Nothing But the Truth by Larry Groupe (Soundtrack Review)

Truth Be Told
Review by Christopher Coleman

One of 2008’s better political thrillers is going to go unseen (and unheard) by moviegoers. With Yari Film Group Releasing's filing for Chapter 11 just prior to it's debut, NOTHING BUT THE TRUTH, will likely see only the most limited of releases. Months down the road though, the general public will be able to treat themselves to another Rob Lurie special – filled with political intrigue and human drama. The ensemble performance of Kate Beckinsale (who’s American accent ever impresses), Vera Farmiga, Alan Alda, and Matt Dillon may also be the best of the year and quietly undergirding the familiar storyline is familiar musical collaborator, LARRY GROUPE.

Director and writer Rob Lurie looks into the recent past for his most recent poli-thriller, NOTHING BUT THE TRUTH. Pulling from the volumes of twists and intrigue from the Valerie Plame/ C.I.A. Affair from 2003, Lurie crafts a story that mirrors many of the major points from the real-world scandal that rocked the Bush Administration and made "Scooter Libby" a household name. Rob Lurie's tale also centers around the breaking of a newspaper-story that reveals the identity of a C.I.A. operative. As a result, the article's author, Rachel Armstrong (Beckinsale) quickly comes under fire by the government to reveal her source. As we well know now, divulging the identity of such operatives is a Federal offense and the the source of such leaks must be found and punished accordingly. In the case of NOTHING BUT THE TRUTH, Rachel Armstrong's refuses to comply by making her source known. She consequently loses everything dear to her, finds herself in jail and eventually even in the highest courts in the land. NOTHING BUT THE TRUTH is small in scale but huge in intrigue and the convincing performances of every key character help to grab and keep attention all the way up to it’s unforeseen conclusion.

Political thrillers usually go in one of two directions these days. In terms of their original scores they are either the dramatic-action-ethnic sort or the contemporary minimalist type. Perhaps Rob Lurie and LARRY GROUPE’S most famous collaboration to date has been, THE CONTENDER, in which we were treated to one of Groupé’s more memorable, patriotic themes. In the case of NOTHING BUT THE TRUTH, the latter technique is employed. Within the film itself, Larry Groupé’s score moves along stealthily until the most dramatic moments of the film. Rather than grand, sweeping symphonic movements, this score is principally composed of guitar, piano, a small string ensemble, and various atmospheric effects.


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