Saturn 3
Elmer Bernstein
" A Bernstein effort the movie wasn't ready for "Written by Thomas Glorieux - Review of the limited release
If you may ever encounter weird movies, then Saturn 3 might be one of those '80 flicks you completely resent or overwhelm you positively with its unique science fiction look. And Elmer Bernstein worked on that part too, when he created one of his most ambitious innovating scores of his career. Sadly, most of the music Bernstein wrote was tossed out of the final edit of the movie, and only 26 years later does it present itself on CD for the very first time. What we hear now is one of Bernstein's most daring scores, and considering it was tossed out of the final reel anyway, we stumble upon music we heard before in more rewarding efforts.
It all starts with "Space Murder" and a 9 minute representation of what we will encounter in the music to come. Opening with a full brass assault mimicking 2001's North odyssey, it leaps forward into a strange pop beat effect that would color the disco period of that time. It continues after that with brief orchestral carnage, somber moody suspense and the musical material we heard in the latter effort Heavy Metal namely the love theme of that score (here it represents the late Farah Fawcett's interest in the movie). In a way it is better when heard in the conditions Bernstein used it for Heavy Metal. Yet at the other hand, it's the blossoming music that counter attacks the carnage of the rest of the entire score.
With "Meet Hector" guitar and flute dance around a darker setting, leaving room for the strange sound design that Elmer wrote for the movie. For "The Brain" Bernstein has another surprise waiting for you. I can only describe it as an orchestra warming up (you know with the strings?), giving us an ethereal mood. The disco is back in "Blue Dreamers", while Silvestri's beat straight out of CHiPs continues to guide the remainder of the track.
With "Peeping Toms" we reach what is essentially the score's most daring and perhaps biggest innovating piece of all. It's a sinister piece where strings and flute mesh together, where low chanting choir or breathing effects put the S in sinister, where brassy frenetics around the 4th minute show its pompous effect. We discover more darkness in "Training Hector", having ominous choir, unnerving brass and atonal piano.
Occasionally the effects sound dated like in "Hector Loses It". For "A Head for Hector" it's nothing but eeriness and wonder in detail that lingers behind, like the light vocal effects in begin and Superman effects (due to the strings and part theme). A brief faint love version is spotted in "Alex Alone" while "The Big Dive" comes down as the best track in power alone, with a solo vocal and thundering fanfares straight out of Ghostbusters bringing a darn impressive finale to its heights.
What Elmer Bernstein wrote for Saturn 3 and what was most not featured in the film is not his best but surely one of his guilty pleasures. Because it is clear he goes overboard in certain kinds of areas (yet with a surprising effect to say the least). Meaning, it works and while it wasn't featured a lot during the film, it is still a difficult but rewarding affair. In a time of playing it safe and few renewal, the old regenerate the youth with an amazing modern and complex sound design, ready to be loathed to those who want it simple, and ready to be liked by those who want music to be daring and cunning. Saturn 3 becomes the score no want expected, no one heard of yet, no one expected Elmer Bernstein ever to compose.
Tracklisting
1. Space Murder (9.20)
2. The Lab (2.05)
3. Meet Hector (4.44)
4. The Brain (2.08)
5. Blue Dreamers (2.42)
6. Hector Mimics Benson (1.25)
7. Peeping Toms (7.15)
8. Adam's Target (2.00)
9. Benson is Off (2.16)
10. Training Hector (3.13)
11. Adam Rescues Alex (2.39)
12. Hector Loses It (6.52)
13. The Run (1.48)
14. A Head for Hector (3.31)
15. Alex Alone (2.06)
16. The Big Dive (4.37)
17. End Credits (3.22)
Total Length: 62.48
It all starts with "Space Murder" and a 9 minute representation of what we will encounter in the music to come. Opening with a full brass assault mimicking 2001's North odyssey, it leaps forward into a strange pop beat effect that would color the disco period of that time. It continues after that with brief orchestral carnage, somber moody suspense and the musical material we heard in the latter effort Heavy Metal namely the love theme of that score (here it represents the late Farah Fawcett's interest in the movie). In a way it is better when heard in the conditions Bernstein used it for Heavy Metal. Yet at the other hand, it's the blossoming music that counter attacks the carnage of the rest of the entire score.
With "Meet Hector" guitar and flute dance around a darker setting, leaving room for the strange sound design that Elmer wrote for the movie. For "The Brain" Bernstein has another surprise waiting for you. I can only describe it as an orchestra warming up (you know with the strings?), giving us an ethereal mood. The disco is back in "Blue Dreamers", while Silvestri's beat straight out of CHiPs continues to guide the remainder of the track.
With "Peeping Toms" we reach what is essentially the score's most daring and perhaps biggest innovating piece of all. It's a sinister piece where strings and flute mesh together, where low chanting choir or breathing effects put the S in sinister, where brassy frenetics around the 4th minute show its pompous effect. We discover more darkness in "Training Hector", having ominous choir, unnerving brass and atonal piano.
Occasionally the effects sound dated like in "Hector Loses It". For "A Head for Hector" it's nothing but eeriness and wonder in detail that lingers behind, like the light vocal effects in begin and Superman effects (due to the strings and part theme). A brief faint love version is spotted in "Alex Alone" while "The Big Dive" comes down as the best track in power alone, with a solo vocal and thundering fanfares straight out of Ghostbusters bringing a darn impressive finale to its heights.
What Elmer Bernstein wrote for Saturn 3 and what was most not featured in the film is not his best but surely one of his guilty pleasures. Because it is clear he goes overboard in certain kinds of areas (yet with a surprising effect to say the least). Meaning, it works and while it wasn't featured a lot during the film, it is still a difficult but rewarding affair. In a time of playing it safe and few renewal, the old regenerate the youth with an amazing modern and complex sound design, ready to be loathed to those who want it simple, and ready to be liked by those who want music to be daring and cunning. Saturn 3 becomes the score no want expected, no one heard of yet, no one expected Elmer Bernstein ever to compose.
Tracklisting
1. Space Murder (9.20)
2. The Lab (2.05)
3. Meet Hector (4.44)
4. The Brain (2.08)
5. Blue Dreamers (2.42)
6. Hector Mimics Benson (1.25)
7. Peeping Toms (7.15)
8. Adam's Target (2.00)
9. Benson is Off (2.16)
10. Training Hector (3.13)
11. Adam Rescues Alex (2.39)
12. Hector Loses It (6.52)
13. The Run (1.48)
14. A Head for Hector (3.31)
15. Alex Alone (2.06)
16. The Big Dive (4.37)
17. End Credits (3.22)
Total Length: 62.48