Romer's seven themes for Luca range from enchantingly fantastic to adequately mediocre, and detractors of this score will be quick to mention that the composer seemed more intent on the coloration of his motifs than the structural development of them. He has stated that the main set of themes for the three lead characters was harmonized in such a way that they could intermingle with each other liberally, and he does achieve this end. But there are nagging issues with most of the themes that cloud the narrative of the score, as both Romer's attributions and evolution of the ideas typically leave too many questions unanswered. The primary theme of the film supposedly belongs to Luca, but the heart of the story is Alberto's theme. This idea for the second sea monster boy receives the most manipulation over the course of the score, from enthusiasm to heartbreak and all-out action. It comes to represent the adventure of the children at the macro level and is by far the most frequently referenced. The idea debuts in the soft plucking to open "You Forgot Your Harpoon" before a spritely shift at 1:24 into " Walking is Just Like Swimming" and manic action during "You Hold the Ramp." Exuberant majesty for the full ensemble, and especially brass, awaits for the theme in "Silenzio Bruno," trumpet and ambitious percussion taking it at 1:06 into "That's the Dream" and building to a main statement at 1:05 into "Take Me, Gravity." The theme's versatility is exposed by mystical keyboarding at 0:42 into "Buonanotte, Boys." It opens "Rules Are for Rule People" and follows Luca's theme nicely, almost like a natural interlude at 2:23 into "Telescope." Brief, very Italian flavor conveys the theme at 0:41 into "Beyond the Solar System," and hints stew at 1:57 into "The Sea Monster" before an absolutely pivotal moment of betrayal and fear translates the melody into massive tragedy at 2:58. The theme is smartly fragmented, sometimes in chords only, during "I Wish I Could Take It Back," Romer ending the cue with an optimistic, less complicated variation. A soft, brief moment for the theme exists at 4:21 into "The Portorosso Cup," and the composer wraps it up with a bright accordion performance at 1:21 into "How to Find the Good Ones." A comical action variant of this theme occurs at 2:04 into "This Isn't Any Old Race," in a brief explosion at 1:38 into "Buongiorno Massimo," as counterpoint to Alberto's theme at the start of "Rules Are for Rule People," and in melodramatic hints at 6:28 into "The Portorosso Cup."

The idea for the titular character in Luca, meanwhile, is more attractive and wondrous but also oddly underutilized and lacking in the same evolution as Alberto's theme. In "Meet Luca," you are introduced to the theme at 1:35 by clarinet and at 3:39 by carefree whistling. A subdued performance returns at 1:09 into "The Curious Fish," but Romer reprises the opening cue's style in "Vespa è Libertà," dreamy whistling over accordion at 0:11 and later again with the clarinet. Romer blends his action and dreamy modes for the theme at 1:23 into "That's the Dream," though the performance is interrupted by suspense. After a reference at 0:31 into "Rules Are for Rule People," the composer unleashes a lovely, flighty string romance over accordion and piano at 2:03 into "Telescope." Several passages in "The Portorosso Cup" access the theme, ominous and nervous on low strings early to a brief suspense interlude in the action at 1:58 and the underlying chords only in a large statement at 5:16. Only those chords again are featured at 0:49 into "Go Find Out for Me" (an oddly anonymous understatement for that moment) before the theme finally erupts one last time at 1:17 with what sounds like some tasteful electric guitar accompaniment. The third major theme in Luca may be largely indistinguishable for many listeners, some of whom will probably confuse it with the identity for Portorosso. Giulia's theme (representing the human girl) was meant to espouse the most Italian flavor of the three main themes, but that mantle also belongs to the Portorosso music, and Romer doesn't do much to distinguish them aside from supplying a bed of hyperactive, optimistically plucked and struck rhythms during moments of prominence for Giulia. Her idea slides by in the middle portions of "Buonanotte, Boys" and "Telescope," a flowery bed of guitars joining during "Beyond the Solar System." The plucky personality of the theme persists into the middle of "The Portorosso Cup" and is sent off at 1:47 into "How to Find the Good Ones." The associated Portorosso theme for the locale is fleeting in its instances at 0:55 into "The Curious Fish," 1:23 into "Bottom of the Ocean," on mandolin at 0:12 into "Portorosso," with rhythmic flair early in "This Isn't Any Old Race," changing into an action variant at 1:16 into "The Portorosso Cup," and joining the resolution at 0:53 and 4:29 into "How to Find the Good Ones." The burst of romantic string whimsy at 0:35 into "Portorosso" seems, incidentally, like another variation on Alberto's theme.

The two prominent secondary themes in Luca are far more consistently applied by Romer. The boy villain is treated to a stomping little minor-key descent laced with the Italian instrumentation. Previewed at 0:04 into "Signor Vespa," the idea announces itself at 0:25. It remains slightly ominous during all of "The Out of Town Weirdo Tax" and becomes a bit more mysterious at 0:56 into "We Don't Need Anybody." Its chords inform the opening of "The Sea Monster." Even more obvious (and a tad annoying) is the theme for Luca's obnoxious parents, a quirky duet performed to a march step by bass clarinet and tuba. A slight preview in "Did You Hide" is followed by full performances at 0:22 into "Land Monsters Everywhere" and 2:01 into "Buongiorno Massimo," which offers more rhythmic flair but not much other development. A little more comedy attitude aids the theme at the outset of "Not Our Kid." Together, these themes are almost always present in some form or another, but they don't always present themselves clearly enough to have an impact, especially the relatively elusive Giulia melody. On the other hand, the themes play uniquely because of their distinctive character, with only a few moments of this whole score that will remind you of anything other than previous Romer works. (The most obvious of these are the vague Jaws parody at the outset of "Meet Luca" and a passing, coincidental connection between the secondary phrases of Alberto's theme and part of the "Winnie the Pooh" song by the Sherman Brothers.) Still, Romer manages a rare feat in how he concludes Luca; he offers an admirably satisfying resolution of the narrative at the end despite the film's song usage and despite the fact that his themes are not really wrapped well in the final two cues. Why, for instance, use only the underlying chords of Luca's theme during "Go Find Out for Me" rather than allow a victory lap for the actual melody during that cue? Likewise, the action material in Luca, highlighted by the robust and entertaining throwback to Italian enthusiasm of a prior generation in "The Portorosso Cup," struggles at times to adapt the main themes into a truly convincing action mode. The romantic portions have a bit more luck, but moments of magical connection like "Telescope" are not aided by the sparse mix. Ultimately, though, it's the lack of adequate development for Luca's theme that detracts the most from the otherwise enjoyable score; it's a truly fabulous melody that deserves expanded upon in the inevitable sequel. Many listeners won't care about any of these quibbles, however, for Romer's lovable and smooth Italian character for Luca will easily carry the day for most.  ****   @Amazon.com: CD or Download