Filmtracks Traffic Rank: #831
Written 9/24/96, Revised 11/8/11
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Buy it... only if you regularly relax to James Horner's most
introverted and contemplative character-centered scores that feature
plenty of solo performances of lonely melodies.
Avoid it... if you demand any kind of excitement or interesting
instrumental and thematic development in your scores, for this is an
auto-pilot effort of little originality.
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| Horner |
To Gillian on Her 37th Birthday: (James Horner)
Adapted by David E. Kelley from a play and directed by Michael Pressman
in 1996, To Gillian on Her 37th Birthday is a prolonged story
about one man's grief over the death of his wife. Becoming a recluse on
Nantucket Island with his 16-year-old daughter, the man suffers so much
in the two years that follow a boating accident that he imagines his
wife's ghost in conversations with her along the beach outside their
home. Maybe that's what happens when you marry and then lose Michelle
Pfeiffer. But the film's unoriginal, drawn out story follows predictable
paths of the daughter's coming of age and the nosey sister-in-law/aunt
who attempts to first set up the ailing father on a blind date before
eventually trying to steal custody of the girl. For a survival story,
To Gillian on Her 37th Birthday is an exercise in a familiar
sense of boredom, the kind of discomfort you might feel at family
gatherings with the in-laws that you try to avoid because the routine is
always the same. The film suffered from a slap-down in unenthusiastic
reviews and disappeared from theatres not song after its mainly arthouse
debut. For composer James Horner, To Gillian on Her 37th Birthday
came on the heels of a last minute job for The Spitfire Grill,
another arthouse film with similar explorations of coming of age and
survival, and arguably one that is just as unsuccessful. On Horner's
part, however, the quality of the two scores could not be further apart.
While the circumstances surrounding Horner's surprising involvement with
The Spitfire Grill, along with its more engrossingly developed
personality, gained that score considerable attention in autumn of 1996,
the music for To Gillian on Her 37th Birthday has fallen off the
radar just as badly as the film itself. Although his soundtrack for the
later film is certainly functional, Horner's contribution lacks
emotional depth and melodic inspiration while being minimally rendered.
This may be a fault directly correlated to the film's demeanor, but then
again, you get the impression with To Gillian on Her 37th
Birthday that Horner had once more shifted into auto-pilot, going
through all the usual motions for a small scale character drama without
taxing his abilities at any moment.
The ensemble for
To Gillian on Her 37th Birthday
consists of Horner's usual array of solo instruments along with a
marginal orchestra stripped of its unnecessary depths. The main theme
concocted by Horner is similar in structure to his basic character-based
ideas for
Searching for Bobby Fischer,
In Country, and
Dad, with predictable string progressions yielding less
excitement and beauty in this variation. Similarly, duets between harp
and piano dance behind lonely horn solos, often with delicate plucking
of either the violins or harp adding as much light sensitivity to the
environment as possible. Many of the motifs Horner utilizes, especially
in the alternating piano progressions, are copied and pasted from
The
Spitfire Grill, but the magic of the location has been completely
stripped. The score seems completely centered on the solace of the main
character, refusing to budge for any of the other circumstances in the
film. Thus, you get an effort that repeats the same desolate theme over
and over and over again, rotating between solo instruments over pacing
that could put even the most hyperactive child to sleep. While a certain
amount of that material makes for a consistently pleasant listening
experience, Horner fails to even try addressing the stunning Nantucket
locale, a considerable flaw in the film. Before the lengthy finale and
end title enunciation of the main theme by the ensemble, the only
disparate element in the score is the sharp piano clanging heard in
"Boating Accident" (which is naturally the source of all the trauma in
the film), and even this cue seems to short-change the importance of the
event unfolding on screen. On album, the two full performances of the
theme in the first half of "Saying Goodbye" will be of interest to
collectors of Horner's atmospheric sentimentality. Seasoned listeners
will either mock or be amused by the exact, note-for-note previews of
the upcoming
Titanic love theme (still a year off the coast)
performed by oboe and clarinet at the start of that finale cue. An
overdue full ensemble performance of the theme at 10:00 into "End Title"
is too little, too late to resurrect your interest. Overall, the film
likely didn't deserve anything better than the uninspired score that
Horner provided, but the result on album is an underachieving repetition
of solo melodies that suffer from shallowness when compared to the
composer's greater collection of character-based work.
** @Amazon.com: CD or
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Bias Check:
For James Horner reviews at Filmtracks, the average editorial rating is 3.15
(in 108 reviews) and the average viewer rating is 3.23
(in 203,515 votes). The maximum rating is 5 stars.
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