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The Hours film is an adaptation by David Hare of Michael Cunningham's Pulitzer Prize winning novel. The story spans three generations and is centered on Virginia Woolf (Nicole Kidman) writing her novel Mrs. Dalloway. In one generation, Woolf begins the novel, while in the next generation, a housewife (Julianne Moore) ponders her so-called perfect life. In yet another generation, an editor (Meryl Streep) deals with putting together a dinner (just like Mrs. Dalloway) for an old friend dying of AIDS (Ed Harris.) Director Stephen Daldry had his hands full pulling this multi-layered story together and he does it admirably. Not only is the editing of the film exquisite, but so is the music score by Philip Glass, which is lush and evocative. The richness of the Glass music tapestry provides a fitting background for actors. 

The main musical theme of The Hours has an undercurrent of unrest, utilizing the strings of the Lyric Quartet. Michael Riesman's piano rides atop the strings showing foreboding, resolution, release and conclusion. Just as each of the women deals with a depressive situation, so the music must show depression (strings) and resolution (piano) at precisely the right moment. The music must be appropriate for each generation and inform the audience of what the situation might be. The actress is smiling, but there is the depressive mode reappearing, so all is not right in her world.

In "Morning Passages," Julianne Moore has prepared breakfast for her family and is planning a birthday party for her husband. The string undercurrent shows despair, but the active piano would have one think all is well. The music reaches a climax with a downward piano scale and ends on a major key, just as the actress puts a smile on her face. 

"Unwelcome Friend" sounds just as it is supposed to. It is intrusive music, as when Virginia Woolf welcomes a friend with rowdy children to her home. The piano is asking questions, "Why now?" Also, in Woolf's world, a dead bird is found. "Dead Things," which is a livelier piece than most on the CD, has piano trills imitating a live bird, but this bird is dead as we learn with a music climax.

"Why Does Someone Have To Die?" is the question asked of Virginia Woolf as she tries to arrange characters in her book manuscript. This piano piece has pounding chords against buzzing strings for someone trying to solve a dilemma. On the other hand, "Escape!" offers resolution as people in various generations seek answers. 

One particularly moving selection is "Choosing Life," with meditative sections by piano and cello. "The Hours" ends the CD with a seven-minute mini-suite that begins with the string quartet and adds instruments as the various themes of the film are worked in. Anger, depression and resolution can be heard as the piano takes a life of its own. 

Water plays a major part in the film, and the strings offer a flowing sensation throughout the movie. The piano as a solo instrument offers interpretation through pressure on the keys and in the film, the main characters don't know how to reach out except through some device; Woolf with her novels, Moore through her perfect home and Streep through her caring cycles. These devices beg the question, what will viewers need in their lives before they reach out to someone? Yes, Philip Glass has really done it here and with Michael Riesman's precise piano work, The Hours soundtrack is sure to be noticed at Oscar nomination time.

Copyright 2003 Marie Asner
Submitted 1/12/03