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Filmtracks Editorial Review:
Robocop: Prime Directives: (Norman Orenstein) Almost fifteen years after Paul Verhoven's introduction of Robocop to the mass popular culture, a new series of four made-for-television films will soon debut, once again featuring Robocop as the cyborg-cop serving the public trust, protecting the innocent, upholding the law, etc, etc, in Delta City. Why beat a dead horse? I can only imagine... but here he is, once again. The four mini-films, entitled "Dark Justice," "Meltdown" (which sounds like something we saw in the first feature film), "Resurrection," and "Crash and Burn," are all scored by Canadian freelance composer Norman Orenstein. With the help of GNP Crescendo, the label most friendly to the sci-fi genre of film scores, portions of all four television film scores will be made available on one CD shortly after the start of 2001. The lengthy scores are performed by just a couple of individuals, which is standard practice for lower budget television projects. And, as to be expected, the music takes on a completely synthetic style and attitude, dominated by keyboards and guitars. If you have heard a number of these television scores, they begin to sound alike: choppy, bass-heavy, and lacking the individuality provided by scores of more imaginative instrumentation. To say that the scores for Robocop: Prime Directives are conservatively held toward this cliche would not be out of line. There are portions that sound familiar from other television action films and series, simply because of the restrictions a one-man symphony is forced to deal with. There are, however, a few unique aspects of Robocop: Prime Directives that should be detailed. First, a faint stylistic echo of Basil Poledouris' theme is mutilated throughout the scores --it's just one of those Poledouris motifs that never holds its noble nature outside of its original performances and intent-- and the realization of Poledouris' actual theme is sadly neglected. Second, Orenstein inserts a trumpet solo in many of his cues to signify the coming of his primary theme, which is not a problem... except for the seemingly distinct Spanish flavor that the trumpet adds to the music. It is almost as though the trumpet is hailing the meeting of a matador and a bull, which seems slightly out of place for the Delta City. At first, I though this was a comedic move, but apparently, it is a seriously intended motif which ties the series together. One of the other reasons why these scores by Orenstein are difficult to enjoy on this album is their overly melodramatic construct. With the pronouncement of each cue, the pace is drawn out to a planet-crushing importance, making it seem that God himself is about to appear on the landscape and bless Delta City. Such a move might work in the series, but it becomes tiresome on the album after the first film's score has passed. The two middle scores often degenerate into pounding, rhythmic noise with electric guitars accentuating the keyboard performances. Overall, Robocop: Prime Directives sounds like yet another low-budget effort of a song-writer from a rock band to compose for film. I don't mean to limit this disdain to Orenstein, whose work is surely adequate for the films; the problem is becoming widespread on television, and I'm simply losing interest in these scores which all sound so much alike. Such things make one really appreciate those rare composers like Mark Snow, who rise to a level beyond the others. *
The insert notes include extensive notes about the series and its music.
His ability to underscore, lead and accurately reflect and enhance our work is now here for you to enjoy. Norman is the soul of our films and his work is legion. I am honoured that he found the heart of the films and translated the passion and conviction of our labours. That's the point of a secret weapon. You only use it when you have to. Enjoy the work. It is awesome."
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