Lost in Space


Intrada (0720258708625)
Movie | Released: 1999 | Film release: 1998 | Format: CD
 

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# Track   Duration
1.Prologue0:57
2.Preparing for Space2:31
3.The Launch6:22
4.Robot Attack3:21
5.Into the Sun6:21
6.Spiders10:22
7.A New World1:25
8.Guiding Stars1:37
9.The Time Bubbles2:21
10.Smith's Plan1:21
11.Will and Smith Explore2:0
12.Will's Time Machine4:24
13.Spider Smith2:39
14.Facing the Monster8:46
15.Attempted Escape1:26
16.The Time Portal2:42
17.Through the Planet2:31
18.Back to Hyperspace1:38
19.Fanfare for Will0:27
20.Lost in Space3:24
 66:34
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Lost in Space - 10/10 - Review of Jason FLZ, submitted at
With every great composer in hollywood, there are many underutilized ones. The best example of these is Bruce Broughton, an extroardinarily diverse composer who definitely knows how to piece together a broad score while sticking to the themes he created. With the 1998 film Lost In Space, he pulled off a space adventure score that definitely is as good as any Broughton fan could hope. When the film was released two albums followed it. One was a typical studio album, full of typical songs and only a small portion of score. The second was a score album containing most, if not all, of Broughton's work. Surprisingly, some of the music in the score album differed from the music used in the songs album. (this could be due to the fact Bruce had to re-write much of his score when numerous scenes were altered) Otherwise, it still sounds great.

The score opens up with "Prologue", an airy piece that feels more like it could fit in the background. Surprisingly, this track doesn't appear in the film itself. Finally, Broughton introduces two of his themes in "Preparing for Space". He creates the main theme, a gentle melody with hints of western in it. He also introduces Smith's theme, a fairly dark motif that reflects the character in which it is based off of. In "The Launch", Broughton reprises Smith's theme briefly and gradually builds up the score with a new variation of the main theme. It really will give the listener a feeling like they are launching into space along with the Robinson family. "Robot Attack" and "Into THe Sun" really shows how well Broughton can create action/tension without indulging into darker material. He manages to re-use all of his themes and incorporate newer themes into it all. Following the action is actually the longest cue in the score. Running at 10 minutes is "Spiders". The first half is done to work as more of a background melody, much like prologue. Creepy chords take up the background and create a great sense of uneasiness. Suddenly, the score bursts back into the action while building on with more brass sections that work as Bruce Broughton's own light touch. The track is finally completed with a slight return to the main theme.

While the score itself isn't grouped into sections, it sure feels like it. Starting in "A New World", Broughton introduces a third theme. The strange use of a choral element while incorporating small melodies proves to be very effective. "Guiding Stars" marks a return to the main theme as a lighter, touching cue. The following four cues also revisit Smith's theme and the odd motif used in "A New World." "Spider Smith" also revisits Smith's theme, however, it is twisted until it feels genuinely creepy and messed up. "Facing The Monster" re-builds the entire score by incorporating all of the themes together for one long cue. "Attempted Escape" and "The Time Portal" revisit the main theme once again. Controversially, the next track "Through The Planet" is nothing like the version featured on song album. "Through The Planet" feels way too copy/paste for my tastes. While incorporating a few themes, the track suddenly switches to an action cue which is exactly like the one featured in "Robot Attack". The transition isn't well done and the entire cue suffers. Fortunately, "Back To Hyperspace" redeems the score with a new motif that builds up and basically finishes the album. Surprisingly, there are still two tracks left on the album. The first, "Fanfare For Will", is a short cue that adds nothing to the score. To be honest, I don't even think it was in the film. The second track is "Lost in Space". It is basically an expanded version of the "Thru The Planet" cue that was featured on the song album.

With his film credentials being very good, it is a shame that Bruce Broughton hasn't had any major projects that his talent deserves. Fortunately, he has numerous scores that reflect just how much of a genius he really is. The entire score album is worth buying if you want to hear a trued and true space adventure score. While some parts could be better I am highly impressed with Bruce's work and hope to see him revisit the Lost in Space universe. One more thing, for those of you fans of John William's theme to the old series, you will be sorely disappointed to see that it doesn't re-appear in this score. Apollo 44 has, however, created their own version and have featured it on the songs album. Anyone who wants that theme can check out that album instead.
Lost in Space - 08/10 - Review of Tom Daish, submitted at
Given the naffness of the original series, it's perhaps unsurprising that when it finally came to the big screen, Lost in Space turned out to be a monumental disappointment. On the other hand, it's solid concept - a family stranded in space - that seems ripe for solid drama and some Star Trek style planet hopping. Indeed, the film's somewhat convoluted time travel story seems more suited to a recent small screen Trek episode than a feature film and despite some impressive effects, the film never really got off the ground. As it were. Had the film succeeded, perhaps Bruce Broughton's career might have been a little more high profile as he contributes a terrific last minute effort and one of the few things in the film that really works. So popular that an expanded release was made available by Intrada less than a year after the original release.
In common with many TVT soundtrack releases, the original Lost in Space album is half songs and half Broughton's score (slightly weighted in favour of the songs), but it does feature many of the best cues. About the only song track of interest to soundtrack fans is likely to be Apollo Four Forty's remix of John Williams' original TV theme (the better remembered one from the third series) which, unsurprisingly, features plenty of window rattling percussion, but isn't too awful for all that. Of course the good stuff is from track nine with the brief Main Title before the more sinister Reprogram the Robot. However, with The Launch Broughton's terrific main theme is presented in its more heraldic and adventurous guise as the Robinson family take to space, perhaps the most robustly enjoyable cue of the entire score; it's just the kind of soaring and majestic cue that ought to accompany every launch.

The shorter album covers some of the best action sequences, particularly the galloping Robot and Spiders Attacks, but here the expanded album comes into its own, linking everything together. The entire Spiders sequence is edited into a longer suite and includes the creepy build up to the attack. Some of the fairly brief cues that cover the Robinson's exploration of the planet into which they crash aren't especially exciting, but Broughton is too good a composer to let the pace flag for long and the extra tracks during the finale are well worth discovering. From the melodrama of Attempted Escape and The Time Portal, to the breathless excitement of Through the Planet (which isn't the same as Thru the Planet on the short version) and the concluding Back to Hyperspace. The album closes with a brief pair of epilogue cues; Fanfare for Will is a great work out for brass, while Lost in Space is actually an expanded version of Thru the Planet from the original disc. Unfortunately, the edits made originally actually seem quite judicious and produce a tight and exciting finale, but it's nice to have two version of the same cue.

It's really no surprise that the expanded edition (cover featured at the top) is quite hard to come by now, but the original album is still widely available. Despite my complaints that many score albums run on a bit, pretty well all of the extended release is worth hearing and the clear choice, but the TVT release does contain most of the best tracks and is certainly still worth obtaining should the Intrada album prove elusive. It also has the advantage of some of the cues being separated (such as Reprogram the Robot and The Launch and combined into a single cue on the extended edition, to no great benefit) and Thru the Planet which is just that bit more exciting (and it truly has underwear soiling energy and momentum) than Lost in Space on the extended release. Whichever you choose/find, it's a great score and the ever reliable Sinfonia of London perform with distinction, captured in splendid sonics.

Other releases of Lost in Space (1998):

Lost in Space (2016)


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