss Misery," which stunned observers by pulling in an Oscar nomination for Best Song. He had only three independent albums to his name before Van Sant (a fellow Portland native) chose his songs for this movie.
However, the most impressive success story of all may belong to Elliott Smith. His use of acoustic guitars is a particularly fresh choice, lending humility and mobility to the sweeping string arrangements. The Elfman tracks on this CD borrow liberally from other composers ( Randy Newman, Ennio Morricone), but they also break the melodic mold of Elfman's Batman score, which has constrained most of his work since 1989. In 1998, he finally received his first two Oscar nominations, for Good Will Hunting and Men in Black. Elfman had already become one of Hollywood's most popular and prolific composers, but until 1997 he never seemed to be fully accepted by his peers in the clique-ish world of film music. But Van Sant made room for two talented musicians in his pumpkin ride to the Oscar ball: little-known folk popster Elliott Smith and film scorer Danny Elfman. Most of the headlines went to the film's young screenwriter/stars, Matt Damon and Ben Affleck, and director Gus Van Sant. The entertainment press loves unlikely princesses, but Good Will Hunting had so many Cinderella stories that one of them got lost in the shuffle: that of the soundtrack album.
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