My first Score Season includes ten capsule reviews of recent and archival movie soundtracks.  

The Adventures of Don Juan (Max Steiner, 1948) ****

Next to The Egyptian, The Adventures of Don Juan seems relatively upbeat and yet not in a sugar sweet fashion. Action plays into the romance creating a nice ebb and flow. The main theme will probably resonate for most listeners. Even I was caught by surprise. We’ve all probably heard the central composition at some point in our lives. Being able to say “That was Max Steiner!” simply makes this experience more personal, like meeting an old friend for the first time in years.

Battle of Neretva (Bernard Herrmann, 1969) ****

There’s a heavy quality to Bernard Herrmann’s Battle of Neretva that’s accentuated by snare drums, horns and woodwinds. It might take some getting used to. However, the Moscow Symphony Orchestra conducted by William Stromberg pays its dues. This remarkably fresh and vibrant re-recording registers appropriate levels of unease. Of special note, “Grief” and “Tanks” highlight mounting oppression.

The Egyptian (Bernard Herrmann and Alfred Newman, 1954) **

First impressions of The Egyptian seem foggy at best. Composers Bernard Herrmann and Alfred Newman deliver some voluptuous music which tends to rustle in the wind. There’s no clear direction to be gleaned from “Prelude” or “The Nile and Temple.” Default quaintness persists, especially during “Valley of the Kings.”

A clean re-recording overseen by John Morgan and William Stromberg does justice to this traditional, albeit conventional soundtrack.

Justice League: Throne of Atlantis (Frederik Wiedmann, 2015) ***

Not a great score, especially when compared to Justice League: The Flashpoint Paradox, and yet German composer Frederik Wiedmann creates another indelible “Main Title.” Following this strong opening, he’s partially let down by the album arrangement. Most of the winding down cues front-load this assembly. However, listeners can opt for the Shuffle mode, which should help a great deal.

Like Green Lantern: The Animated Series, Wiedmann makes appropriate use of the duduk (Armenian woodwind). This instrument adds a sweet romantic flavour to the scene where Wonder Woman and Superman fall in love.

Narrow Margin (Bruce Broughton, 1990) **

I’d enjoy the action music in Narrow Margin if it wasn't so intense. Bruce Broughton’s decision to compose nearly every cue as an exercise in anxiety might alienate some listeners. Even “Chopper Chase” promises big things, only to become a missed opportunity. Technically, this soundtrack shakes, rattles and rolls. However, it lacks one important element: soul.

The Prince and the Pauper (Erich Wolfgang Korngold, 1937) ***

Apparently, composer Erich Wolfgang Korngold wrote only twenty film scores, roughly the same number turned out by contemporary Hans Zimmer in a single year! Although it’s advisable for listeners to seek out Captain Blood or The Sea Hawk first, you can do a lot worse than The Prince and the Pauper.

Sweeping, romantic melodies guide us through this Errol Flynn adventure. For hopeless romantics like myself, The Prince and the Pauper gives license to feel young again.

The Running Man (Harold Faltermeyer, 1987) *

It’s worth tuning into Harold Faltermeyer’s The Running Man just to hear a truly awful rendition of Richard Wagner’s “Ride of the Valkyries.” The former employs synthesizers for this landmark piece. It’s hilarious. Elsewhere, Faltermeyer stays consistent with the retro electronic feel. In the film, it works quite well. On album, the result feels obnoxious. Also, there’s the notable absence of “Paula’s Theme,” a dance piece which acts like a preliminary for the big show.

Speed (Mark Mancina, 1994) *

Oh dear! I felt let down while listening to Mark Mancina’s complete score for the action thriller Speed. La La Land Records have done neither him nor the film any favours by including every sound design cue. These rusty, clanging and abrasive elements comprise more than half the running time. In my opinion, the final product requires the elimination of whole tracks, not just a few bars here and there. For example, “Pop Quiz” features groaning synthesizers. At 1:20, the action material rolls in, yet it sounds tinny and totally dissimilar to its miraculous placement in the film. Whether this was a mixing error or not, one problem remains: it’s a terrible CD.

Troy (Gabriel Yared, 2004) ****

There’s an entire film music sub-genre consisting of unused or rejected compilations. Projects such as Wolfen and Last Man Standing had arrangements in place until the composer was fired. The history surrounding Troy offers a similar behind-the-scenes narrative. Apparently, Oscar winner Gabriel Yared (The English Patient) spent a year developing and fine-tuning themes to complement Wolfgang Petersen’s historical epic. However, early test screenings seemed to zero in on his contribution, namely that it was “too old fashioned.” Pretty soon, he found himself replaced by James Horner.

Comparing the two soundtracks doesn't yield much faith in Horner’s compositions. The latter had very little time to prepare and it shows. Meanwhile, Yared’s approach holds a life of its own.

Although not readily available on CD or digital download, over 60 minutes of Yared’s Troy can be heard on YouTube. Despite two tracks of inappropriate wailing (“Mourning Women” and “Hector’s Funeral”), this score makes us wonder how the film could work without it.

SCORE OF THE MOMENT:

Laura (David Raksin, 1944) *****

Once the theme for Laura Hunt (Gene Tierney) touches your heart, it never leaves. Inescapably romantic yet filled with longing, David Raksin’s musical ideas transcend the film. First time listeners are in for a treat as this sultry soundtrack unfolds… in the key of G.

It’s very easy to label this score as “mono-thematic,” yet delicate chord structures anchor the main construct. A lovely, suspended moment on violin also serves to heighten this enticing web. After all, desire can feel like a mirage leading to desperate actions. In the film, murder and love are quaint bedfellows. Musically, Raksin wants us to feel the cold shiver of temptation, and this quality transforms Laura into the quintessential film noir.