More than a fan remains indifferent, or feels queerly displaced, upon listening most of the film works of the Canadian Howard Shore outside the medium for which were created. His peculiar style, by moments obscure and thick, dismal and unhopeful, tends to marry perfectly with most of the movies in which he collaborates -as the very dark The Silence of the Lambs (1991) and Seven (1995)-, being at the same time capable of delivering works more amiable and easy to listening -as the unknown Prelude to a Kiss (1992) or Ed Wood (1994)-. However, what never has abandoned Shore from his beginning in the cinema of the hand of his friend and compatriot David Cronenberg, it is a zeal of experiment and sound investigation that it has been gone making more patent with the passing of the years. This could be proven, very cleanly, in the difficult Crash (1996), and as such it can be seen again on his work for Cop Land; whom goes seeking for an action score more or less conventional, should it go elsewhere. The music of Shore, also responsible for the peculiar orchestratrion, uses a conventional orchestra increased by electronic components, and bagpipe sounds that add a certain color and tear touch to some scenes of the film. The whole is again obscure and very dramatic, with abundance of personal and risky touches. Very interesting and, at the same time, very particular. E.V.

/ MILAN 53128-2 / 41'