Filmtracks Recommends:
Buy it... if you simply can't get enough of the boisterous and lovable adventure themes from the original film, all of which reprised (sometimes too frequently) for similar situations on screen in the sequel. Avoid it... if you feel no need to complete your trilogy of Back to the Future scores, for the second installment is, outside of some minimal new suspense material for alternate realities, largely redundant and poor in sound quality. Filmtracks Editorial Review:
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. 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. *** Track Listings:
Total Time: 44:38
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