No doubt, the music's functionality in the film is closely tied to an introverted and internalized struggle by the woman who goes searching for her lost husband. If there is terror involved, then it is in the mind, and not an overt expression or physical explosion. The score was clearly meant to extend the dramatic element of that struggle rather than the extremes of emotion that are often associated with war. Either way, the score for Harrison's Flowers is anonymous enough that it could very well work for a small town drama in the heartland of America. No ethnic elements that would be associated with a film about distant war are even attempted. The romantic moments addressing the love that exists between the journalist and his wife are scored with the piano as a central identity, which is no surprise for Eidelman collectors. The theme representing them is subtle and gentle, often barely recognizable in its slight construction. In the middle portions of the score, this piano work is sparsely rendered. The finale cues (represented by the final two tracks on the album) offer the most significant development of the title theme for the two characters, even crossing over into the strings that dominate the rest of the score. But in the case of establishing a strong romance between these two characters, the score fails to summon enough strength of heart to really convey any such caring. In fact, the entire score for Harrison's Flowers lacks power, depth, and emotional enticement. It is pleasant in a relaxing and aimless fashion, with the scenes of war handled in a remarkably similar fashion to the scenes of the two main characters together. The work has no real beginning, no real climax, and no real conclusion. Part of that lack of identity may be due to the small production values of the recording. The ensemble consists primarily of strings, the piano, and an occasional electronic sampling. It is a very restrained score about a significantly more troubling subject matter than the music would indicate, and although the circumstances about why such an under-dramatic score was provided for film are unknown, it may suffice in context nevertheless. On album, Harrison's Flowers is a work of the same subdued level as One True Thing and An American Rhapsody, though without the same attractive tone of easy harmony in parts. Ultimately, this is a pleasant, though sometimes uninteresting listening experience on album, and only devoted collectors of the composer will be interested in its consistently depressing mood. The score by Coulais, incidentally, isn't particularly memorable either, making Harrison's Flowers an underachiever in the music category no matter the country of release.  ***   @Amazon.com: CD or Download