The
Planet Of The Apes And Escape From The Planet Of The Apes
Planet Of The Apes remains one of the most memorable
movie moments in the history of cinema. Not only because of Franklin
J Schaffner's remarkable adaption, or the incredible make-up
affects but because of Jerry Goldsmith's ground breaking musical
contribution. The score to POTA has quite rightly passed
into legend and deservedly holds a classic status. Critically
acclaimed from all quarters and nominated for an Academy Award,
Jerry Goldsmith's soundtrack has become a film music standard,
now properly preserved on this Varese Sarabande CD.
Goldsmith opens his avant-garde score, after a deep space prologue,
introducing his bizarre Main Title for the apes themselves
through some dissonant percussion and a mischievous flute melody,
that darts round the screen, supported by piano and the 'whooshing'
sound of those horns. Crash Landing is a lengthy
action cue as the survivors escape their sinking ship. This exciting
highlight features both moaning strings and jagged trumpet motifs,
ala North, and crisp snare drum rallies as the ship sinks, but
the crew escape.
The Searchers, The Search Continues and Clothes
Snatchers deals with the Astronauts trek across the hostile
alien landscape and their first encounter with the primitives.
Goldsmith creates a chilling post apocalyptic vision through
echoed plucked strings, bass slide whistle and a multitude of
percussive effects, including the inspired use of those
mixing bowls, as the Astronauts tumble down a hillside. Clothes
Snatchers introduces some rhythm and tension with more plucked
strings, snares, piano and low end brass before The Hunt
ensues and introduces the apes themselves. Goldsmith's shocking
cue is an unforgettable tour de force, utilising violent Stravinskyesque
woodwind figures, cuika and most memorably, ram's horn as the
Gorillas are first seen on horseback.
New Mate and Revelation deal with the Astronaut's
captivity, generally requiring more subdued scoring, though Revelation
does encounter some fierce brass, which in turn leads to the
monumental action cue; No Escape, as Taylor makes a break
for it through the ape city. Goldsmith's vigorous Piano driven
piece gets support from drums, brass and strings before the whole
orchestra builds to a frenzied climax as Taylor is captured and
strung up. The Trial is an ominous piece dealing with
Taylor's appearance at an ape court featuring both bells and
the unusual water drop bars, while A New Identity captures
the rage of the imprisoned Taylor with shrieking brass figures
as he realises his only surviving colleague has been lobotomized.
Freed by Zia and Cornelius to a burst of orchestral mayhem and
a swaggering trumpet motif (A Bid For Freedom), Taylor
returns to The Forbidden Zone and an archaeological dig
(The Cave), revealing the planet's earlier civilisation,
and questioning the ape's dominance over humans. Goldsmith returns
to the menacing scoring of the first act with more piano, high
pitched strings and more cuika as the Gorilla soldiers arrive
(The Intruders). Revelation Part II closes the
film with the infamous downbeat ending as Taylor rides off only
to discover the half buried Statue Of Liberty. Goldsmith's subtle
exit music takes in more 'whooshing' horns, flute and a crucial
echoing guitar-like coda, before the composer falls silent and
the ambient sound of the ocean takes over.
To even the musically literate, Goldsmith's remarkable score
would have been impossible to decipher had it not been for the
proper examination of his manuscripts, which has allowed historians
to document Goldsmith's bizarre instrument usage. These included
harmonics in the strings, various bowing techniques and French
horn players reversing their mouthpieces and blowing air through
the horns.
Instrumentation highlights included xylophone, vibra slap and
cuika, a Brazilian drum head device with a rod inserted in the
middle, that produced the startling ape imitations. The final
ingredient to this wild concoction was none other than stainless
steel mixing bowls, which Goldsmith once said came from his own
kitchen. At the time it was often thought Goldsmith had also
hosted a number of electronics to create his weird and wonderful
sounds cape. But this wasn't the case, with only the Echoplex
engaged to essentially create the echoing effects of the pizzicato
strings. The Echoplex would find further use two years later
with Goldsmith's legendary score to Patton, which produced
the echoing trumpet triplet.
Goldsmith missed out on scoring
Beneath the Planet of the Apes, due to his commitments
on Patton, but returned for Escape From The Planet
Of The Apes; a poorer cousin to the first movie in most respects.
But in the case of music it did allow Jerry Goldsmith to write
a completely different score for the movie's odd time travelling
adventure as both Zira and Cornelius visit early 70's USA. Goldsmith
provides a quirky pop styled main theme with cool drum rhythm
and electric guitar, but with a symphonic edge highlighted by
legato string playing.
Goldsmith's relatively short score focuses on the drama of the
apes experiences of modern day America, with both Zia and Cornelius
getting a delicate melody all to themselves. However, agitated
electronic sounds, along with sitar, signal the darker aspects
of the score, and the violent third act. Here Goldsmith utilises
dramatic scoring for guitar, percussion and suspenseful brass
before the score reaches the movie's downbeat finale and signs
off with a melancholy variant on the main theme. |