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Review of Robocop: Prime Directives (Norman Orenstein)

FILMTRACKS RECOMMENDS:

Buy it... if your appreciation of film and television music is so shallow that you wouldn't be tempted to laugh or cry at the transformation of this franchise's music into that of an electronic Spaghetti Western.

Avoid it... if you don't want to disgrace the memory of the late Basil Poledouris by supporting this tediously mindless synthetic crap.

FILMTRACKS EDITORIAL REVIEW:

Robocop: Prime Directives: (Norman Orenstein) The franchise that developed after Paul Verhoeven's introduction of Robocop in 1987 was a depressing steady decline for the concept, with successively worse films matched by a television animation variant aimed at kids and ultimately a terrible series of four Canadian-produced television films in 2000 and 2001. Made with a budget of only $8 million dollars, the four parts of Robocop: Prime Directives were reportedly pushed through production only because its was legally mandated by contract to happen. Unfortunately, what little nobility left in the franchise after it was done catering to children in the 1990's was completely throttled upon this awful resurrection, so cheap at times that it looked like a student film. What's even more astonishing is that this wretched continuation, which does loosely follow the prior events of the feature films, ran for a total of 375 minutes. Not only does Robocop, the famed cyborg-cop, serve the public trust, protect the innocent, and uphold the law in Delta City, but he does so without any of the gore, grit, or surrounding production values that at least Verhoeven had in his favor. 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, whose career consisted mostly of songwriting and performing for relatively unknown bands. With the help of GNP Crescendo, the record label most friendly to the trashiest depths of the science fiction genre of film music, portions of all four television scores were made available on one album shortly after the start of 2001. First of all, it should be declared that if you're looking for anything remotely like Basil Poledouris' respected music for the series, then don't bother with this. Orenstein uses none of Poledouris' thematic material and, because he limits himself to mostly an array of synthesizers, that broad tone of ballsy brass from the feature films is gone. The lengthy scores are performed by just Orenstein and a trumpet soloist, which may be standard practice for ultra-low budget television projects, but is painful to hear in the context of this franchise.

As to be expected, the music for Robocop: Prime Directives takes on a completely synthetic style and attitude, dominated by keyboarded samples. Like dozens of other cheap television scores performed by one individual, this one offers the same choppy, bass-heavy, and imagination devoid tones of muck. There are portions that sound familiar to 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 Poledouris' general tone is sometimes explored throughout the scores, providing a very basic element of melodramatic nobility associated with the character. 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 bizarre choice to turn Robocop into a Spaghetti Western and emulate Ennio Morricone in laughable fashion. The Latin flavor, so blatantly reminiscent of drunken Mexicans in old features, serves to hail the meeting of a matador and a bull, which is not only out of place for the Delta City, but isn't even executed in a way that could be metaphorically convincing. Instead, until you realize that it was intended to be a serious motif, don't be surprised if you confuse this score with one of comedic or parody intent. Another reason why these scores by Orenstein fundamentally fail is because of their overly melodramatic construct in every circumstance. In the enunciation of each cue, the pace is emphasized to planet-crushing importance, making it seem that a deity 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 ten minutes. The scores for the two middle films often degenerate into pounding, rhythmic noise with electric guitars accentuating the keyboard performances. Overall, Robocop: Prime Directives sounds like yet another laughably low-budget effort from a rock band songwriter asked to compose for a supposedly serious topic. Such mindless music increases your appreciation for Mark Snow, who manages to thrive in these situations. The attempt to make this concept into a Spaghetti Western is so dumb that the wailing trumpet motif is miserable comedy.  *

TRACK LISTINGS:

Total Time: 73:11

• 1. Prime Directives Overture (5:02) • 2. Delta City Defender (2:20) • 3. Bone Machine (4:16) • 4. Death of a Hero (10:58) • 5. Remember (1:15) • 6. Young Murphy (4:11) • 7. Pursuit (3:18)

• 8. Old Detroit (2:23) • 9. Clash of the Titans (11:58) • 10. Innocence (1:54) • 11. Smith and Wesson (4:21) • 12. S.A.I.N.T. Goes Wrong (3:55) • 13. Legion (15:19) • 14. Finale (1:50)

NOTES & QUOTES:

The insert contains extensive notes about the series and its music, including the following from director Julian Grant:

"I'm thrilled that GNP Crescendo is releasing portions of the complete score to fans worldwide. Composer Norman Orenstein was my only choice for this work. We had met back in the early 1990's and talked at length about our philosophies and what we both wanted to achieve with our films. I went on to do any number of other pictures and kept Norman in my back pocket as a secret weapon. When the time was right... I would use him. The time was right with Robocop: Prime Directives.

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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The reviews and other textual content contained on the filmtracks.com site may not be published, broadcast, rewritten or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Robocop: Prime Directives are Copyright © 2001, GNP Crescendo Records and cannot be redistributed without the label's expressed written consent. Page created 12/12/00 and last updated 2/1/09.