Star Trek: The Motion Picture


Película | Fecha de lanzamiento: 1979 | Estreno de película: 1979 | Medio: Vinyl
 

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# Pista   Duración
1.Main Title - Klingon Battle6:50
2.Leaving Dry-dock3:28
3.The Cloud4:56
4.The Enterprise5:57
5.Ilia's Theme2:59
6.V'Ger Flyover4:55
7.The Meld3:13
8.Spock Walk4:16
9.End Title3:16
 39:49
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Star Trek: The Motion Picture - 10/10 - Crítica de Tom Daish, Publicado en (Inglés)
What is probably the finest score in the history of the entire Star Trek franchise, Star Trek: The Motion Picture stands out as giving the film a soul and atmosphere which it would so desperately have lacked without Goldsmith's superb music. Although James Horner's score for The Wrath of Kahn is perhaps the best action score, it couldn't hold a candle to the grandeur and epic scope that every part of Goldsmith's score has in abundance. From the almost impossibly grand fanfare of a main theme to the cavernous music for the alien V'Ger and the romantic music for Ilea it is perhaps his finest score, although with so many to choose from, the debate will continue.
The original film started with the concert arrangement of Ilea's theme as befitted the biblical epics, but The Motion Picture was a lumbering space epic more in the way that 2001 was, than Star Wars. Like 2001, Star Trek contained many long scenes with virtually no dialogue and almost continual special effects that gave Goldsmith the opportunity to write almost pure music and almost single handily providing some kind of commentary on the awe and wonder that the characters were surely feeling at viewing either the new Enterprise or the alien intruder. The main title introduces Goldsmith's famous main theme that served well for both the Enterprise and Captain Kirk and features most prominently in the first half of the score and film. The orchestration is somewhat different to the one he uses now (which was changed for Star Trek 5 and has remained ever since). This then immediately segues into the Klingon Battle, which is probably the closest the score gets to action music. As well as introducing the twanging noise Blaster Beam - a kind of impossibly deep and resonant bass guitar that sounds a lot better than the description - it also introduces the Klingon motif, which plays a much bigger role in later Trek scores than this one, but is simplistic, but suitably barbaric.

Total Logic is previously unreleased and underscores the short scene as V'Ger calls to Spock in the middle of the ceremony to purge all remaining emotions. Using the lower registers of the orchestra countered by high strings, the bizarre ceremony and peculiar Vulcan landscape are perfectly presented. The use of the Blaster Beam to indicate the contact that V'Ger has made with Spock also adds to the alien sound that is created, but the way this is juxtaposed with a loud rendition of the main theme as the movie cuts to Starfleet Headquarters and the skittering strings and percussion that are used to underscore the first appearance of Captain Kirk is quite striking. Probably my favourite of the unreleased cues as well. This immediately joins onto the oft requested Floating Office cue which conjures up the delicate and graceful orbiting space station with an evocation of the vastness of space that are second to none.

The next two cues deal exclusively with the first appearance and journey of the newly refitted Enterprise. The Enterprise is perhaps the highlight of the album and film, a rhapsodic treatment of the main theme that builds in anticipation and grandeur as Scotty and Kirk fly around the spacedock glimpsing the Enterprise until she finally comes into full view toward the end. The music mirrors so well the progress of the scene that it's easy to follow the action in music alone. Leaving Drydock similarly presents more variations on the main theme as the Enterprise departs. Spock's Arrival features 'cello work and more floating woodwinds as Spock arrives by shuttle on board the Enterprise, including perhaps the only vaguely funny part of the movie as Spock completely ignores Chekov's enthusiastic greeting.

The Cloud and V'Ger Flyover cover two long visual effects sequences as the Enterprise flies through the cloud and then over the vessel at the centre. Featuring almost Bernard Herrmann like repeating arpeggios (similar to Vertigo) as well as liberal doses of the Blaster Beam, this makes for almost a similar treatment of the V'Ger material that the main theme got with the Enterprise cues. I don't think anyone else could have quite mirrored the cavernous vastness and alien bizarreness of the ship and cloud as much as Goldsmith does here, and doing it in a completely tuneful and musical way. The Force Field continues with more of the V'Ger material, but doesn't quite stand out in the way the previous two cues did. Games features the first appearance of Ilea's theme since the overture as Decker attempts to rekindle some of the real Ilea's memories in the drone that V'Ger has sent to replace her. I'm not terribly keen on the Ilea music in the film as it seems to swoon just a little too much whenever Decker and Ilea are together, however on disc it works as a romantic counterpoint to the heroic sense of adventure of the main theme and the almost Herrmann-esque V'Ger music.

