The Spaghetti Western

I happened upon Seth Macfarlane's 2014 film "A Million Ways to Die in the West" last night on Direct TV.  I enjoyed the movie, because it was funny and unpredictable.  It is possible it may become a modern cult film like "Rocky Horror."  Mr. MacFarlane is an connoisseur of physical comedy.  The ghosts of Buster Keaton, Charlie Chaplain, and the Three Stooges are everywhere in the film, and he takes a beating!  The chemistry between him and Charlize Theron was tangible.  He could have done worse for leading ladies.  A few times I saw Mary Ann Lomax.  A few times I saw the "Monster."  For the most part I was surprised that Ms. Theron physically looked the same she did in other movies.  There was no "Amanda Bynes" syndrome happening, and that is surprising in 2015.  She is a formidable actress.  He carried the film well as both a writer and a leading man.  What became interesting to me was how a "Blazing Saddles" sequel-type film utilized such a polished musical score.  As I watched the western hi jinx on the screen, I began to question if Joel Mcneely was writing musical farce.  His score was eloquent, beautifully mixed, and slick.  The sound of the orchestra was more polished than most top shelf Hollywood films to the point of making me question its choice.  Certainly a score of this type adds considerable dimension to what could turn out to be a fringe film.  Then I began to think this beautiful score could be detrimental.  There is a formula to writing westerns, and while Steven Spielberg possibly has dabbled in the genre references to his first blockbuster "Jaws" only can be perceived as satire.  Mr. Mcneely is a formidable composer and jazz instrumentalist as degrees from both the University of Miami and Eastman will provide.  I found the score to "A Million Ways to Die in the West" not a tribute to the late Elmer Bernstein, but a melting pot of Hollywood blockbuster musical cues.  These disparate cues were interspersed in the film possibly with the intent of being musical satire.  Upon having read an interview with Mr. Mcneely, he divulged that was not the case.  Instead his concept was to write serious film music in spite of the lighthearted antics on film.  I am not sure this worked.  It created a watchable film, but in terms of cementing a concrete and cohesive message...  Well you can figure it out.  It was a challenging project.  Mel Brooks set up the Count Basie band in the dessert.  I found myself wanting a more primitive western sound in the vein of Jerry Fielding or Ennio Morricone.  Mr. Morricone was the musical king of the Spaghetti Western, and one viewing of Sean Penn, Jennifer Lopez, and Nick Nolte acting in "U Turn" will brand the old skool as the best school.