CUE ANALYSIS:

1. The streets of Metropolis - 05:18

This cue corresponds to all the incidental music that accompanies the sequence of the main title credits.

We have a succession of comical sequences absolutely out of context for a Superman film, accompanied by a composition integrally composed by Ken Thorne.

I have to recognize that probably this cue was the best that Thorne composed for the film, and that if it has nothing to do with Superman, it succeeds in giving a good complement to the sequence. In other words, being preoccupied with the film in which we have these situations, the resulting music functions for the scenes that they accompany.

There are two brief references to the "Superman Theme", the first when the film's name appears and the second when Superman effectively makes his first appearance during this sequence.

2. A super salary for Gus - 01:04

This corresponds to the scene in which Gus computationally manipulates the remaining half cents of the personnel's salaries, allocating them to himself.

In this cue we begin to catch a glimpse of what will be the tendency of the music composed by Thorne for the film. At the beginning of the cue we hear the first chords of the cue that is characteristic of Gus Gorman and in continuing the following is an unmentionable music.

The quality of the sound is poor, and we are not already speaking of the orchestra but only of various instruments.

3. Superman saves the factory - 06:04

This corresponds to the incident at the chemical factory and Superman's participation to help in eliminating the threat.

This appears to be the most complex and spectacular sequence of the film, and it appears to me that while Thorne chose to compose the music according to the scene, it is not successful however.

It does not succeed because it comprises a hybrid that combines disorganized original cues along with several segments originating from cues composed by John Williams for the original sound track.

The cue combines segments of the "Superman Theme", "Superfeats", "The Big Rescue", and "Turning Back the World" from the original sound track, which are interrupted with joined or inserted original compositions by Thorne, who does not make any attempt to minimize or break the styles of the other segments.

In Superman II we celebrate several links that Thorne composed for joining originating segments from the original sound track, but this time around those links do not turn out well in that they are very similar to others composed by Williams for the first film.

The arrangements based on the Superman theme were not the most fortunate, not contributing a lot of emotion to the sequence.

4. Clark and Lana - 00:36

This corresponds to the encounter between Clark and Lana Lang the day after the reunion.

Supposedly this was to have been the romantic cue of the film; however its brevity does not permit making a large analysis.

In this scene Clark plays the piano and at times it is not successful to distinguish between the incidental music and the piano, in one of those complementary moments.

In summary: Irrelevant.

(Translator's note: Thorne incorporates the incidental music to follow Christopher Reeve's piano rendition of "Earth Angel", which he performed during the filming of the scene.)

5. Superman saves Ricky - 01:40

The scene in which Superman saves Ricky from being crushed by the wheat threshing machines.

Whenever the majority of the scenes is when Superman saves someone, the music begins with a preamble that announces or shows Clark's transformation to Superman and ends with the same rescue.

The preamble to this cue is the same that Thorne composed for Superman II when our hero saves the boy from Niagara Falls. The remainder of this cue, however, is very inferior to that of the previous cue, and it was not altogether dramatic because this is based on the fanfare from the "Superman Theme", which is interpreted horribly.

This scene could have been one of the most emotional; however, the music prevents it.

6. Gus finds a way - 00:56

This is the scene in which Gus united with a drunken Brad deals with making the computer work.

We are able to define this cue as characteristic of Gus Gorman. It is handled with a brief and comic melody more in the pure style of American comedies and in no case is it able to compare with Lex Luthor's Theme.

It's not a great cue, but I personally like it.

7. Informational chaos - 02:20

This corresponds to the chaos that is produced in various computer systems in the city, the product of Gus' intervention.

This cue corresponds to a kind of amusement that accompanies a succession of comic scenes that is the general result of the computer disorder.

This cue is one more that does not have anything to do with Superman; however it functions in accompaniment with the sequence.

8. Gus accesses Vulcan / Catastrophe in Colombia - 01:52

This corresponds to the scene immediately following the previous one, in which Gus finally accesses the Vulcan satellite, provoking a climactic catastrophe in Colombia.

The cue is a medley that begins with a variation of the theme for Gus but continues with a dubious Colombian folklore reference and ends with music that accompanies the climactic disaster.

Given that this cue is one of the most satisfactory of the film, especially in the music for the climactic disaster, a swallow does not make summer, however.

9. Kryptonite - 00:50

Lorelei states to Ross, Vera, and Gus that Kryptonite is able to destroy Superman.

The music used for this scene is really incredible in that Thorne simply uses a segment of the cue "Destruction of Krypton" from the original sound track. In Superman II, Thorne basically used this cue for the scenes with the three supervillains or in the Fortress of Solitude, its association that would turn out rather logical in function to the references to the planet Krypton and its survivors. However in this film, its utilization is an almost ridiculous result in the context of the original sound track that almost does not recur in the original music of the series; besides the result is incomprehensible in the association between the music and the protagonists of the scene.

10. Gus searches for Kryptonite - 01:00

Gus attempts to obtain Kryptonite from outer space via the Vulcan satellite.

This cue begins with a subdued arrangement, which is reminiscent of the cue "Destruction of Krypton" from the original sound track, that is rather evident. Afterwards it continues with an easily forgettable arrangement.

In these occasions the musical debacle appears indisputable, and all of it that Thorne recovered and showed in Superman II is absolutely absent in this film.

11. Superman arrives late - 00:52

This corresponds to the scene in which Superman begins to show the first symptoms of his transformation toward evil, arriving late to rescue a truck that finally falls from a bridge.

Musically it begins with a brief sequence based on a segment of the cue "The Planet Krypton" from the original sound track, but then continues with another segment of the cue "Chasing Rockets", also from the original sound track. Curiously this last segment, which forms a good part of the described cue, never was used in either of the first two films. Thorne again utilized it.

12. The Tower of Pisa - 00:50

Superman has now begun his turn toward evil, and one of the first signs of his evilness was in straightening out the Tower of Pisa

Another incredible musicalization, in that Thorne incorporates in this sequence the music that in Superman II was used to identify the three supervillains. This cue is one of the most recognized in Superman II, but I am only able to declare it perplexing.

Now I begin to understand those Thorne detractors that doubted his capacity to perceive the musical motivations.

13. Gus asks for his supercomputer - 01:00

In this scene Gus asks his boss to construct for him a supercomputer in exchange for continuing to serve him.

Again musically we hear references to the cue for Gus, more of a proper composition that accompanies the growth of the energy crisis, a product of the manipulation that Webster causes with the petroleum.

As a result of its placement to say from time to time: Good cue.

14. If you will do me one little favor… - 02:16

Lorelei asks Superman to perform a small favor for her: disable a tanker vessel that does not want to follow the fleet plotted by Webster.

Another incredibly musicalized sequence. At the beginning of the scene between Superman and Lorelei we hear a subdued cue with certain touches of eroticism, but at this time with references to one of the themes to the three supervillains from Superman II.

Afterwards in the scene in which Superman attacks the tanker vessel, we hear a medley of arrangements based on "The Fortress of Solitude" and "Turning Back the World" from the original sound track along with the music that Thorne composed for the three supervillains in Superman II.

Again remains the evidence of the absence of musical motivation by Thorne.

(Translator's note: The music also incorporates music from the final third of "The Planet Krypton" from the original sound track.)