PRELUDE TO A KISS
Rating: 
Original Review: A highly successful stage play, Prelude To A Kiss made little impression at the box office when its creators, Craig Lucas and Norman René, transferred it to the big screen. Starring Meg Ryan as a new bride who swaps personalities with cantankerous Sydney Walker after a wedding day smooch, while bemused groom Alec Baldwin looks on, René surprisingly turned to Howard Shore to supply the film's music, despite his forte being much more set in the drama and horror genres. To be fair, Shore's score fulfils its objectives adequately, but on CD there is never enough wit or magic present in the music. A light orchestral work with special attention given to harmonicas, pianos, accordions and a baritone sax, the music is generally good-natured and amiable, but never quite captures the attention or leaves any lasting impression. The 'Main Title' is pleasant enough, a cheerful little number with alternating performances of the score's prominent main theme by William Galison's harmonica and Ronnie Cuber's saxophone. 'Making Love' is a little gem - an absolutely gorgeous, traditionally lush string love theme with an accordion accompaniment which adds a little Gallic flavour to the music. 'The Honeymoon' is rather fun, with Shore adopting a hip Calypso beat, complete with steel drums, electric guitars and synthesiser effects, and 'The Kiss' does have an enchanting tone when the chimes chime in, but the rest of the score simply wanders by rather aimlessly, presenting quirky instrument-led tunes and attractive little bursts of the main theme. The songs, for once, all feature during the film and are of a pretty decent standard throughout, with special marks going to the moody and stylish 'Sweet Jane' and The Divinyls' funky rendition of the slightly risqué 'I Touch Myself', although Debbie Harry does unfortunately mangle the title track by trying to be far too sexy and sultry. For those who are more familiar with Shore's dark and brooding work on films such as The Fly, Dead Ringers, Silence of the Lambs and Seven, this score certainly proves that he has a sense of humour and can write in a lively, romantic fashion. But, other than highlighting his divergent talents, Prelude To A Kiss is unfortunately nowhere near as memorable or intelligent as his more subversive work.
Track Listing:
- Main Title (2:18)
- Rita (1:04)
- Every Time We Say Goodbye (written by Cole Porter, performed by Annie Lennox) (3:57)
- Rooftops (2:07)
- Sweet Jane (written by Lou Reed, performed by The Cowboy Junkies) (3:36)
- Open Your Eyes! (2:46)
- Making Love (2:40)
- The Honeymoon (1:48)
- Peter (0:24)
- The Kiss (2:02)
- Prelude to a Kiss (written by Duke Ellington, Irving Gordon and Irving Mills, performed by Deborah Harry) (4:21)
- The Honeymoon is Over (0:43)
- What a Trip (2:09)
- Transformation (1:00)
- Waiting For Someone (written and performed by Frank Carillo and Annie Golden) (4:18)
- Breaking the Spell (1:54)
- Om Je Better Mee Op Te Eten (2:59)
- I Touch Myself (written by Billy Steinberg, Tom Kelly, Mark McEntee and Christine Amphlett, performed by The Divinyls (3:46)
Running Time: 44 minutes 49 seconds
Milan 74321-11125-2 (1992)
Music composed and conducted by Howard Shore. Orchestrations by Homer Denison. Featured musical soloists William Galison, Cheryl Hardwick, Ronnie Cuber and Dominic Cortese. Recorded and mixed by Joel Moss. Edited by Suzana Peric. Album produced by Howard Shore.
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These web pages were designed and maintained by Jonathan Broxton copyright 1998. All opinions and views expressed on these pages are my own and are in no way intended to reflect those of my employer, the Trent Institute for Health Services Research, or those of the University of Sheffield.