"Dolittle" Soundtrack Lyrics

"Dolittle (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

Fairy-tale voyage or slapstick romp? Danny Elfman plays it both ways. His orchestral score gives Dr. Dolittle a swashbuckling spine—buoyant themes, nimble woodwinds, and brass fanfares—then pivots to gentle, storybook lyricism for the doctor’s grief and healing. The official album (Back Lot Music) runs 24 cues (~58 minutes) and opens with Sia’s single “Original.” Trusted source: Apple Music.

Licensed songs are sparse on screen; this world is driven by score. Marketing leaned on a dark-hued cover of “What a Wonderful World,” while the film itself closes with Sia’s end-credits anthem. Critical music press noted that, whatever you think of the movie, Elfman’s craft delivers a sturdy, old-school adventure blanket. Trusted sources: Filmtracks; Movie Music UK.

Questions & Answers

Is there an official soundtrack album?

Yes. Dolittle (Original Motion Picture Soundtrack) by Danny Elfman was released digitally by Back Lot Music on January 17, 2020. (Apple Music; Discogs)

Who composed the score?

Danny Elfman. He delivers the main themes and overall orchestral architecture. (Wikipedia; Filmtracks)

What song plays over the end credits?

Sia’s “Original,” written by Sia, Jesse Shatkin, and Sean Douglas; produced by Jesse Shatkin. (Apple Music; IMDb Soundtracks)

Was a CD issued, or digital only?

Commercial release was digital (download/stream). No widely distributed physical CD was announced. (Filmtracks release notes; Discogs listing)

Is the “What a Wonderful World” cover in the movie?

It’s prominently used in the first trailer (Reuben and the Dark x AG). The album does not include it; usage in marketing is confirmed, on-screen placement in the feature is limited. (Vanity Fair; Wikipedia article for the song)

Who contributed additional music and orchestration?

Additional music by Chris Bacon; supervising orchestrator Steve Bartek; conductor Rick Wentworth. (Filmtracks credits)

Notes & Trivia

• The album contains 24 tracks; runtime ~58 minutes. Trusted source: Apple Music.
• Label credit reads: Back Lot Music, a division of Universal Studios Music LLLP. (Apple Music; Discogs)
• Public credits list Chris Bacon (additional music) and Steve Bartek (supervising orchestrator) alongside Elfman. (Filmtracks)
• The first trailer used a brooding “What a Wonderful World” cover (Reuben and the Dark x AG). (Vanity Fair)
• Reviews of the music were considerably warmer than reviews of the film. (Filmtracks; Movie Music UK)

Genres & Themes

Swashbuckling orchestral adventure → bold brass and rhythmic strings for seafaring sequences and derring-do.

Pastoral woodwinds & celesta → “storybook” warmth around Dolittle’s menagerie and the boy apprentice.

Lyrical elegy → a tender motif (e.g., “Remembering Lily”) humanizes Dolittle’s grief and withdrawal.

Comic mickey-mousing and scherzos → quick, pointillist writing to sell slapstick beats and animal chatter.

Tracks & Scenes

Selections blend the two licensed songs with score cues. Times are described relative to major beats; album availability noted where relevant.

“Original” — Sia
Where it plays: End credits (first position). Non-diegetic. Album track 1.
Why it matters: A pop-forward coda that reframes the adventure as self-belief; clean bridge from orchestral world to radio.

“What a Wonderful World” — Reuben and the Dark x AG
Where it plays: First trailer (marketing). Not on the score album; not a major on-screen feature cue in the film release.
Why it matters: The slowed-down cover sells melancholy wonder, setting expectations for a storybook epic.

“Opening” — Danny Elfman
Where it plays: Storybook prologue and re-introduction of the reclusive doctor.
Why it matters: States the main theme with golden-age sweep; positions Dolittle as a fable hero despite comic framing.

“Wonder”
Where it plays: Early clinic magic and animal micro-gags when the gates creak open.
Why it matters: Woodwind filigree and celesta sketch the menagerie with lightness rather than noise.

