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Filmtracks Recommends:
Buy it... only if you are either a Sting fan or you don't mind somewhat outdated light rock music for a harmless drama/romance environment. Avoid it... if you expect George Fenton's score to exhibit the inspired, genre-bending intelligence of his larger career. Filmtracks Editorial Review:
Fenton provides a surprisingly unsophisticated style for the urban setting of the film. His light rock music begins promisingly, with a pair of acoustic guitars offering his title theme in trademark romance fashion. But after the first score cue on album, Fenton unleashes the supposed coolness in light rock rhythms that rely on electric bass, electric guitar, electric organ, rock percussion, and other mechanisms that give the score just too much of an 80's feel to it. The occasional contributions by sax coincide with some stirring, more undated style of rhythms, but despite being very transparent in what he was trying to accomplish, Fenton falls into the trap of writing contemporary light rock sounds that just aren't unique enough to transcend from era to era and burst through the limitations of their own simplistic nature. Even the more mundane acoustic guitar portions are too predictable for their own good. A rather bland recording quality hurts a score with an ensemble as small as this; perhaps some vibrant ambience could have assisted the score overcome its flatness. Fenton's wide range of talents leads to a few classically-influenced cues that stand at total odds to the contemporary style. The waltz in "Schon Rosmarin" and the two 40's era jazz renditions of Sting's opening song aren't enticing enough on their own to pull you away from the rest of Fenton's score, and only serve to break whatever plastic mood the rest of the score is trying to establish. As for Sting's two performances of "You Were Meant For Me," it is rare to hear the artist so flat himself. No spark, no enthusiasm, no twist of life... nothing in either the construct of the song or his performances feature the convincing romance of his best previous works. That built-in solitude in his voice is simply not enough to carry a weak song, and the problem is compounded by a very poor recording mix of his voice with the underlying orchestra. In the end, you can hear exactly what the filmmakers, Sting, and Fenton were trying to do with The Object of My Affection. But despite going through the right motions, this is one of the rare projects where everything about the execution of those ideas falls flat in the inspiration department. While it isn't an offensive score (or pair of songs) by any means, there's simply nothing to recommend about the album. **
(track times not listed on packaging)
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