Filmtracks Recommends:
Buy it... if you'd be interested in a slightly more varied ethnic approach to the outstanding action material written by Jerry Goldsmith for the previous two films. Avoid it... if you expect the same superior rhythmic pacing and thematic bombast of Rambo: First Blood Part II in the action pieces of Rambo III. Filmtracks Editorial Review:
Rambo III: (Jerry Goldsmith) By the late 1980's, the concept of John Rambo was being replaced by technology, but that didn't stop the Carolco studio from tempting the reluctant hero back into one last battle against whatever forces were disparaging the American way of life at that particular moment. The targets of Rambo's mayhem in Rambo III were, once again, Russians, but the location shifts from Vietnam to Afghanistan for the end of the iconic 80's trilogy. By this point in Rambo's journey, the script and its underlying story didn't really matter, though in the process of providing a new backdrop for the killing, the producers of Rambo III inadvertently utilized a political alliance in the film that would seem horribly shortsighted just a decade later. Not only does it seem awkward that Rambo would have attended a Buddhist monastery in Thailand (as he does at the outset of the film), but the fact that he would train and fight with the Mujaheddin of Afghanistan against the Russians would eventually give Rambo III a more fascinating edge in a post-9/11 world. Outside of this now creepy aspect of the film, Rambo III only existed in concept to show us more of Sylvester Stallone annihilating his enemies in close combat. Stallone would earn $20 million and shoot location scenes in Israel for Rambo III, though even on a technical level, the film was dragged down by terrible direction and under-achieving cinematography. It would seem that Jerry Goldsmith didn't let any of these trashy elements discourage him from providing yet another strong action score for the franchise, though. His scores for the first two Rambo-related pictures were acclaimed by fans of the composer, serving the explosive nature of the franchise's lead character well. Goldsmith had entertained listeners of Rambo: First Blood Part II with several intelligent adaptations and maturations of themes from the original film's score, keeping the established material fresh while adding a few, somewhat underwhelming new themes and motifs. In Rambo III, the formula would be the opposite; the quality of the new themes would overshadow the adaptations of the previous material. In no way does Goldsmith abandon the majority of his ideas from the previous two scores, however. As Rambo contemplates his future in a familiar solitude, Goldsmith employs the mournful "long road home" theme from the first film in four minutes of tender solos over the full ensemble in "Another Time." This theme would be reprised on occasion in Rambo III, typically in solo fashion, though Goldsmith does send the triumphant hero off at the end of the trilogy with one very rousing full string-section rendition of it. The variant of this theme used for the primary action performances isn't anywhere near as well developed and manipulated here as it was in the second score, though Rambo III does have its fair share of ambitious action cues. Instead of relying on the straight, harmonious vigor of the theme to propel those cues, he maintains your interest with relentless rhythms from a variety of orchestral and synthetic sources, mirroring some of the low-piano and drum rhythms that would eventually highlight Star Trek: Insurrection. The electronic accompaniment would be toned back in Rambo III, never reaching the level of potentially harsh irritation as heard in the previous installment. The ethnic slant of these synthetic aides would be visited once again by Goldsmith in Star Trek: Insurrection as well. The "sneaking" theme used in the first two scores wouldn't be as evident in the third (at least as a stand-alone element), though one of Goldsmith's more creative moves is to incorporate the theme directly into the underlying rhythm of the major action pieces. Another curious, but effective strategy by Goldsmith involves the employment of the first four notes from Rambo's primary theme at the outset of both major new themes in the third score. The rising set of notes appears at the start of the somewhat flat new action theme for Rambo III, as well as the primary idea for the setting of Afghanistan. The technique provides an interesting connection between all of the ideas involved in the franchise's maturation, and Goldsmith varies their pacing and instrumentation to marginalize whatever overt familiarity that may bother the listener about these similarities. Among the highlights of Rambo III is Goldsmith's treatment of the location in Afghanistan. While the setting of Thailand is never really addressed outside