CUE ANALYSIS continued:

15. Payment for the favor - 00:58

Following the small favor, Superman returns to earn his repayment: the erotic favors of Lorelei Ambrosia.

A trumpet solo that is in fact truthfully erotic. The music is atypical for Superman, in a scene clearly questionable, considering the nature of the film.

The cue is not bad but considered atypical for Superman. The music is very reminiscent of several compositions by Bill Conti, especially in the trumpet solo.

16. Parts for the supercomputer - 00:35

A helicopter carries containers full of parts for arming the supercomputer designed by Gus.

A brief but very sustained cue. This involves a little more of the orchestra. One of the good compositions by Thorne for the film, a pity that it is altogether brief.

17. Superman's inner conflict - 02:10

Primary symptoms of questioning from within the evil Superman, with respect to his behavior.

One of the few cues of the film integrally based on the original sound track music composed by John Williams.

The cue is a medley of fragments of "The Planet Krypton" and "Leaving Home" from the original sound track.

Although I do not altogether question the appropriateness of Thorne's choice, at least the interpretation is of a very good quality and the sound gets to disturb.

18. Clark vs. Superman - 02:46

First part of the confrontation between the evil Superman and the good Clark Kent.

The cue begins with a large reference to the cue "The Planet Krypton" from the original sound track. Afterwards it incorporates a brief composition by Thorne that had already been used in Superman II. Then again it returns to music from the original sound track, this time we have the same fragment of "Chasing Rockets" used in the cue "Superman arrives late" previously discussed, along with a large fragment of the cue "Destruction of Krypton".

19. Superman vs. Clark - 02:19

Continuation of the previous conflict.

This cue follows the line of the previous combination of various musical fragments used in the original film along with several connections composed by Thorne.

This cue begins with a brief reference to the cue "The Big Rescue", then it continues with the same fragment of "Chasing Rockets" used in the cue "Superman arrives late". Then we have a composition by Thorne that had already been used in Superman II to accompany the three supervillains, but it follows with an arrangement based on the cue "The Planet Krypton".

Again Thorne gets to give a very good continuation of these fragments; however, this cue does not surpass the previous.

20. Final Victory - 02:05

Culmination of the confrontation with the definitive victory of the good Superman.

Possible the most disturbing cue of the film in function with the feeling of the triumph of good over evil.

This cue is a combination in part of a fragment of the cue "Turning Back the World" from the original sound track, but then continues with the fanfare and march of the Superman Theme.

The first and only time in the film the music provokes emotions and helps to lift up the sequence.

21. Heading for the supercomputer - 01:50

Ross, Vera, and Lorelei head down in balloons to the cavern where they see the completed supercomputer.

A good cue composed by Thorne, lightly, easily listenable and appropriate for the sequence. This cue, however, is intercut a pair of times with the fanfare from the Superman theme.

22. Superman encounters the missiles - 03:05

Superman is attacked with missiles from the supercomputer when he approaches the canyon.

This cue demonstrates the enormous difference between Ken Thorne and John Williams.

This sequence, if it had been musicalized well, could have been spectacular; however, the poor composition, condescending to the television series, is composed by Thorne, simply converted in a ridiculous scene. Additionally, this cue contains horrible arrangements of brief fragments of the Superman theme.

This cue in some manner summarizes the lack of motivational and musical feeling by Thorne. For this music one should be able to evaluate it here, if we are able to know his musical sensibility and conclude that his choice was not correct.

23. Superman in the bubble / Kryptonite - 02:23

Superman is trapped in a bubble without air and afterwards attacked with real Kryptonite, in general another dramatic situation.

Horrible music for this sequence. Without a feeling that really is not able to transmit the drama of the moment. Includes controlled comical moments.

24. The machine lives - 02:04

The supercomputer has now acquired new life, attacking all that it crucifies, including its owners.

The first minute of this cue results rather convincingly successfully to give some emotion to the scene, including several seconds where we hear a fragment of the cue "The Planet Krypton" from the original sound track.

25. Final Confrontation - 02:45

Final phase of the confrontation between Superman and the supercomputer.

A single phrase: the scene culminates musically with a composition condescending of the television series.

26. Thanks, brother - 01:15

Superman rescues Gus from the ruins and begins to fly off.

This cue begins with an arrangement based on the cue "Lois and Clark" from the original sound track but continues with a free arrangement by Thorne based on the same cue.

A cue that is pleasant to hear.

27. The ring - 00:45

Clark gives a new ring to Lana.

This cue corresponds to a reiteration of the romantic cue between Clark and Lana that we had heard briefly earlier in the film.

28. End Credits - 03:55

This corresponds to a disorganized mixture of fragments of the Superman Theme. It excludes from this selection all of the references to the segment "Can You Read My Mind" of the cue.

This mix comes a little alive after we have heard the complete score to the film, in that at least we are able to hear a curious version of the Superman Theme, basically a strange mix that Thorne prepared with distinct fragments of the theme.

Good friends, I have to acknowledge that analyzing this score does not turn out something altogether pleasing. The music for each film does not have much to show that could be considered an important element of the production.

The only complex cues were written in part on the music of Williams and almost all of the work by Thorne is characterized by the lack of creativity, scarce musical appeal, and the lack of motivation in giving an epic feeling to the music.