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| Portman |
Nicholas Nickleby: (Rachel Portman) The late 2002 adaptation
of Charles Dickens'
Nicholas Nickleby once again tells the tale of a young
man attempting to cross the boundaries of social classes in storied London to
reunite his family (despite, of course, the interference from a number of colorful
characters on the sidelines). The production served up a star-studded cast of names
from yesteryear and tomorrow, and it was touted as an Oscar contender by its
studio, which released the film to coincide with the Academy Awards nomination
season. In the end, however,
Nicholas Nickleby didn't gain the widespread
praise in arthouse venues that was hoped for, and the film sank from its limited
widespread release relatively quickly. Like Dickens' writing, composer Rachel
Portman's music is usually highly predictable, and nobody was surprised to see her
name ultimately attached to this story. For a project that would seem to be a
perfect fit for composer Stephen Warbeck (who had tackled
Shakespeare in
Love and
A Christmas Carol not long prior and was an international
favorite in the field), an equally logical choice was indeed Portman, whose period
comedy and drama scores are best known in the form of the Academy Award-winning
Emma and
The Cider House Rules. With a touch of comedic flair and
lavish costumes,
Nicholas Nickleby would require little new exploration of
style from Portman, with the bulk of the material needing a pleasant tone, playful
demeanor, and melodic heart. Portman's response to the film was to do exactly as
you'd expect her to: reprise and rearrange her previous work to fit a similar
picture. Her fans will recognize the characteristic sound immediately, and
depending on your tolerance of her obviously repetitious styles,
Nicholas
Nickleby may be too much of the same. The score caused the question of
originality to be raised once again: if a sound works well enough in a genre, does
blatant repetition really matter? To Portman's collectors, it didn't seem to at the
time, for the album performed reasonably well in its first few months of release.
This fact reinforced the belief that Portman fans were inclined to purchase her
music regardless of her lack of stylistic exploration.
Still, even within the realm of Portman's tendencies,
Nicholas
Nickleby is a conservative effort. Its emotional range never varies very
convincingly, with the cues of ominous tone (such as "Squeers Captures Smike") not
really raising a believable atmosphere of tension. Portman's theme for the score is
a hybrid, technically speaking, of the title themes from
The Cider House
Rules and
The Legend of Bagger Vance. Some casual listeners will likely
confuse the three of them. Part of the problem with the reuse of previous thematic
fragments arises from Portman's habit of utilizing her themes so frequently in some
of her scores that the situation is artificially exacerbated. Likewise, the chord
progressions in her non-thematic material had also become predictable and extremely
recognizable by this time. The only somewhat fresh sound heard in
Nicholas
Nickleby is the subtheme written for the Smike character, and in "More Jobs for
Smike," "Squeers Captures Smike," and "Smike is Captured," you at least hear some
additional depth in the bass string writing (addressing this theme) that breaks the
mood of the constant violins and woodwinds. Both brass and percussion are highly
marginalized for the effort, which is also typical of Portman's approach to these
kinds of topics. Notable solo performances come from flute, harp and especially
clarinet. Even Portman's most ardent fans will have to admit that
Nicholas
Nickleby is a case of just more of the same. But even having said that, she
maintains a consistent level of pleasant, lush melodies, and some forgiving
listeners tend to forget during the height of her themes that the material is
recycled. As a listening experience,
Nicholas Nickleby is a moderating,
soothing, and easy album (to such a degree that it can almost be tuned out), though
it will likely offer nothing to impress the casual film music listener. Unlike the
previous
Hart's War, there may be little reason for non-Portman collectors
to give it a chance. The opening and closing tracks each serve as a good
representation of the remainder of the work. Compared to her later, far more varied
work for
Oliver Twist in particular,
Nicholas Nickleby remains
anonymous and somewhat disappointing. No matter the context, however, this is still
good music, and it may even impress those who haven't heard a Portman score before.
*** @Amazon.com: CD or
Download
| Bias Check: |
For Rachel Portman reviews at Filmtracks, the average editorial rating is 3.31
(in 30 reviews)
and the average viewer rating is 3.26
(in 28,139 votes). The maximum rating is 5 stars.
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The insert includes no extra information about the score or film.
*NM* *NM*
