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Filmtracks Recommends:
Buy it... only if you are an avid collector of Goldsmith's works and enjoy performances of his work by synthesizers and the string section of the National Philharmonic Orchestra. Avoid it... if you require sustained performances of action themes or sensitivity in your Goldsmith works, or if you share the publicized political protests against the film. Filmtracks Editorial Review:
Goldsmith devises two themes for the score and orchestrates them in vastly different ways. First, the sensitive string and piano theme for the mother and daughter inhabit the opening and closing portions of the film. It's not one of Goldsmith's ultra-pretty small-scale themes (like the one from Love Field, for instance), but it falls under the same memorability level as, perhaps, Angie. The theme is mutated throughout the middle portion of the score as the mother's realization of entrapment is represented thematically. The second theme represents the culture of Iran, or maybe the husband more specifically. Its instrumentation consists of harsh electronics since Goldsmith declined the use of a brass section for the recording. At some points, the electronic rhythm is established at such a great pace that James Horner's Commando comes to mind ("School's Out"), with tom-toms and exotic percussion all utilized to their fullest volume. In the darkest moments, the mutated sound of a water droplet at extremely low pitch ranges matches the psychological fear on screen. Throughout its length, the score alternates between the sensitive primary theme for strings and the Iranian theme of deceipt for synthesizers. It can indeed be reduced to a good-versus-evil kind of score, because Goldsmith makes no attempt whatsoever --like the film-- to musically portray the Iranian culture in a positive, or even interesting light. The moment the story hits the ground in Iran, Goldsmith hits the electronic distortion (a la Legend) and machine drums and never looks back. As a political statement, the score therefore suffers from the same criticism leveled at the film. As a listening experience, the primary "home" theme makes an attractive string appearance in the final cue (with the standard light tingling of Goldsmith electronics), and that finale cue has a strong representation (over the end credits) of both halves of the score. Some questionable mixing exists throughout, especially when the strings yield to a piano mixed at far too low a gain in that last cue. The album was released with identical contents by Edel and Silva Screen in Europe and Intrada in America. Only the true Goldsmith fanatic will have much interest in any of its out-of-print variations. **
The insert includes the following note by Joseph Cassar about the score or film: "Jerry Goldsmith's score to Not Without My Daughter aptly demonstrates the composer's keengrasp of intimate drama. lt is an economic score, some 35 minutes, and it is a score that reflects the personal drama of ordinary people interacting on a day to day basis. For this recording the National Philharmonic Orchestra have forgone the services of the brass section and have allowed Goldsmith the opportunity to feature much of the transparent string writing at which he excelIs. The score starts off with an exciting riff punctuated by a layer of tom-toms, exotic percussion, and synthesizer sounds that foreshadow the events that will unfold in lran. This quickly segues into the primary theme that portrays an idyllic setting representing the happiness and stability of a young American family. This "home" theme, introduced by piano and strings in "The Lake", is utilized throughout the film, reflecting on the yearnings of Betty Mahmoody (Sally Field) to return from her two week vacation in Iran with her husband and her daughter to her home in America. At other times, as in "No Job", this theme becomes fragmented and gradually dissolves to show the shift in the relationship between the married couple. With "Night Stories", the theme portrays the bond between daughter and father as he reads to her. In cues such as "Dry Spell" and "First Break", Goldsmith underscores the dramatic scenes of mother and daughter making their way across the desolate frontier. The themes here are colored in an exotic middle Eastern idiom with one motif actually reminiscent of the Muslim call to prayer chant. As the mother and daughter realize freedom the "home" theme makes a triumphant appearance, rejoicing with them. This leads into an extended treatment for solo piano and strings. The exotic opening riff makes a final appearance before bowing out to a final resolution of the primary theme." | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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