BLUE THUNDER (1983)

BLUE THUNDER is John Badham's super-helicopter thriller, starring Roy Sheider as Frank Murphy, a cop assigned to test-fly the dangerous vehicle for the '84 Olympics. When Murphy suspects that the government plans to use the chopper for evil, he steals it, resulting in some of the most intricate helicopter chases ever captured on film.

BLUE THUNDER is deservedly one of Arthur B.'s best known scores, a unique combination of '80s electronics with acoustic brass, strings and percussion. The main theme is dynamite, an ascending long-line melody usually voiced on a hollow-sounding synclavier patch (at times layered over a sampled rhythm of whirling helicopter blades). As per custom with Rubinstein, the tune takes unexpected harmonic turns that keep you on your toes everytime you hear it. It's not often you get to hear a classically trained film composer write this sort of sophisticated music for the synthesizers that were more often employed on pop-scores by Vince Di Cola and Harold Faltermeyer. BLUE THUNDER is a rare thrill in that it tricks you into thinking you're in for an enjoyably trashy synth score only to reveal the classical intricacies found in Rubinstein's best work. 

As you might suspect in a movie about a helicopter, a good deal of the music is buried under sound effects. The promo soundtrack CD is hard to find but Track 14 (River Chase/Hide and Seek) may very well be the best action cue Rubinstein has ever penned, mixing and matching his main theme with the rest of the score's biting, mechanical sub-motives, and brilliantly blurring the line between electronic and symphonic. Highly recommended.

Definitely worth watching.

-- Al B

We attempted to sync up the picture with the exciting River Chase half of the cue. Here you can see how the music works in the film with only Rubinstein's score isolated: 




There are some standout themes in BLUE THUNDER like the soft piano theme for the quiet moments between Murphy and Kate (on the album as Kate's Theme). This theme has a haunting quality in it's beginning statement but ends with a more hopeful turn in the closing phrase. 

The composer utilized some experimental piano effects for the creation of the score. According to John Badham in the promo CD liner notes, Rubinstein created an unusual piano sound by placing the microphone inside a large empty water bottle underneath a Steinway. 

Track 8, Follow My Leader, is one of my personal favorite cues which plays with fun synth textures and contains an early statement of the action motif later heard in River Chase. Always present are the bouncing minor 3rd intervals expected from the composer. Synths used for the score were the Synclavier II, Jupiter, Prophet and Moog. An original version of Murphy's Theme was composed for the end title and performed with a single piano building with a crescendo in the orchestra (Track 15, Ride With The Angels) but the filmmakers opted for a more pop flavored version which can be heard as Murphy's Law - Theme from Blue Thunder (Track 16). 

BLUE THUNDER stands as one of the best action films of the 1980s and it's theme of secret government surveillance is still a very relevant subject. Today's word of summer blockbusters with nothing coming out but comic book action movies gets old and stale so it's nice to reflect on how action used to be made. It's incredible to think now that John Badham's BLUE THUNDER was released the same year as WARGAMES.  1983 would be a watershed year for both Arthur B and the director. 

-- Brandon F. 


The promotional CD cover for BLUE THUNDER.  Unfortunately as of this post the soundtrack still has not seen an official release from any label.

THE PHOENIX (TV SERIES PILOT - 4.26.81)

Every weekend I'm going to attempt to cover one episode of a TV show scored by Arthur B.  This week I'll start with THE PHOENIX which was a short lived television series that starred Judson Scott as an ancient astronaut who is discovered in a sarcophagus in a Peruvian tomb. The show only lasted for 5 episodes on ABC even though 8 episodes were produced. The premise of the show has Bennu of the Golden Light (Scott) searching for his partner Mira and the reason why he was unearthed too soon. Bennu has super powers, like many of the main characters from shows of this era, but his strength is dependent on the sun. I clearly remember watching one episode of this show with my dad when I was five years old and being disappointed it did not come back on the next week. 


