Pierre André Lowenstein | Soundtrack Specialist

The firing of GENIUS director RICHARD DONNER from the completion of the original SUPERMAN II is one of the great injustices of modern cinema. SUPERMAN: THE MOVIE (1978) and SUPERMAN II (1980) were being shot TOGETHER (not back to back) around 1977-78 with scenes from both movies, if using same sets or actors, captured on film at the same time.

Following the HUGE success of SUPERMAN: THE MOVIE, the independent producers of the film (ALEX & ILYA SALKIND, PIERRE SPENGLER) fired DONNER considering him not essential. RICHARD LESTER (A HARD DAY’S NIGHT, ROBIN AND MARIAN), who had previously worked with the producers on both THE THREE MUSKETEERS (1973) and THE FOUR MUSKETEERS (1974), and who had actually been brought in during the making of SUPERMAN: THE MOVIE to ease communication between DONNER and the producers, took over the reigns of SUPERMAN II.

What’s so interesting about SUPERMAN II? RICHARD DONNER had shot around 70% of it before being asked not to return. Instead of completing the remaining 30%, RICHARD LESTER had many scenes rewritten, reshot and, by doing so, immensely altered the vibrancy of the original concept. No longer a father-son narrative (MARLON BRANDO is nowhere to be seen), SUPERMAN’s completion of its character arc and its emergence as a true hero, regaining his powers after selfishly relinquishing them for Lois Lane, almost seems like a lucky coincidence (in the LESTER cut, it is never made clear how SUPES gets his skills back).

What came out in 1980 was a schizophrenic SUPERMAN II theatrical cut (70% LESTER, 30% DONNER) which never knew what type of movie it wanted to be. Two vastly different tones struggled against each other (the verisimilitude of DONNER, the corniness of LESTER) and, while it may have been a box office success at the time, it has since seen its reputation tarnished by a never ending authorship controversy added to the superiority of the original SUPERMAN: THE MOVIE.

Fast forward to 2006, due to fan pressure, WARNER releases a RICHARD DONNER CUT of SUPERMAN II. Still an incomplete film, the DONNER CUT is very much an approximation of what a real SUPERMAN II should have been (overall DONNER footage tops at 80%). There’s no worthwhile ending in sight but gone is the slapstick and the restored footage is nothing short of revelatory (GEOFFREY UNSWORTH’s photography is a marvel to behold, BRANDO’s performance and character’s motivation MAKES the film). However, production of this “Director’s Cut” was relegated to DONNER collaborator MICHAEL THAU (who had previously restored SUPERMAN: THE MOVIE) and some of the artistic and stylistic choices regarding the renovated shots are absolutely BAFFLING. The new special effects are, most often, too contemporary and cheap looking, the body doubles don’t work at all and the ADR is either grating (impersonated dialogues such as “Lois, what have you done?” or “I am not a coward” don’t sound like CHRIS REEVE at all) or not properly mixed (the White House/TERRENCE STAMP line “The Son of Jor-El?”, newly recorded for this release, doesn’t sound like it belongs there). The list goes on.

Nevertheless, the brilliance of the original DONNER vision remains and one can only hope that a future re-release will allow a decent budget for an experienced restoration producer to correct these defaults and come up with a true FINAL CUT of SUPERMAN II. [Superman II|RDC Clip & Discussion]

THOMAS NEWMAN may be the superstar SKYFALL composer those days but, like most in the business (and despite his family pedigree), he started his career with a diverse pool of films ranging from offbeats dramas (RECKLESS) to crowd pleasing comedies (REVENGE OF THE NERDS, JUMPIN’ JACK FLASH) and wannabe indie fares (LIGHT OF DAY). One of his early noticeable works is a semi-synth, semi-small ensemble -intermittently accompanied by string orchestra- to the JON AVNET produced adaptation of BRET EASTON ELLIS’ LESS THAN ZERO (1987). While the movie may not be well remembered as it takes major liberties with the original material, it still does pack distinguished characterizations by ROBERT DOWNEY, JR., JAMES SPADER and a beautiful cinematography by EDWARD LACHMAN. As the film was taken from the hands of director MAREK KANIEVSKA during post-production and subsequently sanitized by FOX, it came down to THOMAS NEWMAN to salvage the project by injecting a music score that never took sides or made you root for any character in particular. Here, the main psychological function is all about creating a mood bubble in which the main characters define themselves via their portrayals. In a way, the music does NOT comment but delimitates the field of action; almost as a surreal ambience. It’s a beautiful psychological setup that the composer would emphasize even more for AMERICAN BEAUTY (and it’s a wonder why THOMAS NEWMAN never worked with director PAUL THOMAS ANDERSON as they share so much of the same sensibility). Emblematic of the composer’s early imaginative style, the score to LESS THAN ZERO features a beautiful finale displaying great lyrical promise that would bloom even further a decade later with his apotheosis to MEET JOE BLACK. #inspired [Less Than Zero Clip & Discussion]

