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Filmtracks Recommends:
Buy it... if you enjoy Goldsmith's delicate themes of innocence performed by solo woodwinds over lofty strings and tingling electronics. Avoid it... if you prefer your thriller scores to actually thrill you, for the most interesting parts of this one will deceive you in their delightful beauty. Filmtracks Editorial Review:
As a result of the constant pull of the innocence of Roberts' character on Goldsmith's attention, Sleeping with the Enemy is a score with conflicting personalities. The theme that Goldsmith provides for the wife is as consistently charming as any the composer has ever written... for a drama or a children's film. And he doesn't try to fool you with it. The lofty woodwind solos over tingling electronics and high strings (and other lightly pulsating woodwinds) are just as gorgeous and soothing in the opening scenes as they are in "A Brave Girl" and at the finale of the picture. The theme and its instrumentation is absolutely trademark 1990's Goldsmith style, and the simplicity of the theme, along with its repetitive use, will remain in your head long after the score is over. Goldsmith allows a slight variant of this woodwind theme to be carried solely by string layers, as in the middle portions of "The Funeral," and the dramatic progression of these performances will remind you of the shameless John Barry drama technique (with similarities to High Road to China, coincidentally). The same cue also begins with a token nod to Bernard Herrmann's Cape Fear score --one of the greatest stalking/thriller scores in its effectiveness-- with meandering, rising string lines, tolling of chimes, and eerie pulsations from muted trumpets. Unlike Goldsmith's horror scores, in which the brass often punctuate horror jabs with rowdy hits, the moments of horror in Sleeping with the Enemy are treated to electronic clanging instead, with "The Carnival" and "Remember This" relying on textures from Goldsmith's synthetic library that we would rarely hear in other scores. These cues by no means represent Goldsmith's better half of suspense or horror scoring; in fact, you'll likely forget the five to seven minutes of suspense writing in the latter half of the score. The final cue returns to the deliberate beauty of the opening cue, but with an even faster and thicker bed of electronics. On album, the dozen or so minutes of score that you'll want to include on your compilations are completely exempt from the horror genre, so the music that you will get from Sleeping with the Enemy will have nothing to do with your expectations as a first-time listener. In the film, it's a mixed bag, but with superior sound quality and considerable airtime for the primary theme, the album is a solid investment for Goldsmith collectors. ****
(track times not listed on packaging) * Original recording performed by Van Morrison
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