Filmtracks Recommends:
Buy it... if you regularly relax to mellow, easy-going, and contemporary urban rhythms for a romance with the heart and melody of an older generation. Avoid it... if you expect music with a personality as overtly snazzy as that of Johnny English or other more ambitious, larger ensemble scores by Edward Shearmur. Filmtracks Editorial Review:
Laws of Attraction: (Edward Shearmur) Fateful romance between characters played by Pierce Brosnan and Julianne Moore is the main attraction of the 2004 comedy Laws of Attraction. They portray divorce attorneys who are arguing on opposite sides in court on one particularly nasty case. The two are thrown together on a trip necessitated by that case, get married after a night of drunken madness, and then have to complete the court case against each and attempt to make a real relationship out of the matter. The film, despite the highly anticipated charm and chemistry between its co-stars, managed to irritate or bore nearly every critic (and many audiences as well) upon its release, and it failed to recoup its budget even in worldwide grosses. One of the most difficult tasks for a composer of any generation to undertake is to write a romantic comedy score in the style of the 1940's to suit the age of the film's stars without allowing the music to sound dated. This was exactly the task for composer Edward Shearmur, for whom Laws of Attraction was a continuation of a collaboration with director Peter Howitt that had resulted in the impressive Johnny English the previous year. The project represented yet another score in the very diverse early career of Shearmur, though after 2004 his mainstream output unfortunately declined and similar assignments began landing with Aaron Zigman and other composers of his generation. Whatever problems Laws of Attraction suffered overall, the versatility of Shearmur was well utilized in this instance; he seemed to try make magic in all of his scores for the genre during this period, even if it was for a topic as vacuous as that of Miss Congeniality. Howitt was unsure of the musical needs of the film at first, though it was understood that a retro genre sound from Hollywood's yesteryear, while likely a viable method of scoring the film, would turn off too many younger audiences. Thus, Shearmur approached the score with the intent of infusing traditional orchestral romance with a more hip, modern sound. Keeping the pace of the rhythms afloat during the length of the film seems to have been the primary concern once Shearmur established the generally affable tone of the music, and he mostly succeeds in keeping the atmosphere airy and light on the feet. Throw in a touch of authentic Irish flavor for scenes at the location where a castle is being disputed in the court case, and the score offers some points of distinction to keep you interested. Establishing the attorneys in Laws of Attraction as professional and modern individuals, Shearmur opens the score with light contemporary tones on percussion and a simple theme performed by solo clarinet over a pleasant orchestral backdrop. There is an infectious quality to these clarinet solos, a feeling of likability inherent in the performance emphasis by the player. As the story progresses, Shearmur propels the music with consistently innocuous variations on these rhythms, promising what would be a no-thrills, easy going, and lazy afternoon listening experience. Only a slight hint of Chinese flavor in "Chinatown" augments an otherwise very static ensemble. But when the Irish sequences enter the film, Shearmur really earns his pay by spicing up the score's personality. Film music listeners heard Irish influences so often in scores of the late 1990's and early 2000's (James Horner alone saturated the Irish and Scottish genres for American ears) that some deemed it a dreaded style, but how often do you hear Irish rhythms and instrumentation with a touch of modern pizzazz? Without losing the lofty, flighty attitude of the score, the Irish cues maintain the same pace and enthusiasm as the rest of the score. The most impressive aspect of Laws of Attraction is Shearmur's attention to detail when transferring the main theme from the urban, American environment into the Irish one without missing a beat. The latter half of the score alternates between these sensibilities, passing the melody from the clarinet to oboe and flute for the Irish renditions. There are a few moments of high romance for those seeking fully orchestral swells, with two such string crescendos appearing in "An Irish Tale" and "Love at Last." The latter half of the score slows down as the romance matures and relies more heavily on solo piano elegance and continued clarinet work for the less comedic, conversational half of the film. By the end, the snazzy rhythms have faded away (with the exception of a quick reprise of this style in "Coda"), and a subtle, rather average atmosphere of romance finishes the score. For fans of the zippy rhythms, this inevitable turn may detract from the album. Still, the overall effort is commendable in its simplicity and casual accessibility. The album contains 35 minutes of Shearmur's score and is accompanied at the start by two of his own original songs, one an uneventful pop variation and the other a wilder Irish jig. Overall, this is a very easy-going and delightful score, but it contains nothing to reach out and grab you outside of some vaguely appealing Irish tones, making it an excellent bargain bin find for a breezy summer afternoon. *** Track Listings:
Total Time: 41:16
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