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& Buy From
Music Conducted By
Jerry Goldsmith
Orchestrations By
Arthur Morton
Recorded By
Mike Ross Trevor
Performed By
The National Philharmonic
Orchestra
Album Produced By
Jerry Goldsmith
Label
Varèse Sarabande
VSD 5350
Previous Release(s)
-
Year Of CD/Film Release
1992/1992
Running Time
50:10
Availability
Normal Release
Cues
&
Timings
1. Rae's Arrival/Opening Titles (5:06)
2. First Morning (3:46)
3. Campbell and the Children (1:57)
4. The Trees (6:01)
5. The Harvest (3:11)
6. Mocara (3:36)
7. Mountain High (2:41)
8. Without a Net (4:19)
9. Finger Painting (2:30)
10. What's Wrong? (1:52)
11. The Injection (2:09)
12. The Sugar (2:08)
13. The Fire (2:10)
14. A Meal and a Bath (8:03)
Soundtrack
Ratings
Disappointing
Functional
Average
Good
Excellent
Outstanding
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Medicine
Man
Jerry Goldsmith's score to
John McTiernan's Medicine Man is a lively mix of light
comedy and drama, and calls upon a host of ethnic sounding electronic
effects and percussion, as well as the powerful presence of the
ever reliable National Philharmonic Orchestra. Goldsmith opens
his score with an infectious South American theme for guitar,
joined by electronics and strings for Rae's Arrival and
her journey to meet Campbell in his forest laboratory. A second
theme is introduced as Rae flies over the blazing forest, as
road builders carve their way through. This theme, predominantly
for electronics, and instigated by a pounding beat develops a
driving rhythm, also show casing orchestral elements, of powerful
brass and dense string writing.
First Morning is a beautifully tranquil piece as Rae wakes
to her first morning on the beautiful forest floor. Goldsmith's
cue is simply exquisite combining inspired synth effects for
the streaming morning sun, with the warmth of a melancholy theme
highlighting harp. Campbell and The Children starts in
a similar vain but expands into a third theme doubling as both
love theme and in the next cue, a theme for the forest itself.
The Trees remains the standout cue of the entire score
as Goldsmith steadily develops a memorable 6 minute cue as Rae
is hoisted up into the canopy. Goldsmith's elegant and stately
theme is almost Barryesque in nature, brimming with warm textures,
and show casing a remarkable performance from the NPO string
section. As Rae ascends and breaks through the canopy to a wondrous
view of the massive forest, Goldsmith provides a triumphant statement
of his theme, played out to the breathtaking vistas. Goldsmith's
winning theme is further developed in latter cues; Finger
Painting, What's Wrong, The Injection and The
Sugar with woodwinds coming to the fore alongside transparent
string writing.
Mountain High returns to the lighter side of the score
with a further arrangement of his main theme featuring more ethnic
percussion and electronic effects as Rae and Campbell trek across
the forest to meet with a witch doctor. While Without A Net
introduces a little tension via a pulsing synth rhythm as Rae
is rescued from a precarious position.
Although comedy and drama are well catered for, Medicine Man
does have a thriller aspect with both Mocara and The
Fire utilising ominous electronics that signal the desperate
search to re-create Campbell's cure for Cancer amidst the ever
nearing road builders. The latter cue for The Fire, is
one of the few times that music plays without sound effects or
dialogue, as a runaway tractor ignites a fire and decimates an
area of forest. Goldsmith's ominous synth beat, joined by brass
and strings, may not sound like a major action cue but it's ability
to convey the tragedy of the moment is supremely effective.
The score closes with an 8 minute finale and end credit (A
Meal and a Bath).
Here Goldsmith's music
signals hope with a tender variant, before launching into a powerful
rendition of his theme, now a statement of love for both Campbell
and Rae as they journey on in search of the cure, with the pulsing
fire music rounding out the score as the credits roll.
Varese's lengthy CD presents one of the composer's most beautiful
scores and features one of the finest recordings ever made for
a Jerry Goldsmith soundtrack, courtesy of the talented Mike Ross
Trevor. As a footnote to this assignment, Goldsmith not only
composed the score, but influenced star Sean Connery into using
a pony tail hairstyle for his character in the movie. As a joke
Goldsmith is also credited as hairstylist during the movie's
end credits. |
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