|
|
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
|
In Courage's case - and this is my personal opinion - his work does not turn out satisfactory for a large part because he established too many innovations in the arrangements, excessively abusing several fragments of those which were erroneously used according to the requirements of the sequences. There are only those based on the other arrangements by Williams for similar sequences. I ought to make two necessities with respect to the analysis that carries out the following: A. The structure is exactly the same that was used for the two previous scores. B. The work is based on the U.S. theatrical version of the film released by Warner Bros., which ran 90 minutes. (Translator's note: The original cut of the film ran 134 minutes, according to visual effects supervisor Harrison Ellenshaw. Because of a poor sneak preview showing prior to its release, the film was edited to 93 minutes for its international release by Cannon Films then edited down further to 90 minutes for its U.S. release by Warner Bros. While scenes from the 134-minute cut have surfaced in at least four different preview trailers for the film, the complete original cut remains unseen to date.) The first problem that Courage encountered was in preparing the work with the details of the themes. This is fitting in that on various occasions a single cue covered various distinct sequences, in which it was very difficult to separate each cue respective to a particular sequence. Previously it was signified that listening to a single track (that is to say, without any interruption between sequences) musicalized various continuing sequences. This situation was rarely presented in the previously analyzed scores, and probably this was one of the causes of the lack of emotion in the music. With all certainty, the situation described in the previous paragraph was not the responsibility of the composer but of the editor of the film, John Shirley, who had either not encountered the work altogether or simply not insert pauses that permit us to differentiate very clearly the music of the distinct sequences (the situation is rather evident in various passages of the film). To solve this situation, for each cue that is presented in each case, I have simply referred to them as Suite 1, Suite 2, etc., in relation with the complete composition, and in continuing to identify each one of the involuntary sequences, as a form that distinguishes the involuntary musical sub-themes. To continue with introducing the work I resume with the cues that were considered for this sound track, and afterwards a detailed analysis of each cue. <<<Click here to move back to page 1 >>>Click here to move ahead to page 3
|
|