“Betsy Chase”
Where it plays: Sky-chase slapstick with the queen’s errand at stake.
Why it matters: Agile action writing; critics singled it out as a kinetic highlight.

“The Voyage Begins”
Where it plays: Departure to sea with crew assembled.
Why it matters: Elfman’s nautical engine—ostinatos and confident horn lines—announces classic adventure.

“Remembering Lily”
Where it plays: Dolittle’s private grief and motivation to heal.
Why it matters: Brief but potent elegy; emotional center that pays off at the island.

“The Getaway”
Where it plays: Escape sequence after a failed parley.
Why it matters: Motoric strings and playful percussion keep the tone brisk rather than brutal.

“Onward”
Where it plays: Mid-journey resolve before the island approach.
Why it matters: Theme variation with extra lift—small victory in the middle act.

“The Dragon”
Where it plays: Into the lair; the infamous comic reveal and, yes, digestive relief.
Why it matters: Balances menace and whimsy; harmony tilts from minor to wink as the gag lands.

“The Extraction”
Where it plays: Climax of the dragon gag and team coordination.
Why it matters: Precise hit points—textbook Elfman for visual comedy timing.

“Save the Queen”
Where it plays: Cure sequence and palace denouement.
Why it matters: Heroic brass + choral sheen (light) to elevate stakes without losing fairy-tale tone.

“Victory” → “Dragon Indigestion”
Where it plays: End of quest and comic curtain call before credits.
Why it matters: A tidy cadence into Sia’s single; the album’s smiley send-off.

Music–Story Links

The main theme paints Dolittle as a mythic helper, not just an animal whisperer; every time the mission clicks, Elfman brings back that tune with brighter harmony. The elegy thread (“Remembering Lily”) explains his isolation and justifies the island quest; it softens as Dolittle reconnects with others. Action cues play up cooperation—listen to how woodwinds trade figures among “the animals” during escapes. The pop song at the end (“Original”) then literalizes the lesson: be yourself, out loud.

How It Was Made

Composer: Danny Elfman. Additional music: Chris Bacon. Supervising orchestrator: Steve Bartek. Conductor: Rick Wentworth. Score mixer/recordist: Noah Snyder. Album released by Back Lot Music (digital). Trusted sources: Filmtracks; Discogs; Apple Music.

Song single: “Original” by Sia—written with Jesse Shatkin and Sean Douglas; produced by Shatkin; issued a week before the film’s U.S. opening. Trusted source: Pitchfork.

Reception & Quotes

“One of Elfman’s most accomplished efforts in this genre… superior orchestrations.” Filmtracks

“Main theme is good… action music bold and energetic… a perfectly fine orchestral fantasy-action-comedy score.” Movie Music UK

“Fantastic score composition by Danny Elfman… helps the film feel immersive.” Attractions Magazine

Album availability remained strong across major platforms despite the film’s mixed notices. Trusted sources: Apple Music; Spotify.

Additional Info

• Album order largely follows the plot; it’s not a cues-out-of-sequence montage.
• The “What a Wonderful World” cover (Reuben and the Dark x AG) was a trailer centerpiece; not on the official album.
• Back Lot Music has hosted official YouTube uploads of several cues for promo.
• Elfman’s team reuse established collaborators (Bartek, Bacon), keeping his adventure “house sound” consistent.
• No deluxe expanded edition has been announced by the studio label as of publication.

Technical Info

• Title: Dolittle (Original Motion Picture Soundtrack)
• Year: 2020
• Type: Feature film score with one original song
• Composer: Danny Elfman
• Additional music: Chris Bacon
• Supervising orchestrator: Steve Bartek
• Conductor: Rick Wentworth
• Label: Back Lot Music (digital)
• Album size: 24 tracks; ~58 minutes
• Notable placements: Sia — “Original” (end credits); Reuben and the Dark x AG — “What a Wonderful World” (marketing/trailer)

Canonical Entities & Relations

Sources: Apple Music; Spotify; Discogs; Filmtracks; Movie Music UK; Wikipedia (film & song); Vanity Fair; Pitchfork; IMDb Soundtracks.

November, 08th 2025