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The score for Ella McCay sounds nothing like Zimmer's style at this juncture and barely resembles his vintage methods, either, begging questions about the extent of the role ghostwriter Steve Mazzaro had on this endeavor. Its light orchestral mode is far more reminiscent of Alan Silvestri's romantic comedies of the 1990's than Zimmer's, and there's a touch of Marc Shaiman from that era in this model, too. Listeners tired of hearing the results of Zimmer's endless tinkering with synthetic tones will be pleased to know that there's no obvious role for the electronics in this score. A moderate orchestra is largely defined by strings, woodwinds, piano, and light metallic percussion, with the most heartfelt moments concentrating on piano or solo woodwinds at the forefront of the mix. The low woodwinds are particularly prominent, clarinets and bassoons very well emphasized. The brass presence is utilized as straight backing most often, except for outright comedy in "The Husband That Gets Mentioned." There are occasional accents from the likes of electric bass, acoustic guitar, and marimba, though none of them stands out and could be synthetic in some cases. In personality, the score alternates between wholesome drama and fluffy comedy, offering more of the former as the narrative progresses. Few sideshows exist to distract from the streamlined background role for the music, the retro swing jazz in "The Phone Room" standing out with cute percussion, bass string, and sound effects. (Brass doesn't really have the time to express a melody in this sequence.) Aside from rare runs of hyperactive lines from the ensemble for the hustle and bustle of the governor's position, as in "Hamsters on the Same Wheel," there are no substantial diversions elsewhere. Some of the score is occupied with nondescript ambience, with parts of "The Other Shoe Drops," "Hopeful Things," "Taking a Moment," "Casey Opens Up," "Look Who's Functional," and "Hamsters on the Same Wheel" filling the soundscape with an entirely decent but insubstantial presence. These cues do little to advance the story. That thematic narrative exists but is marginalized and never really becomes clear; the melodies are fine, but they don't receive enough character references to be very impactful beyond their appealing demeanor.

The main theme in Ella McCay comes in A and B phrases for the main character, the A phrase a rambling line made memorable because of its two-note phrases in its midsection. Heard first on easy strings over bubbling rhythms at 0:14 into "Ella," this identity returns at 0:57 on reeds and then shifts to solo piano and flute to close the cue. It bursts with sparkling joy on strings at 0:45 at "Do I Ever Love You" and shifts its progressions a bit to open "The New Governor" but reverts to perky form. Fragmented in its clarinet treatment in "Late for School," its sideways references continue to blurt out the rhythms of "Inauguration." The theme provides some lightly perky environment for "You Didn't Check the Label," alters its attitude for a statelier resonance against a waltz rhythm in "The Governor's Mansion," and diminishes to a solo piano over harp accompaniment in "Make People's Lives Better." Late in the score, the A phrase is extremely tepid in the glacially-paced "I Love the Job" but builds some momentum in the first minute of "Hope Comes Close" until becoming fuller on strings at 1:30 and again at lower registers at 5:37. The B phrase applies the same general structural approach, but the sections are three-notes long instead. It serves as an interlude to the A phrase at 0:32 into "Ella" over the same rhythmic flow and is slowed and forced in a different direction in the tentative "Do I Ever Love You" before shifting back to its main phrasing at 1:08 for continued interlude duties. Twisted for darker, waltz-inspired comedy but very slow in "The Husband That Gets Mentioned," this phrase saves some exuberance for 2:36 into "Hope Comes Close" and thereafter for a while. A secondary theme for solitary situations is more contemplative to handle Ella's feelings of loneliness and doubt. Smoothly entering at 1:22 into "Hopeful Things," this motif occupies almost all of "A Moment Alone" and opens "Closeness of a Kind" on piano, where it struggles to generate greater warmth, finally souring on solo piano in "Hamsters on the Same Wheel." A possible supporting theme for the woman's brother is a melancholy and anonymous piano and oboe melody in "Casey Opens Up." These are all pleasant themes in Ella McCay, but that's both the attraction and drawback. The score is almost too pleasant, very little dissonance heard around the margins in a few cues. It plays effortlessly on album, but that unyieldingly pleasant demeanor at almost all times makes one doubt its sincerity, just like the main character.  ***   @Amazon.com: CD or Download

Bias Check:

For Hans Zimmer reviews at Filmtracks, the average editorial rating is 2.85 (in 130 reviews) and the average viewer rating is 2.89 (in 301,584 votes). The maximum rating is 5 stars.

Total Time: 38:11