It seems only fitting that following Edward Scissorhands, my next pick from the soundtrack shelf would be this charming double-bill from the late, great Basil Poledouris, as the Cherry 2000 soundtrack shares the same quirky, irreverent sense of inventiveness as Elfman’s score. The film itself was a b-movie sci-fi Western with inevitable nods to Blade Runner and Mad Max, which languished on the studio shelf for two years before getting an eventual release (I think it turned up late at night on television many years ago, don’t think I even managed to get through all of it- which was my loss, as it might have been nice to have heard the score years before I eventually did). The House of God, meanwhile, suffered an even worse fate- completed in 1980, it was eventually dumped onto television/cable networks in 1984, and I’ve never seen it. So with this Intrada release (hey, another link with Edward Scissorhands) we’re in the realm of blind-buying soundtracks for films we’ve never seen, either from recommendations online or simply due to the composer’s name. Its something of a wonder either of these scores got an official release, but they certainly deserve to. Cherry 2000 is part orchestral, part electronic, reminiscent of his Robocop score (both would have been written around the same time, I imagine) but is a much lighter score, blessed with a gorgeous love theme that demonstrates the composers gift for melody. The electronics work really well, my favourite track is Drive, which thanks to the magic of Youtube I can offer a link to below-
I must say there is something utterly magical and fun about the Cherry 2000 score. Whenever I listen to it, it always brings a smile to my face. Its electronics are certainly of its time, adding a nostalgic bent to it with memories of other Poledouris scores, and also Jerry Goldsmith’s scores of the time, like Gremlins, Twilight Zone: The Movie, Explorers and InnerSpace, among others, which often seemed to share that same ‘sound’. There are tender, intimate moments using that achingly sweet love theme, and big, brassy moments of almost traditional Western Movie scoring that hint at Poledouris’ later triumphs (Lonesome Dove for one) and sadly remind listeners that he later willingly dropped out of scoring Dances With Wolves.
Giving a telling insight to Poledouris’ range and ability, his score for The House of God is a rather baroque, chamber-orchestra piece, rather sombre and intimate and quite beautiful. Its got something of an Ennio Morricone feel to it. The penultimate track, The Turf of Jo, is one of the most exquisite pieces of score music I have ever heard, and to think it’s part of a 17-minute score that few have possibly heard (for a film few have likely had opportunity to see) is really quite depressing. I’ve included a youtube link below to a suite from the score- the track The Turf of Jo is featured at about 8:50.
As usual for my soundtrack CD collection, the Intrada disc I have is now OOP. Which is a pity, as both are very fine scores that demonstrate some of the sublime genius of Poledouris, a composer who never really seemed to get his due in Hollywood. I have several of his scores on disc and I’m sure I’ll feature some of them later in this series of Soundtrack Shelf posts, if only because I really should listen to them more often. I’ve really enjoyed revisiting this disc and shall have to do so more often.