Can IRON EAGLE even be considered a film? Maybe as a TIME CAPSULE of the 1980s; an era during which pictures such as RED DAWN, RAMBO II, TOP GUN (and others) reinvigorated the on-screen military confidence of the United States and reinstated CONSERVATIVE values into popular American culture; putting to rest the ANTI-NARCISSISM that emerged during the 1970s with features such as THE FRENCH CONNECTION or THE CONVERSATION. Justly hired on the strength of his score for JOHN MILIUS’ RED DAWN, the late BASIL POLEDOURIS (CONAN THE BARBARIAN) approached IRON EAGLE with appropriate patriotic fanfares, declamatory themes, martial percussion but surprised by adding optimism, free spirit and even some youthful exuberance playing to the MTV generation of the eighties (the drum machine which concludes the suite below is a definite nod toward Generation X). Even more unexpected is an effective minimalist/repetitive architecture which marvels itself into its economy; adding a nice counterbalance to the thematic elements of the score. No holds barred! [Iron Eagle Clip & Discussion]

Before JOHN WILLIAMS, there was JOHNNY WILLIAMS; a terrific Jazz pianist featured in scores by HENRY MANCINI (PETER GUNN), JERRY GOLDSMITH (STUDS LONIGAN) and others. Even after he broke into Hollywood stardom, WILLIAMS never forgot his Jazz roots and, when called upon by master director ROBERT ALTMAN, delivered one of his most catchy melodies for THE LONG GOODBYE (1973). Starring ELLIOT GOULD, STERLING HAYDEN, DAVID CARRADINE and an uncredited ARNOLD SCHWARZENEGGER, the film takes numerous liberties with the original 1953 RAYMOND CHANDLER material (script by ACE screenwriter LEIGH BRACKETT) and comes up as a néo-FILM NOIR set in the 1970s. Where PHILIP MARLOWE is mostly untouched as a 1950s persona (until the shocking ending), his surroundings have been altered to 1970s violent and psychedelic California; creating a major sense of unease. THE LONG GOODBYE also marks a unique score for JOHN WILLIAMS where ONE MELODY, constantly re-adapted into various genres (Jazz, Muzzak, Tango, Mariachi…), carries the entire picture. Switching to an appropriate tone based on location or mood, it’s pure genius in its implementation (including a 10-minute opening montage featuring various versions stitched together through careful editing) and converts the flow of the film into a musical itinerary all through its ultimate dénouement. [The Long Goodbye Clip & Discussion]

British composer JOHN SCOTT may not be as well known as some of his contemporaries; however, in movie music circles, he commands the utmost respect. Case in question: MAN ON FIRE (1987). Dealing with a flawed film, from its SPLIT PERSONALITY to an inadequate direction, JOHN SCOTT gives MAN ON FIRE what it lacks the most: A VOICE.  Ranging from a gorgeous love theme seconded by spontaneous, sincere optimistic nods (fitting the budding friendship between JOHN CREASY, burned-out ex-CIA agent, and 12-year old SAM) and eventually finding its opposite expression in dark, semi-dissonant material elevating the thriller aspect; the score does the bulk of the work. By bringing NOBILITY and CLASS (no lack of taste here) to its ordinary story and characters, SCOTT transcends the film’s narrative flow and, not only add to the European feel with his sophisticated writing style, but with clean orchestrations (the music never feels crowded) makes the symphonic sound of MAN ON FIRE an intimate expression. Case rested! [Man on Fire Clip & Discussion]

Originally directed by FRANK PERRY but actually finished by an uncredited SIDNEY POLLACK, THE SWIMMER was a major disappointment during its 1968 box-office release. While not completely redeemed, the film has built a strong cult following over the years and is not devoid of qualities: BURT LANCASTER’s bravura performance (done at the age of 53), MARVIN HAMLISCH’s striking first film score (with a credited assist by legendary orchestrators LEO SHUKEN and JACK HAYES) and a semi-experimental tone rooted in classic 1960s Hollywood fetichism. All make THE SWIMMER a very unique animal. [The Swimmer Clip & Discussion]

