THE MAN IN THE BROWN SUIT (TV MOVIE 1989)

Even Arthur B.'s due for a clunker every now and then, right? Well this sure as hell isn't it. In fact, this is one of his finest works, brimming with almost as many leitmotifs as your average STAR WARS film. The score is amazing the first time through, but it only gets better as you become more familiar with the various themes and their charming interconnections. The highlight is the cue that bridges the 7/8 Arabian-flavored action motif with a heroic reading of the love theme; it accompanies the scene where the gorgeous Stephanie Zimbalist uses her high heels as a digging tool to escape from a prison cell.

BROWN SUIT is another fine example of Rubinstein's energy and inventiveness virtually carrying (or, depending on how you look at it, disregarding) portions of a telefilm: look for several static, poorly framed and horribly lit shots of Zimbalist sitting in her boat cabin, thinking for about 90 seconds straight (with occasional voice over narration). That said, this score is so good, it's worth sitting through the whole film just to appreciate the levels on which it functions. Okay, you can fast forward a little if you want, but be careful. There's a ton of music.

Definitely worth watching.

-- Jon Z.

AGATHA CHRISTIE'S THE MAN IN THE BROWN SUIT is a pure gem of a film score. The first cue in the film (after the opening song) lets you know what kind of score you're in for. Arthur B. builds the excitement up and introduces the 7/8 action motif after Harry Lucas follows Anita into a mansion and discovers her diamonds are missing. He quickly leaves the scene of the crime:






The action motif is quickly reprised in this scene where Anne briefly meets Harry before he flees again. An Arabic snake charming theme is added to the mix and builds to an exciting finish: 

The main theme is a memorable and yearning adventure theme for the main character Anne Beddingfield (Zimbalist). Some of the suspense music is classic mystery sleuth music with parts that would fit in with any Sherlock Holmes or Harry Potter movie. Here the theme sounds like something right out of RAIDERS OF THE LOST ARK:






Other character's motifs are introduced here with plenty of sneaky woodwinds:

It's incredible how many little motifs sneak in and out. Harry (the man in the brown suit himself) has a cool, short upward woodwind motif and Rubinstein uses it in many wonderful romantic settings: 





Here's an example of how the composer is able to blend just about every idea into one cue with motifs and themes flowing into each other. Arthur B's minor third flourishes are always present. After the commercial break is another softer moment on Anne's Theme:

More interesting variations on Anne's Theme, Chichester's music, Suzy's Theme and Harry Lucas' motif in her cabin as she counts up the suspects:






Last but not least is the best cue in the film where Anne's Theme is combined with the action motif as she escapes from her prison cell. Bells and high strings with woodwinds climb in excitement as Anne digs out with the help of her high heels:





-- Brandon F. 


No soundtrack album available. The film is available on DVD only in this Agatha Christie boxset.