Tag Archives: Superman

Rocks In The Attic #741: John Williams – ‘Superman: The Movie (O.S.T.)’ (1978)

RITA#741“All those things I can do, all those powers, and I couldn’t even save him.”

With this line, delivered by a grieving Clark Kent near the end of the film’s weighty first act, the writers of Superman: The Movie clearly identify the character’s central flaw: that despite his super-powers, he’s unable to save everybody.

This paradox is echoed at the end of the film (in a scenario later lifted by The Dark Knight), where Superman is forced to decide between saving Lois Lane and saving everybody else. Only by interfering with human history – and thereby breaking his father’s golden rule – can he do both.

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Superman has no weaknesses, except his allergy to that pesky kryptonite, and so his inability to protect all innocent life becomes the character’s true Achilles’ heel. Richard Donner’s Superman makes a big deal out of this; it’s a film about the humanity of the character (with a painfully obvious subtext concerning the American dream). The comic-book superhero stuff is just dressing.

RITA#741aDonner’s film is so much better than recent efforts with the character, it almost seems an insult to compare it to them. After a long break following the woeful Superman IV: The Quest For Peace, we all narrowly escaped the ‘90s Tim Burton version starring Nicolas Cage before the property seemed to fall back into safe hands. Bryan Singer’s Superman Returns (2006) was all set to be a masterpiece. The storyline (co-written by Singer, himself a huge fan of Donner’s version of Superman) did away with the third and fourth films, placing it directly after the respectable Superman II.

“Interesting,” we all thought. This could be something. The director of 1995’s The Usual Suspects had shown that he could direct comic-book superheroes with 2000’s X-Men (and its 2003 sequel). It was pitched to be a continuation of the Richard Donner / Richard Lester films. The opening credits even took the swooping, swooshing style of those earlier films, set to John Williams’ score. What could go wrong?

Well, sadly, everything.

RITA#741bAside from a forgetful cast, and a lacklustre script, the storyline involving ‘SuperBoy’ – the product of a romance between Clark Kent and Lois Lane – was just unbearable. What did Singer expect to happen if the film had been more successful than it ultimately was? Was he thinking that the franchise would continue with ‘SuperBoy’, ‘SuperPrePubescent’, ‘SuperSulkyTeen’, ‘SuperSurreptitiousMasturbator’ and so on?

This storyline, more than anything in Singer’s film, killed the franchise yet again. We would have to wait another seven years for Zack Snyder’s Man Of Steel to land. Again, it looked hopeful. I’m a huge fan of Snyder’s Watchmen (2009) and so it looked like the franchise was safe in the hands of somebody who could do dark-DC well. Even better, the film was produced by Christopher Nolan who had done marvellous things with DC’s other flagship character, Batman, in the early 2000s. What could go wrong?

Again, sadly, everything.

Man Of Steel takes all the joy out of the character, and replaces it with a migraine. A bastard behind the eyes, as Withnail would put it. The only good thing about watching Man Of Steel is getting to the closing credits without slipping into a coma. The apple has fallen a long, long way from Richard Donner’s tree.

To be fair, I don’t mind 2016’s Batman Vs. Superman: Dawn Of Justice – particularly the bit where the delightful Gal Gadot turns up to the Doomsday fight as Wonder Woman – but Superman is the least interesting character in a universe that is doing its best to ape Marvel’s successes.

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The final nail in the coffin – so far – was the return of Superman in 2017’s Justice League. This sludgefest of a film might have been better without Superman appearing, but it was already terrible without him. Moral of the story: if the actor playing Superman refuses to shave his (Mission: Impossible – Fallout) moustache off to complete re-shoots, for WHATEVER REASON, leading to uncanny valley CGI problems, then HE DOESN’T DESERVE TO PLAY SUPERMAN.

Of course, half of the magic from Richard Donner’s Superman comes from John Williams’ epic score. It’s possibly my favourite of his soundtracks – which all depends on which film I saw last: Superman, Star Wars, E.T. The Extra-Terrestrial, Jaws, or Raiders Of The Lost Ark.

There are many passages in both the main title theme, and the score overall, that almost bring a tear to my eye. The score is like a direct line to the nostalgia of my childhood; a magic button, composed by a magician himself.

Hit: Theme From Superman (Main Title)

Hidden Gem: The Fortress Of Solitude

Rocks In The Attic #709: John Williams – ‘Jurassic Park (O.S.T.)’ (1993)

RITA#709What does William’s score to 1993’s Jurassic Park have to do with Dies Irae, a latin hymn from the thirteenth century?

