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| Zigman |
My Sister's Keeper: (Aaron Zigman) Clashing medical
ethics and familial relations are the thorny topic of the best-selling
novel by Jodi Picoult that has been translated into the 2009 motion
picture
My Sister's Keeper. When a contemporary couple has a
child with perpetual medical needs, they conceive another to serve as a
constant donor, an insurance policy in the form of bone marrow, blood,
and organs. While this premise may suggest either a hint of cruelty or
even science fiction, the story of this otherwise normal family is
complicated when the young donor decides to exercise free will in
refusing a necessary kidney transplant for her older sister. The
11-year-old hires an attorney for medical emancipation, giving her the
chance to ensure some stability in her own life while living with the
parents and siblings she still loves and relies upon. The handling of
the series of flashbacks by Nick Cassavetes is divisive, either
repulsing audiences or sending them to their tissue boxes depending on
how well each viewer can forgive the film's major holes in logic. Strong
performances all around are its greatest strength, highlighted by a
small but widely admired role for Joan Cusack. The purpose of the music
in
My Sister's Keeper is one that is completely predictable,
playing to a sound of introspective drama perfect for Rachel Portman,
Gabriel Yared, or another master of sappy tones of minimal volume.
Ironically, the music in the film was mentioned in critical reviews as
awkwardly distracting in parts, which is perhaps a cardinal sin in this
kind of picture. Still, the approach taken by composer Aaron Zigman is
one that will not surprise anyone, and it serves its purpose for most of
its length despite lacking much sense of creativity or genuine
engagement. Since catching mainstream attention with his music for
The Notebook in 2004, Zigman's career has focused primarily on
the lighter side of the industry, a busy series of relatively easy
dramas and contemporary comedies that don't demand much extended
thought. In fact, the combination of his music for
My Sister's
Keeper and audience favorite
The Proposal in the summer of
2009 sums up his production of the era well. Fortunately,
My Sister's
Keeper allows Zigman to further explore a more serious side of his
capabilities that appeals to film score collectors and has landed him a
relatively rare commercial album release of his endeavors.
To say that Zigman simply collected a paycheck without
doing much to achieve a unique style of tackling
My Sister's
Keeper would be a disservice to his efforts, though some listeners
may hear it as such. His ensemble consists of a partial orchestra (full
strings, minimal woodwinds, and piano) and plucked elements (harp and
guitar) that carry the music's only really distinctive personality. The
score is technically anchored by the piano, which is a bit disappointing
given the instrument's over-application to dramatic films involving
suburban family lifestyles. His primary theme is elegantly conveyed by
this instrument several times, though the melody bleeds into surrounding
ambience for much of the score's middle portions. The full weight of the
large string section is never realized in the work, leaving the
soundscape surprisingly sparse. A slightly post-modern touch is applied
to the equation through the distant mixing of acoustic (and seemingly
electric) guitars, filling the atmosphere of the score's contemplative
cues with a slightly dissonant and eerie feeling of discomfort. The mass
of the work is rooted in the harmonic progressions of the major key,
however. Despite this fact, the score's overall personality is one that
is overwhelmingly depressing. Unlike an equivalent Portman score,
My
Sister's Keeper has no warmth; it's an alienating listening
experience that reminds far more of Gabriel Yared's tone for solemn
dramas. Rather than using performance depth to appeal as something like
Autumn in New York would, though,
My Sister's Keeper keeps
a cool distance. The light guitar and piano performances attempt to
counter this wishy-washy, slowly paced difficulty, but the score's half
hour on album is ultimately devoid of much redemptive spirit. The one
really unique cue, "Visiting Relatives," with accelerated rhythms and
misplaced wordless vocals of a style from an era past, is what was
referred to as out of place by critics, and on album it is equally
disparate in style from the remainder of the material. In the end,
My
Sister's Keeper is both pretty and sufficient in its thoughtful
representation of quiet, contemplative toil. But it remains so firmly
rooted in an environment of despair that the few hints of positive
energy that occasionally begin to stir from its ranks are swallowed by
the extremely melancholy whole. No true sense of musical development
from start to end, with no aural journey to be heard, is evidenced by
the non-chronological cue order on album. That product is an equally
sparse and depressing experience.
** @Amazon.com: CD or
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The insert includes a list of performers, but no extra information about
the score or film.
