AN IDEAL HUSBAND

CHARLIE MOLE

Rating:

Original Review: He may be quite young and, in film music terms, rather inexperienced, but despite only having two scores under his belt, Charlie Mole comes across as a man who can, and should go a long way. He first collaborated with director Oliver Parker on the 1996 Shakespeare adaptation Othello, and gained plaudits for his work. Now the pair have tackled another literary giant in the shape of Oscar Wilde, and his barbed story of political machinations and hesitant courtships - An Ideal Husband.

Rupert Everett stars as Lord Arthur Goring, a decadently self-aggrandising, intentionally lazy, amazingly opinionated member of the London aristocracy whose life revolves around a seemingly endless diary of galas, balls, dinners and garden parties. True to form, he tells himself that "to love one's self is the beginning of a lifelong romance". However, his bohemian outlook on life is slowly turned upside down when he attracts the attention of two potential wives - the free-spirited Mabel Chiltern (Minnie Driver) and the scheming, manipulative Mrs Cheveley (Julianne Moore). However, things get even more complicated when his friend Robert (Jeremy Northam) becomes the centre of a political scandal involving a Central American property deal.

With Oscar Wilde's talent for writing brilliantly cutting, provocative dialogue, a quintet of exquisite performances (especially from Everett) and spot-on direction from Parker, An Ideal Husband became something of an art-house hit, especially in its native Britain. Similarly, Charlie Mole's original score was well received, but whereas Othello was big and dramatic, An Ideal Husband is opulent, flighty and just a little wicked. Mole has a wonderful ear for melody, and the whole album has a charming finesse and lightness of touch which makes it an enjoyable, if a little undemanding listen. The problem, if there is one, is precisely because the music is so simple and easy, that the music just tends to wash over you. It's agreeable enough, but never quite engages you. To get the most out of An Ideal Husband, you have to engage *it*.

Nevertheless, Mole's melodies are lovely, and is built around a delightful waltz theme (heard first in 'An Ideal Husband') which combines amusing orchestrations (including the slightly odd-sounding and definitely anachronistic vibraphone) and a jaunty rhythm with obvious affectionate shadings of the music of the period and locale - late 18th century London. It is heard again during 'Until Tonight', 'Arthur's House', 'The London Season', 'The Kiss' and the conclusive 'The Wedding', providing a memorable cornerstone for the score.

Further tracks, such as 'Dance of the Mandolins', 'The Ballroom' and 'The Truth Is I Lied', maintain the effortless charm and effervescence, sounding so authentic of the era that they could have been lifted directly from the work of Strauss himself. In addition, there is a beautiful love theme for 'Robert and Gertrude', a faintly middle-eastern sounding violin solo by Mole himself in 'The Gospel of Gold', an infectious Hungarian dance in 'First Night Party', a tragic piano solo in 'Creatures of Compromise', and some slightly more dramatic work in 'Robert's Speech'.

Now, normally, I don't like dialogue tracks on film scores, but the ones included on this album are less of a distraction, instead serving to remind the listener of some of the delicious one-liners that peppered the screenplay. The album, from BMG, runs for a generous 50 minutes and included a warm note from director Parker about, among other things, Mole's aptitude for tennis. Without setting the world on fire, An Ideal Husband is a charming, good-natured score, and I hope we hear more from Mr. Mole in the future.

Track Listing: Running Time: 49 minutes 53 seconds

BMG Soundtracks 74321-669222 (1999)

Music composed by Charlie Mole. Conducted by Nick Ingman and Geoffrey Alexander. Orchestrations by Nick Ingman, Geoffrey Alexander, John Bell and Mike Townend. Featured musical soloists Nick Bucknall, Mitch Dalton, John Parricelli, Frank Ricotti, David Arch, Chris Garrick, Charlie Mole, Paul Morgan, Eddie Hessian, Dave Kelbie and Simon Chamberlain. Special vocal performances by John Wood, Rupert Everett, Jeremy Northam, Julianne Moore, Minnie Driver, Cate Blanchett and Olive Simpson. Recorded and mixed by Steve Price. Edited by Michael Higham and Bjorn Schroeder. Album produced by Charlie Mole and Eliza Thompson.

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