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Release Date:
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May 16th, 2000
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Availability:
Regular U.S. release.
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Filmtracks Recommends:
Buy it... if you want to fall asleep to a very pleasant, low key score
with simple string and piano themes.
Avoid it... if you'd rather not fall asleep during any score.
Filmtracks Editorial Review:
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| | Edelman | |
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Passion of Mind: (Randy Edelman) The premise of
Passion of Mind is intriguing for people of like to sit around and
discuss the philosophy of real life versus a dream life. In the film, Demi
Moore spends nearly every moment on screen, playing two roles and never
knowing which is her real life and which is her dream life. In New York, she
is a strong-minded publisher in a troubled relationship, and in France, she
is a less secure, single mother who is engaged in a passionate relationship.
The film counts on the plot's ability to lure you with a desire to sort out
which is reality and which is fiction, and while that curiosity remains, the
path that the film takes to answer the question is one that put many viewers
to sleep. One reviewer called the film "a pointless exercise in existential
hogwash," and if you're not a fan of seeing Moore on screen, then be
prepared for a nap halfway through. Director Alain Berliner decided to
accentuate the passion in the film by seeking a composer who could expand
upon that contemporary romance with a strong reliance on melody. Nobody
could argue with the choice of Randy Edelman, who is known industry wide as
the go-to composer for pleasant melodies. Of the four films for which he
composed in 2000, Passion of Mind is perhaps the closest to his
song-writing heart, offering Edelman the opportunity to write a consistently
lyrical score from start to finish. The big question regarding Passion of
Mind, however, was how to address the strict duality of the film, and
whether or not the score should exist in one united style or in two
different modes suitable for the contrasting locations. Edelman makes a note
of stating that he was given great liberty by the producers of the film to
follow whatever path he wanted the music to take.
What he decided to do was, as he says, "not fall into the
trap of trying to delineate" the two different lives. By taking this route,
he hoped to avoid alerting the audience to the reality of one life over the
other. At the same time, though, he did somewhat fall into the trap of
composing two different halves for Passion of Mind. One theme,
representing the French countryside, has a neo-classical approach, with
limited strings performing a beautiful melody. The other theme, representing
New York City, has a more urban swing and is often presented by piano. These
two themes, as well as their differing instrumentation, do mingle on
occasion, but they share more of a consistent overarching drama than
anything. The score, no matter which half is on screen, is consistently
soft, lengthy in cue, and pleasant, causing the worlds to wash into each
other in an effective fashion for the dream-like mystery on hand. At the
same time, Edelman's score also suffers from the lack of an identity for the
primary character. Neither half of the score establishes a truly enticing
personality, with a few of the New York scenes accompanied by some
contemporary rhythms and keyboarding. If the primary criticism of the film
was related to its boring pace, then the same can be said of Edelman's
score. It is extremely repetitive --which is no surprise for Edelman
listeners-- but it doesn't repeat interesting material. If Edelman had
decided to "fall into the trap" of going overboard in giving the two sides
of the score very distinct sounds, then he could have held listener interest
by slowly mingling the two themes and/or styles to a greater extent as the
film progresses (until, of course, the themes are offered in perfect
counterpoint for the revelation at the end... Then again, Edelman almost
never uses counterpoint in his simple themes!). Instead, the score doesn't
stir up any of the potential that a dual life on screen can inspire. On
album, it's very pleasant, but equally uninteresting. A shorter album would
have definitely been advisable. ***
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Viewer Ratings and Comments:
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• 1. Main Title (3:26)
• 2. Mother's Lullaby (2:58)
• 3. Guitarelle (2:13)
• 4. 40 Central Park South (2:20)
• 5. Manhattan Farewell (4:03)
• 6. Waking Alone (2:45)
• 7. Snapshots (1:07)
• 8. City View (1:38)
• 9. Down River (1:33)
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• 10. Marty and Aaron (2:30)
• 11. Reverie (3:41)
• 12. Chance Meeting at the Marketplace (2:04)
• 13. Sailing on the Hudson (2:06)
• 14. Arriving at the Truth (2:54)
• 15. Offering (1:22)
• 16. Passion of Mind (1:20)
• 17. Bedtime (2:48)
• 18. Psychescape (2:50)
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Insert includes a note by Edelman about the score and film.
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