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Artwork copyright (c) 1993 Orion Pictures
Corporation; review copyright (c) 2004 James Southall
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LOVE FIELD Lovely
but low-key A review by JAMES SOUTHALL A surprisingly good film from director Jonathan Kaplan, Love
Field deals with prejudice on several levels as a Texan woman, dismissed as
white trailer trash, and a black man travel across America against the backdrop
of the Kennedy assassination (she is going to Washington DC to attend the
president's funeral). It prompted fine performances from Michelle Pfeiffer
and Dennis Haysbert in the lead roles. Jerry Goldsmith's score - one of
two he wrote for the director, the other being the under-rated Bad Girls
- is in some ways a throwback to the kind of bluesy scores he wrote at the
beginning of his career in the 1960s. Sadly, and inexplicably, many of its
finest moments weren't even featured in the film, being dialled out in favour of
very similar, but considerably worse, music by another composer, but all of
Goldsmith's score for the film (running to only 29 minutes in total) is featured
on this disc. "Family Album", the opening theme, is excellent, a
furiously catchy and attractive piece of blues for piano and strings, one of the
loveliest Goldsmith has ever written. "The Assassination" is a
moving piece, but Goldsmith does it in a very subtle way; strings reach a
fever-pitch of drama, but it's not heavy-handed and is all the better for
it. "Lost Luggage" introduces a new concept; some more gentle
writing gives way to a synth-augmented piece of action music, extremely simple
but very effective as well. It's not nearly so furious as most of the
composer's action music of the time, but then nor should it be, given the nature
of the film; it's seasoned with a twinge of tragedy yet nobility. I
suppose a piece like "Roadside Incident" will either make or break the
score for many listeners; a very low-key piece representing the fragile state of
mind of the film's protagonists, it is gossamer thin and liable to fall over
with the slightest gust of wind - you need to really listen to get anything out
of it, give something of yourself in order to get more from the music, something
modern day listeners might not be willing to do. "The Motel" underscores a disturbing and violent
scene in the film and the music does slightly seem to come out of nowhere,
reminiscent in many ways of the previous year's Basic Instinct, but it's
good material. Then comes the score's piece de resistance, the finale
"Together Again", a stunningly beautiful piece based around the main
theme, wonderful stuff. Love Field is not a score for all; it is
low-key and subtle music, but ultimately rewarding. It is a fairly minor
work when compared with most of the composer's scores, but still one worth
discovering. Buy
this CD from amazon.com by clicking here! Tracks
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