The second of Patrick Doyle's gangster scores doesn't really come off as well as it ought to. The score has plenty of atmosphere, but not really enough life at times. The main theme, played as violin and alto saxophone solos is very nice, but you'd be hard pushed to remember a note of it like you would for one of his Shakespearean offerings. The tracks are also very short and it's really only in the last few tracks where the pace picks up and the music starts to live a little. There aren't really any indelible moments, although the climax of Donnie's Taken Out is an inspiring brassy moment that comes as a welcome relief from the previous taut action writing.

The final track is the only cue that is long enough to produce some kind of development, much in the way James Horner does with his extended final cues. More of the orchestra is allowed to stretch its legs with the brass coming into play at the end, rather than just the subdued string writing that predominates in the bulk of the score. While it's not exactly an indelible score, Patrick Doyle's superb dramatic sense and the fact that the score is only half an hour means that it's still worth having a listen. Perhaps only Jerry Goldsmith could have written something better, although I imagine that in the film, the music works a treat as Doyle subtly captures the drama and atmosphere of the gangster underworld as well as anyone.

Rating ~

  1. Lonely Man (1:50)
  2. A Friend of Mine (1:18)
  3. You Like the Moustache? (1:37)
  4. New Car (1:10)
  5. Donne Gets Involved (2:21)
  6. This Ain't New York (1:27)
  7. Donnie & the Morman (1:13)
  8. Mickey Mantle Arrives (1:24)
  9. You Belong to Me Now (2:07)
  10. Father and Son (2:29)
  11. The Raid (0:57)
  12. Dust Off the Guns (1:42)
  13. The Call (2:54)
  14. The Shoot-Out (1:47)
  15. Lefty Sees the Light (2:21)
  16. Donnie's Taken Out (2:27)
  17. The Real Donnie (2:08
  18. The Final Call (0:58)
  19. Donnie and Lefty (4:27)

Total Time ~ 36:56