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| Goldsmith |
Runaway: (Jerry Goldsmith) Despite writing some of
the most intriguing science fiction concepts of his time, Michael
Crichton's career as a director did not flourish with the same success.
His films of the late 1970's and early 1980's could all be classified as
duds, failing to realize the potential of their concepts due to terrible
adaptations into screenplays and, most devastatingly, Crichton's own
poor direction. One entry in this series of disappointments was 1984's
Runaway, the story of a futuristic society in which robots
complete many of the mundane everyday tasks in the home and fields that
are the domain of illegal migrant workers in current society. If
Runaway had perhaps told its tale in a tongue in cheek fashion,
perhaps explaining what happened to all the Hispanic illegal aliens in
America upon the introduction of the robots into everyday society, then
perhaps there would have been redemption for this production. There were
oddities in the mix that suggested such an intent by Sony, however,
including the casting of KISS bassist Gene Simmons (minus the make-up,
thankfully) as the villain who reprograms the robots to comply with his
attempt at world domination (what else?). Unfortunately, Crichton took
the rest of the production seriously, casting Tom Selleck as the special
unit police officer in charge of exposing and foiling the plot. Another
serious aspect of
Runaway was Jerry Goldsmith's score. The
composer had collaborated with Crichton for several years, and the two
agreed upon Goldsmith's idea to tackle the film with an all-electronic
score. While Goldsmith had used electronics as part of his ensembles
since the early 1960's, literally employing them as a fifth section of
the orchestra by the 1980's, he had never attempted to create an
all-electronic score that would consist almost completely of his own
performances. He was quick to point out that this decision was not made
for financial reasons. In fact, the troublesome and lengthy recording
schedule for
Runaway required the costly rental of a variety of
equipment and a studio and turned out to be more of a headache for
Goldsmith than he had anticipated. Programming electronics to emulate an
orchestral score back in 1984 was not an easy task, and the composer
employed his son, Joel, already an expert in synthetics, to assist him
in arranging
Runaway. The resulting score is admirable in
intentions but, like Goldsmith's other two completely synthetic scores,
Criminal Law and the rejected
Alien Nation, nearly
unlistenable in retrospect on album.
Unlike many other totally synthetic scores of the era,
Goldsmith's intent in his writing of these scores was to construct them
as though they were to be performed by an orchestra and then apply the
different lines to various tones in the synthesizers. Thus, you don't
get the endlessly droning, atmospheric variety of dullness from
Goldsmith for these assignments. You can actually imagine what a score
like
Runaway could sound like had it been performed by a
symphonic ensemble, though the constructs in this case are so weak that
such application may not have made a difference. The score does have
thematic ideas and frequent references to these and other motifs, but
the material simply cannot overcome its badly dated rendering. Goldsmith
was just starting to experiment with the newer generation of electronic
samples in 1984, and
Runaway unfortunately is a work that doesn't
offer the same organic imitations that would function so well for him
within just a few years. The extremely harsh tones of the composer's
choices of sounds for this score make it very difficult to the ear, and
the grating style persists even outside of the score's inherently
staccato movements for the robots. Most cues in
Runaway contain a
taxing tone of raw synthetic grinding that could quite possibly be a
recipe for a massive headache. The cue "Spider in the Toilet" is so
awful that it's unintentionally humorous (watch out, Bernard Herrmann
fans). The action material pounds with such ferocity on these keyboards
that they aggravate rather than excite. Only in the finale cue, "No
Luther (The Resolution)," does the composer develop the thematic
material into a light rock variant that is equally dated but is at least
tolerable to the same degree as
Rent-A-Cop a few years later.
When you step back and look back at Goldsmith's experimentation with
synthesizers in his career, nearly all of his endeavors were masterfully
rendered, but that success did not carry over to his all-electronic
scores, none of which retained the composer's inherent styles outside of
a few minutes in each effort. It's impossible to recommend
Runaway to Goldsmith collectors because the connections between
this work and the composer's others is so thoroughly dominated by the
irritating synthetic soundscape that the listening experience offers few
(if any) rewards. A 1985 Varèse Sarabande CD, reflecting the
concurrent LP record, offered 36 minutes from the score. The label
issued a 2,000-copy "Deluxe Edition" of
Runaway in 2006,
expanding the total time to 44 minutes. After both became collector's
items, Varèse repressed the latter product (identically in every
way) in 2013. Do yourself a favor and save that money for one of
Goldsmith's many superior works.
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| Bias Check: |
For Jerry Goldsmith reviews at Filmtracks, the average editorial rating is 3.26
(in 124 reviews)
and the average viewer rating is 3.29
(in 153,454 votes). The maximum rating is 5 stars.
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The inserts of all the albums contain information about the score and film.