Rubinstein's music for the pilot episode is the best from the series and utilizes a main theme for Bennu that does not appear again in the short run. The opening main theme is impressive and consists of strong brass writing with an octave leap and a repeated single phrase over a pedal tone with only a slight variation: 

There are some experimental colors like this wild percussion and pizzicato string cue where Bennu escapes from the scientists who are doing experiments on him:

The main theme is soon explored on a pan flute when Bennu escapes to the beach with a photographer named Noel (Shelley Smith). Pan flutes at the beach always remind me of THE KARATE KID (1984) -- maybe this is where Bill Conti got the idea!

The warm tremolo string bed adds support to the theme along with the piano as Timmy is introduced:

Noel is a photographer who for some reason thought it was a good idea to pick up this strange alien hitchhiker who gives foot massages. She has a yearning minor theme which also acts as a sort of love theme for Bennu and does appear again for another woman who he meets in the series. It becomes an important part of the score later:

E.G. Marshall plays a supporting role as Dr. Ward Frazier, one of the scientists who unearthed Bennu, and helps him escape from the head of the Latin American Department of Antiquities Diego DeVarga. There are some interesting textural cues with synth for Bennu's mind powers:




After Bennu is shot more electronics are added to the score on the main theme. Bennu hides the amulet with Timmy who gives it back to him when he prepares to escape from the hospital:

There are a few exciting car chase sequences with repeating timpani, muted horn and trumpet. It all comes to a halt with French horns blowing dissonant clusters as Noel's car careens out of control and crashes off a bridge. The best dramatic use of Noel's theme is after she dies. A gorgeous statement of the theme is stated on trumpet and then the music returns to the main theme on pan flute with harp followed by an exciting synth and brass statement for the finale:




Overall the score is very beautiful and perfectly matches the spiritual elements of the series. 

-- Brandon F. 


No CD release but the new theme written for the opening of the rest of the series was mistakenly released on the FAKE OUT soundtrack. No DVD release. 

MURDER IN SPACE (TV MOVIE 1985)

MURDER IN SPACE, starring Wilford Brimley and Michael Ironside, is a flat bore with trashy sets and virtually no lighting -- but we were so excited by Arthur B. Rubinstein's main title music that we watched almost an hour before realizing that we had to start fast-forwarding.

This is one of those rare scores that grabs you from the very first note. After a signature Rubinstein flute motif kicks off the opening credits, the cue quickly shifts into something less than familiar in the composer's oeuvre: A giant star cruiser slowly glides by to the tune of authentic Arthur B. space music! Better yet, as the main title cycles through freeze-frame headshots of all the cast members (the crew aboard the space ship), the music launches into a rhythmic frenzy, channeling the very best of Jerry Goldsmith, but sounding like Arthur B. all the way It's like a more martial, driving version of the Tic Tac Toe finale from WARGAMES. 


MURDER IN SPACE features a bevy of themes for the different characters, but is largely driven by the four-note motif introduced in the main titles. The rest of the underscore is a disappointment by default, but it's chock full of top notch writing, including a welcome reprise of the Tic Tac Toe action music at the film's climax. The mix, as usual in '80s Arthur B. telescores, is largely outstanding. The music is fully audible during dialogue scenes and bursts to the fore for many thrilling transitional scenes. (This score has several of the best "guy walks out of the room" cues ever written.)

You must hear the main title piece.

Otherwise...