of "Preparations," a percussion-dominated cue that is easily the low point of the album, Goldsmith provides a surprisingly warm representation for the Mujaheddin. Because the film attempts to present the "freedom fighters" of Afghanistan as sympathetic --part of the film's problem nowadays-- there is a significant amount of harmonic warmth provided to them. Introduced in "Afghanistan" and developed in full performances throughout the cues of tragedy that follow, ethnic percussion (real and synthetic) lead the familiar four notes into an engaging theme that suffices for the region despite relying a bit heavily on progressions that would seem better suited for The Mummy. This theme sometimes yields to a secondary statement that may qualify as another separate theme for the location; more whimsical and robust in its orchestral performances, this extension of the ideas in "Afghanistan" offer progressions related to Lee Holdridge's equally emotional theme for Old Gringo, especially in woodwind employment. Later performances of these two themes would merge them, with the secondary theme serving as an interlude. The last cue, presenting the finale and rejected end credits suites, would offer all of the major ideas in succession, sending Rambo off with a reminder of where he's been. One interesting note about Rambo III is that despite the presence of Russian villains in both sequel films, Goldsmith only carries over fragments of his Russian theme from the second score into the third. It is often identifiable in places such as "The Show Down" because of its inherently slow pacing and brass construct, despite never being stated with obvious intent. Another note of importance is the skill with which Goldsmith employs counterpoint in Rambo III. Even the hero's primary theme is stated with a pause and rumble in nearly every performance, and the widespread use of the four-note motif at the opening of themes assists in further blurring the lines between the concurrent thematic statements. Without good reason, the majority of Goldsmith's music for Rambo III was never actually used in the film. Significant portions of Rambo: First Blood Part II were placed in the film instead, often with pacing problems and other difficulties inherent in last-minute, editing-room zeal. Granted, Rambo: First Blood Part II featured a wider selection of roaring action cues of superior quality, but Rambo III has its fair share of top-notch Goldsmith material as well, especially when studied in retrospect. The composer would write outstanding end title suites for both films only to see them replaced by obnoxious songs. Initially adding to the frustration of the situation with Goldsmith's music for Rambo III was its presentation on commercial album. The Scotti Brothers release concurrent with the film only featured seven cues of Goldsmith's work, favoring several songs featured in the style first introduced at the end of Rambo: First Blood Part II. In 1993, Intrada Records continued their long-time association with Goldsmith by obtaining the rights to the digital recording session masters for Rambo III. Their expanded album runs 76 minutes, nearly the entirety of the session recordings (the only missing material involves the trimming of a few relatively unimportant moments of minimalism, allowing Intrada to advertise the product as being "complete"), and provides a cleaner quality of sound compared to the original product. The performances by the Hungarian State Opera Orchestra were vivacious to begin with, and the Intrada album provides them with outstanding clarity. The inclusion of the rejected cues on the expanded album is a major relief for Goldsmith collectors, centering mostly around the remarkable "I'll Stay" rejected credits. Intrada remastered the score further and repackaged it with identical contents in 2005. Overall, Rambo III is a solid finale to the franchise. It doesn't feature the strongest action material among the three, nor does the intelligence of its adaptations quite equal Rambo: First Blood Part II. But it explores beautiful new territory in its two major ethnic ideas, and the use of electronics is as well balanced with the orchestra in Rambo III as it ever was in the trilogy. A conceptually satisfying conclusion to six years of great Goldsmith fun.
Music as Heard on Scotti Brothers Album: ** Music as Heard on Intrada Albums: **** Overall: **** Track Listings (1988 Scotti Brothers Album):
Total Time: 38:20
Track Listings (1993/2005 Intrada Albums):
Total Time: 76:01
All artwork and sound clips from Rambo III are Copyright © 1993, Scotti Brothers, Intrada Records, Intrada Records. 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 6/27/98, updated 5/7/07. Review Version 4.1 - PHP (Filmtracks Publications). Copyright © 1998-2013, Christian Clemmensen. All rights reserved. |
1988 Scotti Brothers
