IN PRAISE OF THE SYNTHESIZED SCORE

In Praise of the Synthesized Score

NOTE: This is the first of a series of ‘essays’, which will be posted from time to time.

After posting reviews for classic 80’s films “Manhunter” and “Escape From New York,” I realized what’s missing from the myriad of remakes of 1980’s films these days –the synthesized score!

After Disco lost is cred, it took that genre a good 15 years before it became retro-cool. Unfortunately in the film world, synth scores have yet to make its return. Synth scores are still under lock and key as a credible cinematic ingredient. I hope to present a case for it’s parole – for good. It’s definitely overdue.

In the late 70’s, the film world started hearing a new sound in their scores. For much of the decade, jazz instrumentation dominated the new school of film music. Since film music and pop music naturally coincide, it was natural for synthesized instruments to find its way into films. Perhaps the first synth score was Kubrick’s innovative retooling of Beethoven’s 9th. Despite the popularity of the film, it took until the end of the decade for the trend to catch on.

Some of the late 70’s popular films to score electronically included Georgio Moroder’s Oscar-winner for “Midnight Express”. A favourite of mine is Tangerine Dream’s score for William Friedkin’s “Sorcerer,” a year earlier than “Midnight Express.” The sound was so new and fresh, it gave the film an eerie, disturbing quality, and perhaps out of place for a film that takes place in the jungles of South America. Oddly enough it works, fabulously. (Of course, for every good electronic score, there were 3 or 4 horribly dated ones as well, but we won’t mention those).

John Carpenter, who scores in own films, is also a pioneer. His score for “Halloween” became an instant classic, and horror films have been trying to catch up ever since, with “The Friday the 13th and “Nightmare on Elm Street” imitating it blatantly.

But it was Vangelis’ Oscar-winning theme for “Chariots of Fire” that opened the floodgates. Vangelis went on to score such classic films as “Blade Runner,” “Missing” and “The Bounty.” Tangerine Dream started getting more work as well scoring “Thief,” “Firestarter,” “Risky Business,” and “Legend.” And who could forgot those opening synthesized chords of Brian De Palma’s “Scarface”. Oh bliss.

Most of today’s top composers, such as James Horner, Howard Shore and Hans Zimmer started off with electronic scores and, of course, eventually evolved, matured and adapted their style to fit the times. But it was Carpenter, Vangelis, Tangerine Dream and Moroder that lived and died with the style they invented and perfected. As result, we don’t hear of them at all in the present day.

Therefore I present a challenge to filmmakers: in your next film listen to some Tangerine Dream for inspiration and bring back the electronic score. Don’t be embarrassed, take a risk, and start a trend - all over again.