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Back to the Future Part II: (Alan Silvestri) There
was originally no intent by anyone involved with the production of the
1985 instant classic
Back to the Future to plan for a sequel, but
with dominating grosses in the age of fantasy and action franchises,
Universal was eager to keep the magic of the time-traveling Delorean
going. Robert Zemeckis and Bob Hale hatched out a plot to be revealed
over two films, and with Steven Spielberg's Amblin Entertainment once
again producing, $40 million was budgeted for each sequel. Scheduled for
release six months apart from each other in late 1989 and summer, 1990,
the returning crew of the
Back to the Future sequels shot a few
scenes for the two pictures simultaneously, covering up for the loss of
two supporting actors from the original film (leading to a lawsuit from
the actor first portraying George McFly that eventually paved the way
for industry rules about the usage of any actor's likeness in sequels).
The second film was a dark bridge between the more frivolous first and
third stories, jumping through time and exploring several paradoxes that
affect the 1950's setting and a 2015 one as well. Alternate realities
have to be cleared up by Marty McFly and Doc Brown to ensure that past,
present, and future misfortune doesn't befall the McFly family and in
turn benefit the first film's villain, Biff Tannen. Some of this wild
shifting through locations caused problems with audiences, though
Back to the Future Part II still earned well over $330 million
and was applauded by the visual effects industry for its employment of
new technology allowing an actor to seamlessly appear multiple times in
the same frames. While entertaining, the two sequels did not come close
to matching the fiscal or critical success of
Back to the Future,
however, and the same applies to the two follow-up scores by Alan
Silvestri. The composer burst into the mainstream with that 1985 score,
in the meantime moving on to
Predator and other noteworthy major
projects. He handled the two later scores in the order of their films'
post-production arrangement, so while there is some common structural
development to the two sequel scores, they exist as largely effective
separate entities. Silvestri did manage to write, without ever seeing
any of the third film, a preview of one of the two major new themes for
Back to the Future Part III to accompany a teaser sequence
appended to
Back to the Future Part II. Most of the second score
directly extends from the first, perhaps a byproduct of the story's
immediate continuation.
Outside of the short burst of foreshadowing of the
Western theme for
Back to the Future Part III (not heard on
album), there is little of note that could be called original in the
second score. Silvestri does introduce a new, menacing theme of
trepidation for
Back to the Future Part II, but the music is
otherwise completely dependent upon the themes from the first film. In
some cases, Silvestri remains so loyal to the material from
Back to
the Future that he almost reprises substantial lengths of cues in
cut and paste fashion for the second entry. While that usage speaks to
the strength of the original composition, it does tend to leave
listeners unsatisfied with
Back to the Future Part II, a work
that ultimately simply teases out a few more slight variations on the
existing themes for most of its duration. The title theme and its two
halves (the triumphant fanfare and the longer adventure portion) are
once again integral to the score, both given extended treatment. The
adventure half of the theme, and especially its distinctive first three
notes, is more frequently referenced in subtle mutations. The soft theme
for Marty and his friendship with Doc Brown is rarely utilized, though
it is heard in full on woodwinds in the middle of "Western Union." The
two themes for Brown are employed with greater frequency. The bumbling
rhythmic theme (the official identity of the character) frantically
tumbles along as the interlude to the primary theme in "Main Title" and
then reappears early in "The Future," both accompanying Brown's rather
colorful future persona. Returning as a poignant stinger is the pair of
triads on percussion used by Silvestri to pinpoint the magical,
time-traveling aspect of the concept, though despite its opening of
"Hoverboard Chase," "Pair O' Docs," and "Western Union" (among other
places), it is unfortunately less prevalent than in the original. The
rumbling, rhythmic theme for suspense, somewhat solidified as an
identity for Biff, is heard far more frequently in the sequel score
(understandably), reprising its Skateboard chase positioning in
"Hoverboard Chase" and culminating in the climactic "Tunnel Chase." It
was always mostly a background element, usually churning on piano,
though in
Back to the Future Part II it is given a leading roll
in several cues. The militaristic theme of danger originally
accompanying the initial time travel tests and Libyans in pursuit of
their plutonium in
Back to the Future is also expanded, occupying
much of "The Future." Whereas this rhythm once foreshadowed
Predator for Silvestri, it now seems like a shadow of that
impressively percussive score.
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The only new identity that Silvestri conjures for
Back to the Future Part II is a two-part idea for the altered
realities and gloomy future that defines the sequel as a less fluffy
story. Growing out of a greater roll of dissonance is this theme of
brutal tone, blurting out from brass and piano in "My Father!,"
"Alternate 1985," and "If They Ever Did." The stark orchestration of its
performances affords it a certain level of fright that Marty expresses
upon seeing everything in his life gone wrong. The secondary phrase of
this theme, conveniently laid out in "My Father!," extends this idea to
excruciating agony, its descending string figures once again reminding
of
Predator. The three cues encapsulating these scenes in the
center portion of the album for
Back to the Future Part II offer
the score's most unique material, though with its drab, often simmering
tone, it's easy to overlook this section of the score. Both before and
after these three cues, Silvestri enters copy and paste mode,
overshadowing the new music with familiar performances that are, in some
cases, only slight in alteration. "The Future" is a partial reprise of
"'85 Twin Pines Mall," "Hoverboard Chase" obviously imitates "Skateboard
Chase," and "Burn the Book" and, to a lesser extent, "Tunnel Chase,"
regurgitate substantial portions of "Clocktower." The arrangement of the
"End Title" cue for
Back to the Future Part II really doesn't
present anything satisfying fresh, either. Normally, these reprises
wouldn't be a problem, but only if the subtle alterations were
intelligent and the performance and recording quality improved. The
former does exist (a few of the changes are quite keen, especially in
the increased insertion of Biff's suspense theme as counterpoint), but
the performance is lousy at times and the sound quality (even compared
to the original
Back to the Future album with only 12 minutes of
score) is far more muted. This final point is the biggest problem with
Back to the Future Part II; it simply sounds crappy compared to
the first and third recordings. There is also, ironically, a lingering
affect of the songs from the first film.
Back to the Future was
such a spirited blend of 50's songs, 80's songs, and adventure score
that to hear a repeat of most of the score without the hip and stirring
song placements is a bit awkward. In terms of listening to the score
alone, however, this score still can be recommended to enthusiasts of
the original because of the strength of the returning themes. Just be
sure to temper your expectations and remain hopeful that a better
presentation of the score will someday exist on album. In the meantime,
Back to the Future Part III is a superior and more original
alternative.
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| Bias Check: | For Alan Silvestri reviews at Filmtracks, the average editorial rating
is 3.34 (in 32 reviews)
and the average viewer rating is 3.27
(in 30,725 votes). The maximum rating is 5 stars.
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The insert includes no extra information about the score or film.
