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A review by JAMES SOUTHALL

Francis Ford Coppola's classy, articulate adaptation of The Rainmaker is by a long chalk the best John Grisham film that's been made so far, with an intelligent, witty and grown-up script, some superb acting (from Matt Damon and Jon Voight in particular) and a first-class score from Elmer Bernstein, whose jazzy music sees the composer return to territory he first explored in the 1950s on a variety of classic scores.  The classiness of the project as a whole certainly extends to the music, which is dramatically potent but also charming and highly-attractive.

The Hammond organ solos which permeate much of the album are a terrific device, a novel way of approaching a film like this (though others have since copied Bernstein's approach on subsequent legal films).  The opening cue, "Sharks", presents several themes, with the Hammond joined by prominent parts for trumpet and guitar.  Most of the cues, while long, are in fact suites of much shorter pieces, though the album has been assembled well and nothing is ever disjointed.  "Donny" is one such cue, being a collection of a number of short themes, one of which - for strings and piano - is particularly satisfying, and the beauty another, a duet between guitar and piano, is lilting and sensational.  The comic tone of "Shenanigans" works wonderfully in the amusing segment of the film and is a welcome antidote to the sad, anguished feel of "Kelly".  (And also, I can't think of any other film composer who would call a track "Shenanigans"!)  "The Fight" is something different, the only real action music in the score, and it's strained and dark material, a cacophony of orchestral violence.  "Jail" introduces a distant female choir to proceedings, a beautiful and touching accompaniment to another fine cue.  "The Trial Ends" leaves you in no doubt as to what the result is, with a celebratory and dignified beauty present throughout.  "Goodbye Dot" continues the upbeat theme with a charming theme that brings a smile to the listener's theme, before a brief reprise of "Sharks" marks the end of this fine album.

As you might expect, there is an air of familiarity permeating the album, but this is no bad thing in this case: this is one of the most legendary film composers doing what he does best.  Something I say often, but which is always worth repeating, is how timeless Bernstein's music truly is; this music could easily have been heard in a film made fifty years ago, just as Bernstein's music of that period would not sound out of place today.  The Rainmaker combines the jazzy elements for which he is so revered with the other thing he does so well, writing chamber music for adult drama.  The orchestra is small, the orchestration subtle but clever, and the effect is mesmerising.  Bernstein is probably the only film composer this side of Alex North who is able to write such interesting music for such talky films; a master.

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Tracks

1. Sharks (6:20)
2. Last Ride (2:30)
3. Donny (6:48)
4. Kelly (7:14)
5. Shenanigans (3:57)
6. The Plot Thickens (5:46)
7. The Fight (2:35)
8. Jail (3:05)
9. Who is Jackie Lemancyzk? (3:40)
10. The Trial Ends (2:32)
11. Goodbye Dot (3:22)
12. Sharks (reprise) (1:28)