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Alien

 

 

Alien (1979)

Composer(s):
Jerry Goldsmith 

Released in:
1979

Reviews
One of Jerry Goldsmiths' most addictive scores ever.
by
bansheefan57 (June 25, 2006)
Being a major fan of this accurately frightening film, I adore every aspect of it's fine existence. One such aspect to be mentioned, is of course, the beautiful, and chilling score that maestro Jerrald K. Goldsmith composed ever so brilliantly. The sad thing is, not all of it was heard when the final product was released. Ridley Scott had fallen in love with "Temp-Tracks" of Goldsmiths earlier scores, that he didn't feel the need to place the appropriate music where intended. Another problem for Goldsmith, was that Scott was never too specific with what he wanted, resaulting in rescores that were recorded, replacing some of Jerry's intentions with alternate, yet still creepy textures in style and structure. The original music as written by Master Goldsmith, is what you hear on the original soundtrack LP. The music in nothing short of brilliant and addictive. I tend to, even now, seemingly overlisten to my share of the score. Why shouldn't I? The Main Theme is all too cold and beautiful, representing a certain chill, for the terror of the films monster. The next three tracks include "FaceHugger, Acid Test, and Breakaway". The first sustains a soft, string-based opening that dives into a brutal jerkiness, with the orchestra sounding raw and painful, seeing as the movie contains some rather scary moments as the one for which this song was scored. "Acid Test" and FaceHugger" begin as rough and fast as this films tension is, with certain noticible sounds occuring in certain moments of the cues. There seems to be a pipe intrument that bangs like a pole in "Acid Test, and the ending of "Breakaway" is so flattering and conclusive. The Side one closer, "The Landing" is certainly a standout cue from both the score, and the film alike. It plays the theme to a full orchestrated blast of drama and uncertainty. It seems to build up to a gorgous apex like an orgasm at one moment.
The second side begins with "The Droid", a cue certainly NOT heard in the film. The cue begins with shrieking strings that both raise and lower before the absolute tension speeds up. "The Recovery" and "The Alien Planet" are both cold, dark cues that never really jerk us, but make us feel nervous, and unsure of the future of the characters. "The Shaft" is one track I still can't figure for the film, seeing as it was not used either, but it's fast eruptions and slick harshness make it a great cue non-the-less. The "End Title" is the moment of the album, as it was to represent the end of the film, and the victory of it's main character, Ripley. It is the films theme, played with a strong beauty and assurance that it is all over. It is not a sugar-coted melody, but a symphonic masterpiece of courage and strength, and it ends this amazing album with such power, you will only want to listen to it all again immediately, as this is one of Jerry Goldsmiths most addictive scores ever!



Reviews on other sites:
Film Music Magazine (2-CD Intrada release) 
suggested by:
Robert DiMucci



TaxZone 


Mad Movies (in french) 
suggested by:
edern



movie wave 


Soundtrack Express 


Golden Score (in French) 


Soundtrack Review Central 


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