Definitely worth fast-forwarding

-- Jon Z and Al B  

The opening notes of MURDER IN SPACE are enough proof that Arthur B. is quite comfortable scoring music for science fiction space adventures. To this day it still ranks as one of our most exciting discoveries by the composer. Could this be the only Arthur B. space (in this case soap) opera? The suspense is scored with woodwinds reminiscent of even John Williams' Tatooine music from STAR WARS:





 A great example of the wonderfully explosive transitional music for a guy walking out of a room:





There are softer moments of the score with more of your typical Sci-Fi woodwind and warm string writing:




One of my favorite parts is the eerie sounds for the icy Russian exteriors and the intense brass for two men meeting at a park bench. Rubinstein masterfully makes this sound like a real caper with the main theme sounding like it would fit right in with a Sherlock Holmes mystery:






A guy leaves a park bench:




Here's a playful return to the opening chattering woodwind idea but this time in pizzicato strings:




Arthur B returns to music reminiscent of his Tic-Tac-Toe scoring from WARGAMES for the reprise of the main title material as the crew escapes from the Conestoga to return to Earth. The Russian theme can be heard briefly as Kalsinov unpacks a bag:




Music for Re-Entry:




-- Brandon F.   

Only released on VHS. No album or DVD released as of this post. 

DEFENSE PLAY (1988)

The goal of this blog is to cover other films that Arthur B scored and not just the big budgeted obvious ones. Hopefully this is a discovery of new music from a long lost era. One of our interesting discoveries was DEFENSE PLAY (1988), the first feature film directed by actor Monte Markham who would occasionally collaborate with Arthur B. The pitch for this film was probably "WARGAMES meets BLUE THUNDER but with no budget." According to IMDB this film was distributed theatrically in the US by the same people that put out TROLL 2.  One interesting footnote for the film is that Karen is played by Susan Ursitti who played Boof in TEEN WOLF (1985).

The film is about two teenagers, Scott and Karen, who get caught up in the defense department's top secret project involving remote controlled miniature helicopters with lazers. Scott's father is Colonel Denton, the leader of a top secret rocket launch that the Soviets want to stop. Karen's father, Prof. Vandemeer, is the head of the physics department and creator of the DART program (Defensive Aerial Reconnaissance Transmitters). Vandemeer, who it turns out was asked by Denton to oversee the DART project, decides to work late one night and is murdered by one of the DARTS when he attempts to call Scott's father. Of course Scott answers the phone and hears the whole thing. Soon he's involved in a cat and mouse game with a Russian spy named Starkey and the Soviets, trying to prove his father had nothing to do with the murder. 


The amazing thing is the score is mostly orchestral and is like a miniature WARGAMES. The opening music is introduced with an exciting fanfare theme on the Main Title over stock footage shots of a rocket launch pad: 




One standout sequence (one of the greatest cues we've ever unearthed) has Scott escaping from the roof of Starkey's dorm building with the help of a fire hose. An energetic use of the main theme is stated with some active string flourishes above the orchestra. The best moment being the swell of trumpets before the trombones end the cue with a biting staccato attack as he hits the ground running:






There is plenty of action in DEFENSE PLAY and here's an example of some of the DART action music with low brass and strings for the lazer attack on Scott's Jeep:




There are some great slower moments based on the theme with nice orchestral colors like this scene with Scott and Karen. This kind of 80s writing is sorely missed:


 


There is one ridiculous 80s synth moment in the music when Scott's steering wheel drumming friend helps him escape the police. It's probably the best music you will hear for a guy with his legs hanging out of the window of a car. A variation of the main theme can be heard briefly:






A great end title brings the score to a close with a reprise of the main fanfare theme but with a mysterious sounding B section extension:






Overall it's a fun score with some impressive action music for when the DARTS chase Scott and Karen in the Jeep. Despite the low budget and all around bad script the score just works so much better than the movie and you can't help but wish it was in a different film while you're watching. 

-- Brandon F. 


No album or DVD released as of this post.  You may still find a sun faded copy on VHS in a local hole-in-the-wall video rental shop or stop searching and watch it on Youtube here. 

