The Soundtrack Space: Love Actually

Love Actually (2003) is a Christmas film that follows many strands of relationships, and navigates all kinds of love: romantic, familial, unrequited, first love. The soundtrack by Craig Armstrong encapsulates all these different feelings.

The most iconic musical moment of the film is, of course, Billy Mack’s (Bill Nighy) infamous Christmas number one, ‘Christmas Is All Around’. Armstrong’s score features an acoustic version of the song, but it can never beat Billy’s performance of the track, and his many mistaken recordings. The song is played throughout the film in Billy’s various performances, and it is also seen on TV screens or listened to by other characters.

The piece titled ‘First Day’ is the first occurrence of a common clarinet motif. It is used throughout the film, mainly to signify moments where the characters are unsure or juggling emotional turmoil. They are usually scenes featuring discoveries of some kind, like the reveal of Sam’s feelings for Joanna in the track “I’m In Love’.

It is a beautiful piece, more subtle than others as it uses a simple piano melody and quiet strings in the background

Another motif is introduced in the track ‘Natalie With Tea Trolley’. This short romantic melody, a combination of guitar, piano, and strings, reflects the Prime Minister’s growing feelings for Natalie, a member of his staff.

‘Discovery Of Kiss / Press Conference’ is a mixture of tones. It opens in a playful, staccato rhythm, which transitions into a darker sound with low strings to represent the PM’s discovery of Natalie being harassed by the American President. Then, it crescendos into a sweeping melody that incorporated brass instruments to make for a grand, hopeful ending as the PM stands up to the President.

‘Total Agony’ portrays the feeling of unrequited love as we see Mark, who is in love with Juliet, watch her get married to his best friend. It is a beautiful piece, more subtle than others as it uses a simple piano melody and quiet strings in the background. This storyline is resolved when Mark later confesses his love for Juliet, so he can finally move on.

Armstrong uses a grand romantic piano melody to soundtrack their blossoming feelings for each other in the piece titled ‘The Lake Scene’

Another romantic entanglement in Love Actually is that of the relationship between Jamie, a writer on retreat in France, and Aurelia, the housekeeper. Armstrong uses a grand romantic piano melody to soundtrack their blossoming feelings for each other in the piece titled ‘The Lake Scene’. Their dynamic is complicated by a language barrier, with Jamie learning Portuguese so they can communicate – he eventually asks her to marry him in Portuguese.

One of the humorous scenes in Love Actually features Rowan Atkinson as a jeweller who, in painful and ceremonious detail, wraps up the necklace that Harry gifts to his secretary, Mia. ‘Wrapping The Necklace’ is markedly different from Armstrong’s other compositions. In this playful piece of music, Armstrong employs a staccato beat with upbeat piano and strings in the background to imbue it with a sense of urgency as Harry is pressed for time.

In ‘Sam’s Bedroom’, Armstrong uses a melancholic motif often associated with Sam. It is a slow piece, with low piano notes evoking a sad tone. This is an emotional scene, where we see Sam and his dad navigating grief.

Armstrong’s score for the film provides a great example of how motifs can be utilised to connect characters

The end of the film sees Sam finally confess his love to Joanna. To do this, he has to race to the airport to catch her before her flight leaves. In the piece ‘Joanna Drives Off’, Armstrong conveys the sense of urgency and suspense through the use of an escalating rhythm. It is a dramatic action sequence where Sam must evade security guards to ensure he reaches Joanna in time. In a quieter moment, Armstrong employs the motif introduced in ‘The Lake Scene’ to reflect Sam’s feelings for Joanna.

Sam’s storyline is resolved in the piece ‘Sam & Joanna’. This is the moment where Sam sweetly tells Joanna of his feelings, and she gives him a kiss on the cheek. It opens with a quiet moment, with soft strings, before building into a dramatic ending that uses grand brass accompaniment.

Although it is not my favourite Christmas film, Love Actually stands as a classic in the December watch-list. Armstrong’s score for the film provides a great example of how motifs can be utilised to connect characters by theme, despite some of these characters never meeting.