The election of Basil Poledouris as composer of this soundtrack supposed a surprise for more than one (myself included). This is not a composer that is much lavished this type of movies, and perhaps he is been classifying more in an action film, therefore at first sight seems a most appropriate work for authors as John Barry, W. Kilar, George Fenton or John Scott himself; but only at first sight, since Poledouris' score cannot be more convincing. I do not believe to be too much mistaken if I say that we are in front of one of the better scores of the year, which would have to have its just reward with, at least, an Oscar nomination. The CD is split into four suites, those which are subdivided in small entitled fragments, what favors that the listener could identify them if it has seen the film. The first of them (Valjean´s Journey) is centered in the initial scenes, and appears branded by the credit titles which will be the principal motive of the work, of epic and romantic air at the same time; also it draws the notes of the sinister character Javert, also present throughout the score. The second suite (Vigau) makes reference to the town in which is developed the first part of the movie, and is centered above all in the scenes of Fantine, the character that plays Uma Thurman; here Poledouris creates a very beautiful love theme as his better achievements, something sad but of undoubtful beauty. This suite ends with one of the better moments of all the record, the flight of Valjean from Vigau with an excellent final climax. The third suite (Paris) goes around Cosette, Fantine's daughter, and here Poledouris uses the harp combined with a soft wind instrumentation, perhaps to emphasize the fragility of the character and to transmit her tranquility sensation, detached from all what is happening and ignorant of the dangers that stalk to her. Finally, the fourth suite (The Barricades) gathers the music of the revolutionary scenes, and it is where Poledouris uses the main theme in its more epic way; however, to my taste the best constitutes the very emotive conclusion of the film, that is merged faultlessly with some images that director Bille August conceived in slow motion. The score is dedicated to Greig McRitchie, recently deceased and Poledouris' usual orchestrator, in one of the better homages that could have received. A.M.

/ HOLLYWOOD RECORDS HR-62147-2 / 49'