Kimberly


Colosseum (4005939608026)
Varèse Sarabande (0030206608021)
Film | Date: 2000 | Type: CD
 

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# Track   Duration
1.Kimberly Main Title2:37
2.Wake Up1:33
3.Dating and Training3:21
4.Early Row1:13
5.Kimberly Confesses2:20
6.Guy Montage1:18
7.Hanging Attempt1:28
8.Deeper Relations2:28
9.The Race3:09
10.New Years - Benchkiss2:37
11.Rush to the Hospital3:12
12.Proposal - Finale3:13
13.Kimberly End Credits3:32
 32:01
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Kimberly - 08/10 - Critique de Tom Daish, ajouté le (Anglais)
Not a film that has made a big impact at the box office, Kimberly is the protagonist who is the trainer and cox for a male rowing team, although the emphasis appears to be on her, than just being a traditional sports movie. While Basil Poledouris might seem an odd choice, he is a composer with the talent and breadth of ability to be able to make a positive mark in almost any genre and he seems to have struck a very positive chord with the film and director Frederic Golchan.

The album opens with the sprightly Main Title which is boosted by a particularly fine arrangement with bouncing strings that slightly suggest Jerry Goldsmith in Joe Dante mode, playing in counterpoint. It is a marvellous idea that gives extra life to what would have been a good, if slightly unremarkable melody alone. The other main idea threatens to turn into early Elfman-esque Beetlejuice carnival fun, but Poledouris not only injects more than enough of his own personality, but also avoids making the comedy sound forced or overblown. The score suggests more of a romantic comedy, a genre which Marc Shaiman makes almost his entire living on, but Poledouris is able to inject more life into what could be deemed a flagging formula. There is never excessive sentiment, although the quieter cues are still quite warm and fuzzy. Poledouris even mixes in a little light jazz into the melting pot that recalls Georges Delerue (in style alone) and works supremely well.

Surprisingly, it contains quite a few typical Poledouris harmonic and orchestration mannerisms; a surprise given that his most notable mannerisms appear in his science fiction scores. A couple of gentle nods towards his superb synth score to Wind are also blended in on a couple of occasions, most notably in the wonderful The Race. I remember Jerry Goldsmith saying at a concert that he wished he could avoid doing so many stupid sci-fi films and start scoring some good, more personal films. It seems that Basil Poledouris has thought the same thing, only having more success in seeking out some charming little films to score. Kimberly is not a taxing score, but its playful charm and sincerity make it well worth half an hour of anyone's time.


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