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Commando

Composed, Conducted, and Co-Produced by:
James Horner
Co-Produced by:
Jay Gruska
Album Produced by:
Nick Redman


Label:
Varèse Sarabande
Release Date:
November, 2003


Also See:

Predator
Red Heat
Aliens


Audio Clips:

2. Ambush and Kidnapping (0:30), 150K commando2.ra

4. Surprise (0:32), 160K commando4.ra

7. Matrix Breaks In (0:30), 150K commando7.ra

8. Infiltration, Showdown and Finale (0:28), 141K commando8.ra



Availability:

  The album is a "Limited Collector's Edition" of 3,000 copies and is available only through the label's site or through online soundtrack specialty outlets. Catalog number: VCL 1103 1026


Awards:

  None.









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Commando

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Filmtracks Recommends:

Buy it... if you are a James Horner completist and you enjoy his early rhythmic action on electronic pads and steel drums.

Avoid it... if you expect a superior, paramilitary superhero score along the lines of Predator or Rambo.



Filmtracks Editorial Review:

Horner
Commando: (James Horner) By 1985, Arnold Schwarzenegger was determined to take on an acting roll in which he could not only kick butt, but also show a softer side not seen in The Terminator or the two Conan films. It marked the beginning of the series of films that Joel Silver would produce for 20th Century Fox, leading to the Predator and Die Hard franchises. Thus, for the actors (including Alyssa Milano as the daughter of Schwarzenegger's character, John Matrix), the studio, the producer, and even the composer, Commando was an important stepping stone on the path to bigger and better things. This isn't to say that Commando itself was a classic; in fact, despite the larger-than-usual arrays of explosions and locales, the film is nothing more than another simplistic paramilitaristic joy ride... an excuse to show the same building exploding nine different times from nine different angles. Because it was a formula film, even down to the dumb dialogue, two-dimensional characters, and 70's-ish camera placements and editing, it basically fit into the same category as the Predator and Rambo series. But unless you could get into the mood of that late-night TV style of goodguy versus badguy assaults with huge caches of weapons, then Commando bordered on the silly and stupid (certainly, it was by no means as good that the other two military super-hero series mentioned above). Composer James Horner was at a time in his career when he was just beginning to show that he was in the mainstream to stay. He had garnered considerable attention for his Star Trek scores, and 1985-1986, with Commando sandwiched in the middle, would confirm Horner's placement with Cocoon, An American Tail, and Aliens, which was nominated for an Academy Award. Despite using these mainstream films to accelerate his career rise, Horner was still earning his salary composing for some wretchedly hideous films as well. Arguably, Commando could be considered one of them, and Horner's score reflects the same quality.

If you're looking for military superhero music like that for Predator and Rambo (both exemplary offerings by Alan Silvestri and Jerry Goldsmith), then be forewarned that Commando is nowhere close to being in the same league. Horner's score is a relentless, rather unintelligent sound effect that monotonously bumbles along in the background of Commando, with no real identity outside of its own all-too-consistent sound. Aside from two performances of a love theme by the strings of an orchestra, Horner's score is one long cue of unabashed Caribbean action, with electronic drum pads (oh, you gotta love those 1980's, no?), steel drums, electric guitars, keyboards, and the same sax motif mixed into half a dozen cues for a snazzy flair of style. The Caribbean feel of the score isn't really that appropriate for the Latin American location of the film, but who cares? The majority of the duties in Commando are shared by the pads, steel drums, keyboards, and synth rhythm effects. The last part consists of tingling rhythmic effects meant to crudely accentuate the slick weaponry in the film (can we say "Uuuuuzi"?). If Horner had varied these rhythms to a greater degree from cue to cue, then Commando might actually be an interesting listen. But only a few cues differ from the norm; the "Surprise" cue, by far the highlight of the score with its whole notes of orchestral bass under the action, features some intentional distortion (slurring of brass in the editing room, mainly) that places the score in its era. The "Matrix Breaks In" cue has some vocal humming and a much-needed respite from the hard rhythms. The final cue, 14 minutes long, is a force to be reckoned with, and features a two-note brass rhythm/motif that is distorted under the usual Caribbean meanderings. It also solidifies the performances of Horner's usual shakahachi flute (already there in 1985 for Horner), which is an equally curious ethnic choice of instrument. The love theme, for the daughter's character, is heard only at the beginning and end of the film, and represents the only moment when the small orchestra exists apart from the electronics. Overall, Commando is a preview of ideas heard in Aliens and, mainly, Red Heat, but stands as a rather uninspiring and tedious listening experience on its own. In 2003, after snippets of it appeared on bootlegs for years, the Varèse Sarabande Club released the score in full. Horner's stylish, contemporary entries of the 1980's had a tendency of being a difficult listen, especially with his dramatic scores maturing at such an outstanding pace, and Commando is thus a score to skip. **

Purchasing Options: eBay/Half.com (Used)




   Viewer Ratings and Comments:



   Track Listings:
Total Time: 43:27

    • 1. Prologue/Main Title (3:58)
    • 2. Ambush and Kidnapping (2:35)
    • 3. Captured (2:14)
    • 4. Surprise (8:19)
    • 5. Sully Runs (4:34)
    • 6. Moving Jenny (3:44)
    • 7. Matrix Breaks In (3:29)
    • 8. Infiltration, Showdown and Finale (14:33)




   Notes and Quotes:

    The insert includes detailed information about the score and film.







All artwork and sound clips from Commando are Copyright © 2003, Varèse Sarabande. The reviews and notes contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Filmtracks Publications. Audio clips can be heard using RealPlayer but cannot be redistributed without the label's expressed written consent. Page created 12/13/03, updated 12/14/03. Review Version 4.2 - PHP (Filmtracks Publications). Copyright © 2003-2008, Christian Clemmensen. All rights reserved.