Over the years, I’ve grown fond of many, many film scores. Some written by obvious contenders (GOLDSMITH, HERRMANN, BERNSTEIN, NORTH, JARRE) and some written by lesser known composers (to the masses) but just as good in my opinion. And then, there sometimes came a score that would exist in its own bubble of time. A bubble you could stretch over years of listening without never getting enough of it. Such is the case of MICHEL LEGRAND’s THE THOMAS CROWN AFFAIR (1968). Not only is it one of the best scores from the sixties (down to its experimental orchestration blending jazz & orchestral idioms combined with 1960s hipness) but its main song, THE WINDMILLS OF YOUR MIND, is one those rare RORSCHACH TEST tunes that exhaustively nails the psychological complexity of the main protagonist; all without a hitch ! [The Thomas Crown Affair Clip & Discussion]

1968 was the one-two punch year for MICHEL LEGRAND in HOLLYWOOD. Only a mere months after scoring the legendary THOMAS CROWN AFFAIR, the French composer switched gears by crafting an amazingly intricate, detailed score for the Cold War thriller ICE STATION ZEBRA. Loosely based on the ALISTAIR MacLEAN novel of the same name and directed by JOHN STURGES (THE GREAT ESCAPE, THE MAGNIFICENT SEVEN), the film starred an all-star cast (ROCK HUDSON, ERNEST BORGNINE, PATRICK McGOOHAN) and was a major success at its time of release; due in no small part to its compelling combination of the 1950s submarine genre, cold war paranoia, special effects and action machismo (all-male cast). Icing on the cake, the music score by MICHEL LEGRAND is a true standout. [Ice Station Zebra Clip & Discussion]

While renowned composer CHRISTOPHER YOUNG started his career scoring Horror material such as HELLRAISER, one of his early and memorable achievements is actually a new age score for the film HAUNTED SUMMER (1988); an historic retelling of the “Summer 1816” where LORD BYRON, MARY SHELLEY (author of FRANKENSTEIN), JOHN POLIDORI (author of the VAMPYR; the ancestor to DRACULA) all crossed path. Necessity is the mother of invention in this case as, constrained by a limited budget, YOUNG used a small ensemble approach blending acoustic instruments and synthesizers; capturing the youthful passion of the protagonists rather than addressing the musical climate of the era. Tasteful. [Haunted Summer Clip & Discussion]

JAMES TOBACK (Director of FINGERS; redone as THE BEAT THAT MY HEART SKIPPED) and GEORGES DELERUE working together ? Yes ! After their first collaboration on EXPOSED (1983), the duo reunited for THE PICK-UP ARTIST (1987); a harmless rom com starring a young ROBERT DOWNEY, JR (the same year as his breakthrough role in LESS THAN ZERO) and 1980s diva MOLLY RINGWALD. While not a very good movie, THE PICK-UP ARTIST (1987) had DELERUE display his usual 1980s tenderness and cuteness which never failed. Constantly charming, only half of the score was heard in the film as the movie (not helped by the lack of chemistry between the two leads) struggled to reach its conclusion. Bad movies require *lots* of good music to compensate; too bad the production didn’t see fit. [Pick-up Artist Clip & Discussion]

The SPIELBERG / WILLIAMS collaboration has produced outstanding movies and scores combined. One of those had the luck of actually being partially thought out DURING pre-production: CLOSE ENCOUNTERS OF THE THIRD KIND (1978). The five-note motif -used as a communication basis between humans and aliens- is at the core of the score’s psychological mechanic. First being guessed by UFO witnesses before becoming the main subject of the fugal discussion between the mothership & FRANCOIS TRUFFAUT’s scientific team, this motif was one of a couple hundred that JOHN WILLIAMS came up with. Not satisfied, SPIELBERG asked the composer to come up with more motives until a mathematician (friend of WILLIAMS) told them that there were “approximately 134,000 five-note combination within the twelve-note scale”. In exasperation, the director had the composer circle one of the motives until, the day after, they played the same motif again and finally settled on it. SPIELBERG’s statement at the time: “Well, I guess that’s it; it must be the best we can have.” Movie audiences around the world definitely thought so. [CE3K Clip & Discussion]

MICHAEL MANN is a filmmaker of MANY composers. Over the years, he has worked with MAJOR talents and is not afraid of pushing his collaborators to the edge. However, one of his greatest achievements, MANHUNTER (1986 adaptation of THOMAS HARRIS’ RED DRAGON featuring the first appearance of HANNIBAL LECTER; spelled LECKTOR in the film), contains very little score. Most of the film’s “underscore” is carried over by a forceful selection of songs including IRON BUTTERFLY’s classic IN-A-GADDA-DA-VIDA and PRIME MOVERS’ STRONG AS I AM. While other MICHAEL MANN films have come and gone since then (including his masterpiece HEAT), his song approach to MANHUNTER remains the one to beat in dramatical effectiveness. [Manhunter Clip & Discussion]