In the 1980s you had three
masters of film music. John Williams gave us Star Wars and Raiders of the
Lost Ark. Jerry Goldsmith was on hand for Gremlins, First Blood
and Poltergeist. And then you had
James Horner, the youngest of the three.
Man, did he have a run of hits in the 80s: Star Trek II – The Wrath of Khan, Cocoon, Aliens, An American Tail, Willow and Glory. That
was just the start of a career that would hit dizzying heights with Titanic and Avatar.
Horner has a signature sound
- immediately recognizable. He was firmly rooted in classical style, often
working with lush sweeping melodies and bombastic action music. But his style
made him a divisive figure among film score fans. He often borrowed (or was
heavily inspired if you prefer) by classical composers particularly the more
romantic Russian ones. But this is hardly a unique fault. All film composers
who work in a primarily orchestral style often gain inspiration from classical
pieces.
I think the bigger issue for
most film score fans was Horner’s tendency to borrow heavily from himself. The
main theme from Glory (which is
familiar to fans of a certain Russian composer) turns up again in Avatar with almost no changes. Khan’s
wild theme turns up again as evil queen Bavmorda’s theme in Willow and that gets abbreviated down
to what film score fans call Horner’s danger motif. And that sucker appears in
nearly all of Horner’s film scores at some point. Some listeners find this
annoying. Others find it like listening to one giant symphony filled with
familiar traits and moments.
One thing no once can accuse
James Horner of being is emotionally cold in his music. Of the big three 80s
composers Horner was the most unabashed when letting the music just swell and
take over. His romantic moments were passionate. His sad moments were
devastating. His horror moments were terrifying. And while he could work
subtly, most of us film score fans loved his ability and skill of going for
broke and touching the listener and the viewer with his music.
One of my favorite scores by
Horner, Glory shows off this skill
so well. He runs the gamut of emotions in that score and nails each and every
one of them. It’s a powerful score, one of my favorites from the 1980s.
And for me, that is where
Horner’s best music resides, in the 1980s. The stretch form Battle Beyond the Stars to The Rocketeer (technically 1991, but
has his 80s trademarks all over it) is filled with nostalgic memories.
When it came to the early
80s, I lost two of my favorite fictional characters. Han Solo was frozen in
1980 (and I was pretty convinced he was dead), and then Spock died in 1982.
Horner’s score for the moving death scene and finale to Star Trek II make those moments resonate. As a kid I didn’t’ have a
chance and was pretty shook up over the death of Spock.
The main themes to Krull and Battle Beyond the Stars were both lodged in my brain after viewing
them over and over in my youth. But Horner’s gift of melody kept them there for
nearly a decade long after I had forgotten all about the films. So when I revisited
these two movies in the 90s, a huge wave of nostalgia kicked in based on the
title music alone.
My sister was a huge fan of An American Tail and The Land Before Time. Those films had
regular play on the VCR. Horner did some fine work for these animated films and
hearing those scores takes me back to memories of watching these with my sister
and plush versions of the main characters.
The soundtrack to Glory was one of the very first CDs my
family owned (along with the Prince song compilation for Batman). We all noticed the music during the film and hearing it on
CD was a real treat.
But it was Willow that had the biggest impact for
me. In 1988, I had just started collecting soundtracks on cassette tape. I had
two Star Wars scores, Raiders of the Lost Ark, Star Trek: The Motion Picture and Conan the Barbarian. After seeing Willow in the theater, I wanted that
score. Hell, I thought John Williams composed it. I searched and searched for
that score and I could never find it.
As the years passed, I would
pick up the search off and on again. Even making it a regular goal when I hit
the music section at Borders in the 1990s. I actually saw the CD, once in a
Music Plus store, but I didn’t have any money on me (and this was before I had
a credit card). I rushed to the ATM to pick up some cash and by the time I
returned, Willow had vacated the
premises. It became a holy grail of scores for me. And it wasn’t until 2007
that I finally added that score to my collection!
James Horner’s sudden death
has shocked all us film score fans. His music,, so powerful and emotional,
really touched people. Many folks are saying that it was Horner’s music that
got them into film score collecting, or writing music, or inspiring them in
other ways. It is a testament to his skill and the power of the medium that his
music has such an impact.
Horner was a unique voice in
the film music world. No one else’s music sounded like his did. Few approached
films with such naked emotions. And in the current mindset of Hollywood
studios, Horner’s approach was frowned on. His output had slowed over the
years. But it made each new score a real treat when it did come along. For me,
I will always enjoy his work, and enjoy the nostalgic memories those themes
bring back.
Four of my favorite James
Horner cues:
Genesis Countdown – Star
Trek II – The Wrath of Khan
Escape from the Tavern –
Willow
Closing Credits – Glory
Rocketeer to the Rescue/End
Titles – the Rocketeer
There are times to play it cool (the ball at the palace) and there are times to let it all hang out (the rave at the warehouse). Horner knew when to do each and wasn't embarrassed by either.
ReplyDeleteVery true. I know Horner got criticized a bit for his score to "The Amazing Spiderman", but it was pretty much a full blown Horner adventure score. You knew just what you were getting when you hired him. But I remember the response being a bit harsh on the music (saying that it overpowered the visuals or made everything melodramatic). When the sequel came out, they went with Hans Zimmer instead.
DeleteWhat is interesting is that I've seen that complaint (that the music is too over the top, or too emotional) leveled at not just Horner, but also at John Williams. I find this odd, since movie music, by it's nature, should help tell the story. And as I pointed out, that often ties it to the emotional side. Seems like a strange thing to complain about.
But I think that many viewers are getting used to more subtle film scores, or sound design film scores. There is a place for those types of scores - but for a superhero movie? Come on, that is when you want the bombast!
You have a good gift for writing about scores. I don't have that subtle of an ear or at least, cannnot write about them. But I love music, and pay closer attention to the score now days due to your postings. Aliens and Glory are on my top Horner scores. I know that the right score can really enhance a film. I once saw a comparison of a film without sound design or score and then with the added music and such, and it a lot: tension, action, etc.
ReplyDeleteYou hardly ever hear much about Willow these days after Jackson's Lord of the Rings. But it along with Legend, and Princess Bride were big deals back in the days, Krull too. After reading your post I see how Horner was tied to many of these famous films.
Thanks for the compliment. I enjoy writing about movie music and sharing my appreciation with others. I know not many folks notice the music while they are watching a film, and a good score blends well into the film as a whole. But some scores really deserve attention outside the film.
DeleteHorner's style was very listenable outside the film. He certainly had a gift, and we have plenty of music of his to enjoy. Just kinda sad we won't hear any new pieces from him.
Yeah the LOTR movies kinda spoiled us fantasy fans. Some of those 80s and 90s efforts look a bit silly now. But they were amazing back in the day. I'm planning on tackling an anime series that suffered in the same way. It did an amazing job of bringing western style fantasy to life with huge battles, great costume and world design and a real adventuring spirit. It was a great way for us classic Tolkien fantasy fans to get our fix. But with LOTR coming out, this anime series seems to be all but forgotten. But I didn't forget "Record of Lodoss War", and I'll be posting a blog about it near the end of the year or beginning of next year.