After watching the latest disappointing Jurassic Park sequel, it’s refreshing to wash my brain out with the score to Spielberg’s original film. At this point in his career, you’d be forgiven for thinking that Williams would be washed-up. Surely the composer of Jaws, Superman, the Star Wars trilogy, Close Encounters, the Indiana Jones trilogy – and many, many more – would have nothing left. Somebody that prolific can’t keep on being prolific, can they?

The answer seems to be a resounding Yes. Not only does Jurassic Park contain two distinctly memorable main themes – Theme From Jurassic Park and Journey To The Island – but the rest of the score is just as strong as his ‘70s and ‘80s output. But what’s all this about Gregorian Chant?

The answer is in a descending motif in the ancient hymn. For centuries, this doom-laden melody has been used as short-hand for evil or foreboding – Dies Irae itself translates to Day Of Wrath. A host of great composers have used the motif in their works – Tchaikovsky, Brahms, Holst, Liszt, Mahler and Rachmaninoff, to name but a few – but it’s its use in modern film soundtracks that interests me the most.

The tune is easiest to spot in the first few notes of The Shining’s opening Main Title, played by Wendy Carlos on the Moog Synthesiser. Here, the melody isn’t even disguised, it’s as clear as the day in which it’s used to soundtrack, as the Torrances drive up the mountain approaching the Overlook Hotel.

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Williams uses it to great effect in Jurassic Park, throughout the cues entitled Incident At Isla Nublar (from 3:32), and High Wire Stunts (from 0:00). But this isn’t the first time he’s referenced it. It can be found a couple of times in his iconic score to 1977’s Star Wars. Here it plays as the accompaniment immediately before Luke’s Force Theme rises up in The Burning Homestead (from 1:28), and is echoed in the doom-laden brass line (from 1:43) as Luke’s fate realigns.

And it’s not just John Williams sliding it into his scores, the musical equivalent of directors inserting the Wilhelm Scream into their sound mix. Other famous composers have “borrowed” the melody too. In 2001’s The Fellowship Of The Ring, Howard Shore uses it as the bassline thoughout the cue entitled Weathertop (from 0:18), as the Ringwraiths attack the Hobbits. Jerry Goldsmith utilises it in his 1982 score for Poltergeist, Hans Zimmer uses it briefly in 1994’s The Lion King, and Bernard Herrmann used it back in 1963 for Jason And The Argonauts. Unsurprisingly the tune also makes for good horror music fodder.

RITA#709aEven back in 1927, Gottfried Huppertz inserted the motif into his Dance Of Death cue for Fritz Lang’s Metropolis (from 1:17) – confirming that the appropriation of Dies Irae in cinema is as old as cinema itself.

Interestingly, John Williams does something sneaky with Dies Irae in Jurassic Park. Usually the sequence of the first four notes in the motif is enough to suggest doom and despair, but Williams takes just the first three notes and does something unexpected with them. They serve as the starting point for the Jurassic Park’s main theme – as positive and upbeat a film theme as could be, even when played on a Melodica.

Hit: Theme From Jurassic Park

Hidden Gem: Dennis Steals The Embryo

Rocks In The Attic #159: Danny Elfman – ‘Batman (O.S.T.)’ (1989)

This is a very busy score – but then again so is everything that Danny Elfman does. His theme for The Simpsons is all over the place, and there’s not really a better composer suited to score the madness that Tim Burton injects into his films.

I’ve never been a big Tim Burton fan – early on I spotted his inability to create a truly three-dimensional world. Beetlejuice made me laugh, but Edward Scissorhands left me feeling cold, and I’ve felt that way ever since about most of the stuff he churns out. 1989’s Batman however, is another matter.

I was very much into Batman at the time it was released, having just got back from a holiday in the USA where I had started to read comic books. So I eagerly awaited the release of the film, and I even remember going to see it on opening night, probably with my Dad. Since Superman II, there hadn’t really been a decent superhero film, so I literally couldn’t wait to see this. My impatience was demostrated by the fact that I read the graphic novel of the film, before I watched the film itself – a huge mistake I learned to never make again.

In hindsight, it isn’t a fantastic film – especially now that Christopher Nolan has shown how a Batman film should be made – but I still have fond memories of it. Part of the nostalgia I have for the film, is the music, which proved that a superhero score could be composed by somebody other than John Williams. The Batman Theme is great, and although it’s nowhere near as majestic as Williams’ Superman Theme, it seems to suit Batman as it’s darker, moodier, and more fitting to the whole Dark Knight ethos.

This score is a perfect companion piece to Prince’s Batman soundtrack (which I also have on vinyl). Where this is dark and full of shadows, Prince’s offering is more light-hearted and almost futuristic in its sound. Let’s broaden our minds…

Hit: The Batman Theme

Hidden Gem: Descent Into Mystery