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With its idyllic New England locales and multiple themes, director Lasse Hallstrom's version of John Irving's book presented composer Rachel Portman with some challenging, if deceptively simple, choices. Portman's main theme (imagine a pastoral Copland waltz), stated by solo piano and then orchestra, sets us firmly in the tranquil Maine countryside, while permutations of it continually shade the film's various dramatic intentions. It's a simple, time-honored device, yet one that carries the implicit danger of Repetitive Schmaltz Syndrome. But Portman's melodic construction here is so strong, and her arranging skills so multihued, that she ultimately pulls off the tricky balancing act and delivers a rewarding listening experience. --Jerry McCulley
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