Filmtracks Traffic Rank: #728
Written 7/18/98, Revised 11/10/11
Invert Colors
Buy it... only if you desire James Horner's humorous adaptation of
the large choral cantata by Sergei Prokofiev heard very obviously over
the film's opening and closing titles.
Avoid it... if you aren't inclined to seek a rare album to obtain
of one of the most extremely irritating, lazy scores of synthesized,
contemporary action in Horner's career.
 |
| Horner |
Red Heat: (James Horner) You could summarize this
movie in just a few words, and most them would be "Arnold Schwarzenegger
pairing with James Belushi to bust criminal ass." Schwarzenegger is the
tough cop from Russia who's been forced to follow a criminal to Chicago,
where Belushi, the underworked slob of a cop, is his liaison to law
enforcement in the United States. It's another buddy cop flick from the
pen of Walter Hill, and while the merits of the storyline itself are
dubious at best, who cares? Schwarzenegger and Belushi are the comedy in
and of themselves, and as they chase dopeheads and other unsavory
people, the two manage to teach each other some helpful lessons about
life and entertain viewers in the process. Despite being one of the
earlier films to shoot in the Soviet Union (though just in snippets),
there is nothing intellectually redeeming about the movie. Violence
abounds, of course, but in that comic book fashion that Schwarzenegger
seems to attract in his more comedic films. Composer James Horner wasn't
actually busting through walls in the same physical fashion as the
eventual Governator, but 1988 was still his official break-through year
with which to announce that Star Trek II: The Wrath of Khan,
Aliens, and An American Tail weren't just beginner's luck.
He was still occasionally mired in ridiculously awful actions scores of
contemporary leanings during that period, a sound best known in
Commando and 48 Hrs. and tapering off by the time of
Red Heat and Another 48 Hrs.. With both The Land Before
Time and Willow proving to be orchestral powerhouses in 1988
that would define Horner's career for decades to come, Red Heat
easily got lost in the shuffle. That isn't to say that the score failed
to cause plenty of listeners to scratch their heads, though. The only
really distinct cues in Red Heat are its two orchestral and
choral ones that bookend the score. They sounded nothing like Horner's
other works, back then or decades later. The massive choral piece was so
strikingly different from the composer's career sounds, not to mention
the rest of Red Heat itself, that it remained a curiosity for
many years. Even in context, the piece remains an over-the-top
aberration in the film's late-night showings on cable channels.
Thank goodness for the learned ears of classical and
international music, however, for they eventually uncovered the origins
of the piece that Horner aped (without recognition) for the title
sequences of
Red Heat. Indeed, the composer had pulled the
Russian choral theme from a Sergei Prokofiev cantata, "20th Anniversary
of the October Revolution," and beefed it up for good measure. The
movement itself from which the music was taken is called "The
Philosophers," which once and for all answers why the mixed adult choir
performing the title theme of
Red Heat keeps repeating the word
"philosophy" over and over and over again without any relation to the
plot of the film. What's even more unfortunate than Horner's borrowing
of this theme (not to mention his adaptation of it again much later in
Enemy at the Gates) is the fact that his surrounding underscore
is extremely poor. Its existence as an all-electronic work is not
necessarily its downfall (that distinction is reserved for other
entries, including
Unlawful Entry), but its demise is instead
caused by its inability to maintain any consistency whatsoever. No
thematic integration, common rhythmic approach, or consistent use of
instrumentation is to be found in this lazy, contemporary extension of
48 Hrs. After chase music pulled from
Gorky Park in
"Russian Streets," random shakuhachi flute blasts occupy "Victor
Escapes" and an immature version of the descending transition motif
heard in
Clear and Present Danger is heard in "Tailing Kat."
Ticking, tapping, and occasionally blaring rhythms snag your attention
with their purely offensive texture, and "The Bus Station" switches
between nasty loops and grating, manipulated crescendos that boggle the
mind. But nothing will prepare you for "Cleanhead Bust," for which
Horner loses all control of himself. The disco beat in this cue, with
wild electric bass and guitar performances accompanied by saxophone,
eventually yields to sound effects by the sax and bass that can best be
described as whale calls. It's extremely irritating and perhaps serves
as evidence that Horner sometimes drank his breakfast while scoring
Red Heat. Overall, since the revelation that the choral piece in
Red Heat isn't even Horner's own material, it can truly be said
that there isn't a single minute of original music for this film worth
the search for the rare import album. Find the original Russian
performances of the Prokofiev cantata and forget this most unfortunate
Horner blunder.
* @Amazon.com: CD or
Download
Bias Check:
For James Horner reviews at Filmtracks, the average editorial rating is 3.15
(in 108 reviews) and the average viewer rating is 3.23
(in 203,601 votes). The maximum rating is 5 stars.
|
