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SUPERMAN IV Translator's note: The comments and
opinions in this analysis are solely those of the original writer and
not those of the translator or the webmaster of this site. In some cases
I have had to clarify a few points of information for factual reference. Written by Hugo Moya Arancibia Translated by Bill Williams Designed by Dharmesh
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CUE ANALYSIS:
18a. Superman at the U.N. again 00:58 Superman's announcement again on the outdoor plaza of the United Nations building. Another cue integrally composed by Alexander Courage which is based on the same portion composed for the first sequence at the United Nations. 18b. Superman catches Luthor 00:53 Luthor and Lenny are caught by Superman. This cue corresponds to an arrangement based primarily on "Lex Luthor's Theme" with a clear feeling of comedy but ends with a smooth fanfare of the "Theme from Superman". 18c. Luthor returns to prison 00:47 The return of Lex Luthor to prison. This cue corresponds to an arrangement by Courage with a small reference to "Lex Luthor's Theme". A moderate accompaniment for the final sequence, but lacking of any emotion. 18d. End Credits 03:30 The end credits sequence. In all of the previous films the end credits sequence began with very emotional arrangements that celebrate the final triumph of our hero, but then continues with the "Theme from Superman" or modified versions of said cue, but always loaded with great emotion, with spatial images and legible credits. In the case of "Superman IV", the situation was rather distinct. In the first place there did not exist the initial arrangement loaded with emotion. In this case Superman returns Luthor to prison and then flies off. At the end of this sequence, the screen is obscured and we begin to hear a lifeless arrangement of the fanfare from the "Theme from Superman" (inspired by the cue "Main Title March (Alternate)" from the original sound track) while we see the traditional final sequence of the three previous films (Superman saying goodbye while flying in outer space). At the end of this previous sequence we begin to see the end credits sequence, this time with a black screen and with the stellar (or blue) credits almost illegible, while we hear the "Theme from Superman". This version of the theme is based on the traditional structure; however, it eliminates the repetition of the fanfare and the final segment is much shorter, incorporating a novel arrangement to end the cue. The sound in this version is rather inferior to what is heard in the end credits sequence, without this it is only an effective sound produced by the workmanship that is handled in the final sequence of the film and the expectation of the work does not exist. Even when this version lacks emotion, it functions appropriately to accompany the obscure end credits sequence. It is a stranger as opposed to the designer of the credits for the previous films. CONCLUSION: If it were up to me to classify the four sound tracks of the Superman series, this clearly is in third place behind "Superman: The Movie" and "Superman II". I believe that it was the intent of the producers to bring to life the original music, even more I believe that it was the most positive aspect of this fourth entry; however, in spite of all this I stick with the impression that it is quite lacking, and specifically it does not say anything absolutely satisfying. It is clear that the quality of the film contributes nothing, and it is possible that my dissatisfaction is more in relation to the film than with the music. With that I point out that at the start I believe that the music works rather well simultaneously with the film until the middle. Then ahead on, all is a disaster, and the music cannot be excluded from this situation (except for several exceptions). The new themes for the film are not at the same height of the original themes, and from this point of view they contribute to lower the level of the score. (To this day I have to believe that the best were composed by John Williams.) With respect to the original arrangements by Alexander Courage, his work turns out irregular in that on occasions they present a super work and in other cases rather deficient work. Finally, with respect to the arrangements that Courage used the "Theme from Superman", I believe that it was not the most accurate for a single reason: on various occasions they do not produce emotions, and this is basic in this business. In conclusion, a better than average work, but
in no way is it outstanding.
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