WARGAMES (1983)

WARGAMES is an essential listen for any admirer of Arthur B. Rubinstein's music and the most likely place to start in discussing his scores. It is one of the most successful in a long line of collaborations between Rubinstein and director John Badham and is an exciting thriller meets misfit getting into trouble movie of the 80s. The screenplay is studied in screenwriting classes because it's near perfect for it's time. Matthew Broderick plays David Lightman, a video arcade gamer and home computer geek/hacker who taps into a military computer by accident. The computer is WOPR (War Operation Plan Response) and is the new machine the government has placed to take responsibility for launching the nukes against the Soviets. David meets Jennifer Mack, played wonderfully by Ally Sheedy and soon they get involved with NORAD when the machine starts calling David back.

The opening march is a rousing wind band piece that returns once in the film but it uses elements that will be featured throughout. The amazing thing about Arthur B's music is the little sub-motifs he toys with and combines as a whole to create a wonderful musical tapestry:





There is an exciting theme for David (originating from the Video Fever song) and used as he escapes from NORAD (complete with a sneaky muted trombone). The mysterious use of the minor third intervals descending for Falken and his computer creation Joshua is a score highlight. The Falken's Maze or "History Lesson" music for David's library researching montage has always been a favorite synth with orchestra 80's cue. Unfortunately only the vocal version (Arthur B's original concept for the montage) was released on the now out of print Intrada soundtrack album. We all tend to love the original film version the most which contains the French Horns on David's theme: 





The orchestra builds to a climax on Joshua's theme while the entire cast ensemble is brilliantly assembled at NORAD for the final act of the picture:







WARGAMES is spectacular film scoring and highly recommended listening.

-- Brandon F.

The screenplay to WARGAMES is noted in the book Making a Good Script Great where the author basically hails the film as being a perfectly constructed movie. This is absolutely true. This movie is perfect in script, casting, directing, pace, humor, and of course, music. Arthur B. was allowed to score the 80s usual minute-thirty montage sequence where one usually finds a pop song for example. This sequence spans over several days following David as he investigates the history of Protovision. Arthur B. makes this scene exciting on all levels. It first appears inquisitive or sneaky, builds to determination, grows into frustration, until it finally ends at a "DECEASED" resignation. Poor David. There is action music throughout and a memorable slow theme on harmonica that acts as a bit of a love theme. It has to be a good score if it remains in one's life (my life) after so many years.


-- Lin C. 

Film Trailer


Soundtrack Album Sequence

NEW SITE! SHALL WE PLAY A GAME?

Welcome to the first post for the new Arthur B Music blog. Here's a little backstory. We used to have a website about Arthur B. Rubinstein (that's Arthur Rubinstein the film composer and not the Polish American classical pianist).  That site which contained interesting overviews, sound clips and opinions of Arthur B's music was eventually replaced. If you don't already know, most of the composer's filmography is not available on any soundtrack album. I was fortunate to find an email for Arthur B and get access for an interview with him back in 2006 which was published at Film Score Monthly Online (Volume 11, No. 8).

After back and forth emailing and finally visiting with Mr. Rubinstein at his fortress in the Hills, which seemed to be in a state of never ending renovation, he showed interest in having a website of his own and asked about how to start one up. We went ahead and decided to do it for him by replacing the old site with his content. Long story short that site might as well be the domain for his orchestra The Symphony in the Glen which plays many enjoyable concerts with professionals in Griffith Park and occasionally you might get lucky and hear a new work or two by this talented composer for the price of a donated can of soup.

Lately we've lost contact with Arthur B who doesn't really communicate much on Facebook or even through email. I've been thinking about that original site a lot and thought I'd have a go at bringing it back even though only four people really looked at it and liked it (my composer friends, my sister and I).  It's possible Arthur B liked it! Anyway, I thought maybe other people in the world might discover the exciting music Arthur B. Rubinstein has written for contemporary film classics like WHOSE LIFE IS IT ANYWAY? and WARGAMES. Or if anything you'll find an interesting treasure trove of wasted and forgotten telefilms that we mostly fast-forward through hoping the next cue is a lost gem.

-- Brandon F.