The 2008 romantic comedy 27 Dresses wound up following every cliché in the rom-com handbook with its tale of someone who is literally always the bridesmaid and never the bride. It nevertheless did decent business during its release, though it was certainly a step down for the film’s writer (who had adapted the much sharper The Devil Wears Prada two years earlier). More than anything it showed once again that, by filming a film cheaply and using the rom-com stars du jour at the time, there was profit to be had in even the most inane formula.
Veteran composer Randy Edelman was tapped for the film’s score. Edelman has a solid track record in the genre, with scores like While You Were Sleeping, and Head over Heels on his resume, but by 2008 the composer had not written anything in the genre for several years, with most rom-com assignments going instead to younger composers like Theodore Shapiro or Rolfe Kent. Edelman’s output in general had declined in the 2000s with relatively few assignments compared to his salad days of the mid-1990s, with 2008 being the last year to date the composer had more than one major assignment.
Much like the movie itself, you know exactly what you’re going to get with the score. Edelman’s music is gentle and melodic, the sort of “sensitive piano music” with an ensemble backup that has become de rigueur for romantic comedies. It’s sunny when it needs to be, twinkling and introverted when it needs to be, and contains absolutely no surprises. It’s the sort of thing Rachel Portman or the aforementioned Shapiro or Kent could pull off in their sleep. Save for a few passages that adopt a more percussive quirky sound akin to watered-down Thomas Newman, the entire album is a highly consistent listen.
If this seems like damning with faint praise, keep in mind that Edelman is always professional about the sound and that he has a songwriter’s natural gift for attractive melody and harmony. The music may not be the most complex, and it may adhere to almost as many romantic comedy clichés as the film itself, but it is always highly pleasant and highly listenable. Just don’t expect themes as strong as Edelman’s defining work in Gettysburg or Dragonheart, which were strong enough to overcome a sound that was at times almost unbearably cheap. 27 Dresses never sounds cheap, but it never ascends the same melodic heights as those other scores.
While Edelman would have another rom-com hit two years later with the very similar Leap Year, the next few years would see him diminish his output even further, with only three scores in the subsequent five years. The 27 Dresses album suffered from low demand thanks to its score-only nature, with none of the needledropped rom-com songs found in the movie, and was eventually remaindered to Family Dollar stores in the 2010s, with copies often only $3-$4 each.