Customer Reviews

Love's Labour's Lost: Original Motion Picture Soundtrack (2000 Film)

5 star:		(5)
4 star:		(5)
3 star:		(0)
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1 star:		(0)

 

 

It's hard to explain why I bought this album. I saw the movie and I was, shall we say, entranced by the actors, who mostly aren't very good at singing, doing their own singing of famous Broadway musical songs. It kind of has the appeal of watching a high school play. The actors aren't that bad, and a couple are great; Nathan Lane of course gives the whole thing credibility. There is something just strangely captivating about listening to bad versions of famous songs, when there are obviously very good versions out there. I was actually worried that the soundtrack would be these professional versions. Thankfully, the actors are on the soundtrack. I'm not really sure why, but maybe a lot of other people were mesmorized like I was. I bet the movie has subliminal messages in it or something.

When it was annouched that Shakespeare's 'Love's Labour's Lost' is being adapted into a musical, I begin to wonder can Kenneth Branagh pull it off and amaze us like he did with 'Much Ado About Nothing' and 'Hamlet'. Well, Mr.Branagh has successfully transformed a lesser known play into a brilliant musical that takes place in the 1930's. Transported a complicating play into a fullscale musical film is indeed a brave and daring endeavour in today's movie industry. Instead of writing new material for the songs, director Kenneth Branagh has cleverly use popular standards by Cole Porter,George Gershwin,Irving Berlin and Jerome Kern for the musical numbers. It is intriging to know that the songs used are neatly and cleverly interwoven in the plot and it's a joy to witness songs and dances nicely chereographed on the big screen. As for the soundtrack, I must admit that most of the performers are not trained for the musical theatre but they are not too bad. I am impressed by the performance by Branagh himself and Adrian Lester and of course Mr.Lane. What actually saves the entire soundtrack are the original score by Patrick Doyle ( a long time collobrator with Branagh), the arrangements of the standards and the overall songs chosen for the soundtrack. It does recall the heyday of a bygone era where musicals were kings of the box office. The incidental music by Doyle does conjures up quaint English scenes ans it also serves as an introduction to the songs. Clever! I really enjoy this entertaining soundtrack and it's nice to hear those good old standards. Let's hope that more musicals would gradually make it's way back to the silver screen. Furthermore the movie poster and CD cover for the European market is so much more appealing than the American one. My thumbs up for this once in a few soundtracks.

This latest soundtrack from Patrick Doyle contains some of the most gorgeous mix of songs and original score to be heard in the movies in recent years. That this unabashedly romantic effort should come from the pen of the composer of "A Little Princess" "Hamlet" and "Henry V" (among others...) does not surprise me a bit. I consider Patrick Doyle to be one of the most gifted melodists of the past twenty years. Fans of classic musicals and Mr.Doyle are in for a treat, for this sparkling soundtrack skillfully weaves evergreens by Gershwin, Porter and Kern (arranged by the composer himself) to Patrick Doyle's soaring melodies."Arrival of the Princess" and "Twelve Months and a day..." are particularly noteworthy, bubbling with a seductive, infectious English lyricism and regal fanfares (a la "Much Ado About Nothing"). Here is the kind of soundtrack album I pop in my CD player everytime. Its sheer beauty is altogether soothing and infectious. One almost feels like dancing in his (or her) own living room. I have a few remarks: the artowrk featured on the British release is a much more evocative than the rather bland one featured on the US release. Also, I have noticed several customers complaining about the rather poor vocal performances by the cast members: this is not true ! I have watched and listened carefully to a lot of musicals and believe me, Adrian Lester, Kenneth Branagh and Nathan Lane DO know how to carry a tune! Orchestral Performance and enginneering are also first rate. I now hope that Patrick Doyle will take home the Oscar he fully deserves. An enchanting soundtrack to be treasured by every fan of great film music.

A Shakespearean musical? That is my kind of show! As soon as I heard about this film, I instantly rushed to my computer to learn more about it. When I saw what songs would be featured, I was even more thrilled. Kenneth Branaugh promises a project that is truly unique, and he delivers.

The actors' voices certainly are not Broadway quality, but Branaugh, Silverstone, and Natascha McElhone hold their own and deliver entertaining performances. Nathan Lane, as the clown Costard, sings a wonderful rendition of Berlin's "No Business Like Show Business" and Alessandro Nivola, Matthew Lillard, and Adrian Lester shine in "I've Got a Crush on You". The best song on this album is definitely "Let's Face the Music and Dance", the swing beats in the song pulsate through the veins.

For anyone who loves the great songwriters of the 20's, 30's, and 40's, classic Hollywood musicals, or just an entertaining album, this one will hit the spot. "Love's Labours Lost" is the long-awaited return of the great Hollywood musical!

Any new Branagh/Shakespeare collaboration is cause for celebration, and Kenneth had the good sense to keep composer Pat Doyle close at hand for this one, too. Although perhaps not as listenable on its own as some of his other scores (after all, it's not all just Doyle's music), it still sparkles with color, wit, and romance.

Doyle had his work cut out for him this time around, because he had to incorporate popular and well-known songs from the '30s and '40s into the score for Branagh's Shakespearean musical comedy. Although the vocals leave a lot to be desired (funny how most of these terrific actors can't sing!), the whole thing works because it is done with such affection and joy. And you have to give them credit for being brave enough to record their own singing rather than have someone else dub it. The orchestral arrangements of the songs are bright and lush, and could well stand on their own.

