Music Webmaster Len Mullenger

FILM MUSIC RECORDINGS REVIEWS



John WILLIAMS Stepmom     Music composed and conducted by the composer (with Christopher Parkening, guitar)   SONY SK 61649 [57:07]

 

Crotchet



**************************************************************

Editors Choice - CD of the Month February 1999

**************************************************************

I had heard whispers of controversy about this score before my copy of the album arrived for review. "Not the best John Williams...self-derivative...", I had heard. True that Stepmom does not have a theme that is immediately arresting and memorable; rather, this score is subtly understated with long-breathed melodies and easy-flowing impressionistic music that, nonetheless, should invidiously invade the listener's affections on repeated hearings. And yes, there are many self quotations from E.T., Superman, and The Accidental Tourist to name but three John Williams scores but his consummate artistry weaves his older material into this new score so graciously that instead of being irritated, one welcomes their return like old friends. The overall mood is of gentle romance and family compassion. This is easy-listening Williams not far removed from Sabrina or Stanley and Iris and none the worse for that. The writing for the featured guitar (Christopher Parkening is admirable, sensitive and poetic) is lovely and occasionally very imaginative. The beautiful oboe playing of John Ellis should also have been acknowledged more emphatically with a front page booklet credit.

Stepmom stars Susan Sarandon as an older woman, Jackie ,who is supplanted by new younger wife (of Luke played by Ed Harris), Isobel (Julia Roberts). Circumstances force the two women to put aside their differences for the sake of the family that they now must share.

The opening cue "Always and Always" opens with a celeste theme against strings which suggests cosy domestic bliss - very feminine: delicate, pink, dreamy, hazy. As the cue progresses the music proceeds hestitantly - almost prayer-like. "The Days Between" carries this mood forward but there is soon a brief Copland tinge before the music proceeds introspectively; the oboe singing a song verging on sadness and regret. In this lovely cue the music is very reminiscent of Finzi, Moeran and other British composers and there is a subtle recollection of the Stanley and Iris music. The music is subtly Ravelian impressionistic too and the entry of the guitar softly tinges the music appropriately Spanish-coloured. "Time Spins its Web" is very evocative - an insistent clock ticking rhythm on strings with web-spinning piano arpeggios and clever rhythmic twists as the cue develops - a clever little invention. "The Soccer Game" is a quietly exuberant creation for the children at play. Again there is clever cross-rhythm writing and quieter music as we see the children's game through the women's eyes and are touched by their emotions and, fleetingly, their concerns and anguish: here, John Williams's astringent writing for guitar (I think) is especially compelling

"A Christmas Quilt" is another exquisite cue; cosily romantic and warmly nostalgic. Finzi comes to mind once more and there is an allusion to a well known nursery tune. The magic of the E.T. score and the Close Encounters music is recalled. Once more the oboe writing impresses. "Isobel's Horse" is a short cue for strings alone and it mixes Copland with string writing styles of British composers such as Holst and Elgar. There are some nice humorous touches too. "Taking Pictures" is guitar-led with another ravishing long-breathed melody strongly featuring the oboe. "Snowy Night" is very evocative of gently falling, twisting snowflakes with nice writing for the celeste again and the oboe. I was very much reminded of the feeling of isolation and disorientation of The Accidental Tourist score at this point and there are also reminders the remote beauty of "The Fortress of Solitude" from Superman. "Ben's Antics" bring us down to earth again with childish pranks. The music for this cue chugs along happily and comically but there is also an edge as we share the women's views and conflicting emotions once more. "Isobel's Picture Gallery" is music that has a remoteness suggesting loss (The Accidental Tourist again comes to mind); but the temperature soon rises and the music becomes poignant. There is an endearing delicacy and fragility about this cue which includes an attractive Ravelian piano solo part.

In "Jackie and Isobel" Christopher Parkening plays the main theme against a most refulgently romantic string backing - a ravishingly beautiful track and worth the price of the album alone. "Jackie's Secret" is slow-treading music beneath a mournful oboe - this is the most introspective and dramatic cue. "Bonding" continues this mood; it begins pensively, almost eerily before the tempo quickens and the mood lightens allowing the music to dance along - if rather reflectively but not unattractively. This is thoughtful, quietly brooding material with a softly veiled magic. The penultimate cue is the obligatory pop song, "Ain't No Mountain High Enough" but I cannot imagine it dinting the charts. The End Titles music rounds off the score magically with significant material for the guitar and oboe and piano.

Stepmom is not top drawer John Williams but it is nevertheless treasurable. I know this album is going to visit my CD drawer many times this year

Reviewer

Ian Lace

But Jeffrey Wheeler is not so keen :-

For the man who reigns as undisputed composer & king of space opera music, it stands to reason that eventually he would tackle a subject slightly more earthly in nature... the soap opera!

Better than a typical underscore for "The Young and the Restless," "Stepmom" still cannot go beyond being John Williams' weakest since "Far & Away." Like "Far & Away," it is an enjoyable melodramatic score that nevertheless seems orchestrated with a paint-by-numbers kit close at hand. With kaleidoscopic musical effects recycled from "Always" (plus a metamorphosis from 'Follow Me' into 'Isebel's Horse and Buggy'), light comedic effects from "Sabrina," motifs lifted from "The Accidental Tourist," synthesizer elements carried from "Sleepers," a theme from an episode of "Amazing Stories," it plays like a compilation of John Williams' Dullest Hits. The redeeming highlights are the inviting guitar solos, superbly performed by Christopher Parkening, who regrettably appears on only four tracks and has an audible tendency to hum along that quickly becomes distracting.

Perhaps the most spectacular track is "The Days Between." Of the music on this disc, the track stands as Grade-A Williams material. Its bright orchestrations revolve around the film's main theme (a lengthy but pleasing melody) -- beautifully played and recorded, this is the soundtrack's centerpiece. A breathy reprise occurs during the end credits with an expanded Parkening solo.

That said, "Stepmom" improves as its subtleties come into view, an anti-populist tradition many of Williams' recent scores observe. The result is an average score that clearly aims much higher. It receives extra credit for the noticeable attempt, but it does not quite attain the goal.

The album's packaging is fittingly Christmas-y, but more interesting are the somewhat erudite gush-notes by director Chris Columbus. Instrumental performances are top-notch, but oboist John Ellis steals the show; he brightens the soundscape whenever he has the chance.

Reviewer

Jeffrey Wheeler

Reviewer

Ian Lace

Jeffrey Wheeler

Return to Index