The next few tracks detail the crew's attempts to contact V'Ger, instigated with Spock's spacewalk, which musically propels Spock into the heart of the alien vessel in an almost chaotic sequence of brass, synths and woodwind. Inner Workings and V'Ger Speaks are fairly slow moving cues that while in any other score would stand out, don't quite compare to what has preceded them, however they do build brilliantly until The Meld which is one of my favourite cues. The V'Ger music is started to be put into a more positive light as the crew try desperately to save the Earth and the only way this is achieved is when Decker joins with the creature. With light show is accompanied with an almost biblical fervor that shimmers with powerful beauty that also makes V'Ger seem less threatening than it was, but more of the site of a miracle with the joining of man and machine. The end of the cue reprises the Enterprise theme as the ship appears from the light show just floating alone in space in one of the most powerful images of the entire film. A Good Start again takes the Enterprise music to round out the film as Captain Kirk orders the ship for a proper shake down cruise. The End Title reprises the main theme with Ilea's theme sandwiched in between, as has become standard practice on Goldsmith's Star Trek assignments.

This classic score now has the definitive release it so long has deserved from the abridged release. The sound is just sparkling with perhaps my only query being somewhat muffled sound during A Good Start. Other than that, the packaging is good and liner notes informative. There are plenty of classic Goldsmith scores, but for sheer enjoyment, it's a much easier listen than something like Planet of the Apes and is certainly Goldsmith's best leit motif based score. While the film will do down as a dull, but worthy attempt to make Star Trek into something even more cerebral than it already wanted to be, I suspect it's Goldsmith's score that will be remembered in years to come. An essential classic.
Star Trek: The Motion Picture - 06/10 - Crítica de Lammert de Wit, Publicado en (Neerlandés)
De film Star Trek: The Motion Picture is een vervolg op de beroemde televisieserie uit de zeventiger jaren. Ook de spelers/bemanningsleden zijn dezelfde.
Het verhaal draait om een enorme buitenaards ruimteschip of entiteit die op weg is naar de aarde en alle op z'n weg vernietigt. De Enterprise wordt erbij geroepen, hoewel die nog niet klaar is voor een missie en nog in het dok ligt voor een grote revisie. Toch gaat het schip op weg met captain Kirk en dr Spock en maakt contact met V'Ger, het monster dat op weg is naar de aarde...
Voor die tijd was Star Trek: The Motion Picture een spannende film. Tegenwoordig is het oubollig en aftands. Het kan verkeren...

De score werd gemaakt door Jerry Goldsmith, die er (ook weer voor die tijd) een spannende score van maakte. Met veel bravoure worden de thema's gebracht door een volledig orkest, waarbij vaak de blazers de leiding hebben, zodat de muziek een heroïsche klank krijgt. Maar, zoals zoveel scores uit de zeventiger en tachtiger jaren zijn de scores qua melodieën nogal bejaard. Echt fraai zijn ook in deze film de melodieën nergens. Het klinkt wel aardig allemaal, maar daar houdt het dan ook ongeveer op. De muzikale sfeer hangt een beetje tegen die van de big-band aan, hoewel de klank veel orkestraler is.
De score kent ook veel spannende tracks, die op zich goed beluisterbaar zijn, maar waar je niet van op het puntje van je stoel gaat zitten. Het komt wat tam over en bevat nog minder aantrekkelijke melodie dan de andere tracks.

Kortom, de score voor Star Trek: The Motion Picture is wel aardig, maar heeft erg veel last van die typerende klankkleur van films uit de zeventiger jaren, waar ook de opvolger Star Trek: The Wrath of Khan van James Horner last van heeft. Dat maakt die scores aanzienlijk minder aantrekkelijk om naar te luisteren.

Otras versiones de Star Trek: The Motion Picture (1979):

Star Trek: The Motion Picture (2012)
Star Trek: The Motion Picture (1999)
Star Trek: The Motion Picture (1990)
Ultimate Star Trek, The (2000)
Star Trek (1982)
Star Trek: The Motion Picture (2017)
Star Trek: The Motion Picture (2022)


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