Can't wait to see the results on film. If this soundtrack is any indication, it will be the summer's best feel-good romantic comedy.

Recommended for fans of Shakespeare, Branagh, Doyle, and/or film music.

As usual, the team Branagh-Doyle has made a great work. The film is, as this CD, a jewel. Patrick has a gift for melody, as Kenneth would say: just listen to this CD and you will like to buy all Doyle's previous soundtracks. About the songs, they are great in themselves, but these versions are so fresh and sparkling (like champagne) that you will listen to them again and again. A must have!

What do you call a blend between showstopping musical numbers of the 30's, 40's and 50's that incorporates the poetic language of Shakespeare? You may perceive at first that it would be absolutely impossible to combine the two in a way that actually works. But such is not the case! Rather, far from it.

From the first singing number, the remarkable "I'd rather Charleston With You" (written by the late great George Gershwin)the listener is breathtakingly transported to an era past--a time when the Great Depression still lingers on the palette but is somehow sweetened by the bubbly lyrics and chords of music.

Comic relief (as supplied by Timothy Spall) is found in Cole Porter's "I Get a Kick Out of You." With a character name such as Don Armado, how can you ever imagine Porter's peppy anthem being sung in any way but with a latin flair?

And (sound the trumpets) another surprise is onboard! What, I've often wondered, has become of the cutey Alicia Silverstone? Well well well, looking more ravishing than ever comes Silverstone stepping into the heels of "The Princess." Though her voice is much higher than what I remember from her hit "Clueless," one can only hope it is in the style of her crooning character. I'm sure Patrick Doyle would not have allowed such a timid voice to appear on the CD unless it was for a reason--one which has been realized perfectly.

Doyle's original music is among his finest, surfacing right up there with his score to "Sense & Sensibility." The "L.L.L." theme is wonderful, resonating with the haunting of musical movies past.

I know the following quote is from Shakespeare's "Twelfth Night," but there is no better place to say it--"If music be the food of love, play on!" If brains be in your humble heads, hear on! You won't be disappointed!

This soundtrack is, surprisingly, excellent. Of course one cannot go wrong with the song writers: Irving Berlin, Cole Porter, Jerome Kern, George Gershwin. At first I was disappointed with the vocals, however they really grow on you. I found Alicia Silverstone especially ingratiating at first, but that quickly subsided. I definitely recommend this soundtrack because the music is inventive and enjoyable. There are some new twists to old favorites, such as "Let's Face the Music and Dance." Patrick Doyle's score is powerful and the songs are whimical and graceful. This collection of songs really makes one want to "Face the Music and Dance"!

I never know what to do with soundtrack albums for films I have not seen. Of course, any CD must stand on its own musical merits, regardless of the visuals the score was designed to support/complement; but I wonder if it is fair to form an opinion without those visuals in mind. Nevertheless, companies will release such albums far before the film itself has been released--and thus things stand.

The soundtrack excerpts from <Love's Labour's Lost> on Sony (SK 89004) is a really joyous romp through some of the most tuneful songs composed for the theater and screen: "I'd rather Charleston with you," "I won't dance," "I get a kick out of you," and the most beautiful of them all, "The way you look tonight," among others by Gershwin, Kern, Porter, and Berlin. But these are sung on the screen in the context of the plot and except for the chorus, very little of the vocalizing is top notch. Even the limited voice of Astaire on the soundtrack highlights from his films is far more listenable. But again I am not being entirely fair without having seen them sung--you see the paradox?--while (I must repeat) a CD has to stand on its own merits. So I make these comments at the risk of being "not helpful" who disagree.

The incidental music composed by Patrick Doyle, on the other hand, reaches moments of great beauty. So even if I were not a Shakespeare nut, I believe this CD would make me want very much to see this film when it comes out. In that way, I guess, the product has succeeded in doing what it was intended to do. Go figure.

When it was annouched that Shakespeare's 'Love's Labour's Lost' is being adapted into a musical, I begin to wonder can Kenneth Branagh pull it off and amaze us like he did with 'Much Ado About Nothing' and 'Hamlet'. Well, Mr.Branagh has successfully transformed a lesser known play into a brilliant musical that takes place in the 1930's. Transported a complicating play into a fullscale musical film is indeed a brave and daring endeavour in today's movie industry. Instead of writing new material for the songs, director Kenneth Branagh has cleverly use popular standards by Cole Porter,George Gershwin,Irving Berlin and Jerome Kern for the musical numbers. It is intriging to know that the songs used are neatly and cleverly interwoven in the plot and it's a joy to witness songs and dances nicely chereographed on the big screen. As for the soundtrack, I must admit that most of the performers are not trained for the musical theatre but they are not too bad. I am impressed by the performance by Branagh himself and Adrian Lester and of course Mr.Lane. What actually saves the entire soundtrack are the original score by Patrick Doyle ( a long time collobrator with Branagh), the arrangements of the standards and the overall songs chosen for the soundtrack. It does recall the heyday of a bygone era where musicals were kings of the box office. The incidental music by Doyle does conjures up quaint English scenes ans it also serves as an introduction to the songs. Clever! I really enjoy this entertaining soundtrack and it's nice to hear those good old standards. Let's hope that more musicals would gradually make it's way back to the silver screen. Furthermore the movie poster and CD cover for the European market is so much more appealing than the American one. My thumbs up for this once in a few soundtracks.