Bob Peak

With Comic-Con devouring downtown San Diego, let’s take a look at four underappreciated or forgotten motion picture orchestral soundtracks. The requirements are that the movie be Comic-Con-ish in nature.

Star Trek: The Motion Picture starts our list. Of course, the theme of the television series is iconic but the music in the movie in not slouching. In fact, it moves forward with more momentum than the movie itself had. It remains a gem in the crown of sci-fi orchestral scores. Composer Jerry Goldsmith was a legend of the silver screen with 18 Academy Award Nominations and a win for his work in The Omen from 1977.

John Carter of Mars is a fantastic movie with a compelling score that was supposed to be a trilogy. The second and third films were canceled due to poor box-office performance. When it first came out, I had no interest whatsoever in seeing John Carter and was, to my shame, ignorant of The Edgar Rice Burrows book it was based upon. However, my son thought the six-legged dog character was funny so we went. I loved the movie and subsequently read four of the books in the John Carter series. The score, by Michael Giacchino, if full of rhythmic intensity with sweeping melodies that rise to the occasion of the action in the movie.

Superman the movie from 1978 might not be underappreciated but it is almost forgotten. I rewatched it with my kids, ages 20 and 17, and they were blown away by the elevated tone. Elevated for a superhero movie that is. In the age of Marvel movies, quipy and self-depreciating have become virtues akin to truth, justice, and (gasp), the American way. They are not. 

As an aside, the historical actions of the United States are less evil than any country in human history. So yes, there is some value in what was once considered the American way even if it was an ideal that we consistently fail to fulfill. Superman is the ideal American because he treats each individual as if they have an inherent worth and dignity.

The score, by John Williams, is heroic and matches the stature of the writing. Although, the Lois and Clark theme borrows heavily from Richard Strauss’s Death and Transfiguration.

For die-hard sci-fi fans, 1982’s Blade Runner is neither underappreciated nor forgotten. For the rest of us, 1982 was a long time ago. The score, by Vangelis, is perfect in tone, color, and texture. At the time the sound was fresh and futuristic. It is the gold standard of sci-fi motion picture scores.