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Filmtracks Recommends:
Buy it... if you specifically enjoyed the bouncy, fluffy marching music heard in the film's heroic school yard moments. Avoid it... if Randy Edelman's lightweight romance themes or typical synthetic rhythms aren't substantive enough to hold your interest. Filmtracks Editorial Review:
There are three or four key elements of the score that work very well together. The love theme is central to the relationship between Schwarzenegger and his leading co-star. It's a delightful and recognizable piano theme that is placed at several key moments in the film and breathes genuine life into tender moments that could otherwise be made a bit awkward by Schwarzenegger's menacing persona. The "badguy" theme uses a construct that would eventually be expanded upon in Edelman's theme for 1996's Daylight. It consists of pulsing, bass-heavy electronics that provide the suspense necessary to convince audiences of not only the evil character of the film's nasty criminal (and his mother from Hell), but also the toughness of Schwarzenegger's occupational (party-pooping) attitude before he tackles the classroom. The opening cue of the film (moved to the "Stalking Crisp" in the fourth position on the album) may not be completely flawless in the representation of a terminator with a serious weapon under his coat, but Edelman keeps the cue rooted in the comedy genre. Two themes represent the kindergarten class itself, both of which drenched with cuteness and enthusiasm. The marching theme in particular, offered in the suites at the outset of the album, is central to the film because of its prominent mixing as Schwarzenegger teaches the kids some discipline. The other primary theme for the achievements of the class comes as Schwarzenegger finally succeeds with his little troopers, watching them perform the Gettysburg Address with resounding pride. There exists nobility in that synthesized theme that would interestingly resurface a few years later in Edelman's best known score, Gettysburg. Some listeners may find the pastoral nature of the theme somewhat deflated by the fact that it is presented by Edelman's usual synthetics (which, like Gettysburg, are counter-intuitive for the feel of the genre). The richness of the wet, green atmosphere of beautiful Astoria, Oregon seems well suited to Edelman's comfortable, semi-synthetic themes, however, serving as testimony perhaps to the success of the "keep it simple" philosophy. The moderately-sized orchestra's performances are appropriately upbeat, often swinging along with considerable energy and gusto (orchestrations by the talented Greig McRitchie and Mark McKenzie likely helped). The sound quality of the fuller performances is very good as well, with the ensemble accompanied by a well-recorded piano (which is elegantly performed by Edelman himself during several softer moments). Overall, it's a delightfully good score with not a worry in the world. Don't expect any intellectual element to it, and if you find yourself typically frustrated by Edelman's often underdeveloped ideas, then avoid it. But its sensitivity is remarkable, and it's hard to imagine a better sound to represent a confused Arnold in a school-yard of little brats. ****
The insert includes no extra information about the film or score. The album's tracks are not arranged in the same order as they appear in the film, with the concert suites offered first. Total and track times are not listed on the CD or its packaging. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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