Joshua Gizelt (swashbuckler332) wrote,
Joshua Gizelt

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Popping in Cherry 2000

As a person with an avid interest in film music, it is very frustrating that sometimes a good score is not accompanied by a good movie. As I was discussing with melancthe not too long ago, Basil Poledouris, Marco Beltrami and Jerry Goldsmith have produced some of their best scores for some really bad movies.

One such stinker is Cherry 2000, a horrific rip off of The Road Warrior which features a stupid story, vapid characters and, most damningly, Melanie Griffith, whose slow, baby doll speech makes me want to throttle her whilst pounding her forehead into a brick wall. The movie sucked dogshit, so even though it was made in 1986, it wasn't released until 1988, in the wake of Griffith's (infuriating) Oscar nomination for Working Girl.

However, as bad as the movie was, I was really diverted by the score. I had not seen the beginning of the movie and was never too keen on catching up to it, so I had no idea that it was Basil Poledouris until much, much later. I just knew that I liked the score.

I hate hate hate this woman.

I hadn't listened to Cherry 2000 for a while before I got the Prometheus re-release. I just missed the original limited edition Varése Sarabande Club disc, which of course is famous for having been sold at the ludicrous sum of $2500 quite a few years ago - the first soundtrack album ever to go for such an exorbitant amount. I managed to get a boot copy that was paired with the other Varése Poledouris release from that club, Flesh + Blood, which, of course, I already had.

The Prometheus disc is expanded and placed in film chronology. This doesn't always work for a film score, but in this case it is a much better listening experience than the jumbled Varése edition (which had a misprinted track listing), and the expansion add up to about five minutes or so, so they aren't too distracting. While both versions have a very satisfying presentation of Lester's theme (the villain played by Tim Thomerson), one of my favorite arrangements of it was left off of the Varése disc... it's the humorous setting heard in the 19 second "Lester Follows." More importantly, however, is that Poledouris built a heroic Morricone-esque theme for E (that's Griffith's Mad Maxine pain in the ass) that he introduces subtlely and gradually opens out over the course of the score until the climax of the film. This sort of 'theme construction' is one of my favorite aspects of film music, and it really benefits from the chronological presentation. Unfortunately, while the sound is slightly better on the Prometheus release, it is still pretty bad.
Tags: cinema, film music
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