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Archive for October, 1999

RANDOM HEARTS – Dave Grusin

October 8, 1999 Leave a comment

randomheartsOriginal Review by Jonathan Broxton

Despite having written some truly lovely orchestral scores in his career, notably Havana and On Golden Pond, Dave Grusin’s first love is and always will be jazz. In the liner notes for this release of his score for Random Hearts, Grusin muses that “no-one loves romantic music more than Sidney Pollack”, but it was felt that on this project he was “looking for something a little more lean and stark” than on their other nine collaborations. A consummate craftsman, Grusin responded with an intriguing, engaging jazz score. Random Hearts stars Harrison Ford and Kristin Scott-Thomas, two secure professional people in fulfilling relationships whose lives are torn apart when their respective partners are killed in the same plane crash. It soon transpires that, unbeknown to Ford and Thomas, his wife and her husband were having an affair with each other, a fact which, when combined with the sense of grief and betrayal felt by the surviving spouses, gradually draws them together. Part tragedy, part melodrama, part romance, Random Hearts sounds great on paper but, unfortunately, failed to set the box office alight, instead ending up as Harrison Ford’s first major flop in over a decade. Read more…

PLUNKETT & MACLEANE – Craig Armstrong

October 1, 1999 Leave a comment

plunkett&macleaneOriginal Review by Jonathan Broxton

The phenomenal success of the film William Shakespeare’s Romeo + Juliet was not only responsible for making bonafide movie stars out of its leading players, Leonardo Di Caprio and Clare Danes – it also thrust the name of Scottish composer Craig Armstrong into the soundtrack limelight. Armstrong, who won a BAFTA Award for his work with Nellee Hooper and Marius De Vreis on that film, is an interesting and somewhat unconventional writer. He doggedly refuses to be labeled either as an orchestral or electronic specialist, and has proven that he is adept at creating both modern soundscapes, as in Romeo + Juliet and his other recent work, Best Laid Plans, as well as “proper” music, as heard in Peter Mullan’s acclaimed drama Orphans. With Plunkett & Macleane, Armstrong has shifted again and combined both these markedly different styles into one engaging whole. Read more…