Music Composed by Jerry Goldsmith
Rating: ****

Just when you think they’ve released every worthwhile Goldsmith score in the late composer’s filmography, another month passes, and a new excellent Goldsmith release is ready for shipping. As of this writing, the latest gem is La La Land’s release of Breakheart Pass, one of the many dynamite Westerns that Goldsmith scored in the first two decades of his career. The plot involves Charles Bronson and a train (I believe the original tagline read, “Get these mother-f^%#ing Charles Bronsons off this mother-f&*ing train!”), which is about all you need to know to get a feel for the score. In other words, the music is stoic and ballsy, racing with train-like momentum (though never in any obnoxious or obvious way) and pushing the adrenaline button as only Goldsmith could.

Jerry Goldsmith

Interpretations of this score seem to vary in the film score community; I’ve seen it score described as a straight-out action thrill ride by some, and as a slow burning suspense piece by others. Both arguments have support – sometimes the music is balls-to-the-wall action, and sometimes it barely whispers with nervous suspense. Most of the time, however, the music is somewhere in between, racing with momentum, but restrained and uneasy. I’d have a hard time qualifying a cue like “On The Move / Runaway” as either straight action or straight suspense, and I don’t see any purpose in trying. Suspense and action feed off each other in this score, making for a nail-biting and riveting listen – that’s all that matters to me. Goldsmith’s general formula is to play with tension, play with extreme tension, and then when it seems like we can’t take any more tension, BAM, whip out the main theme and commence the Bronsonian ass-whoopin. Repeat as necessary, and you more or less have the score. The formula sounds banal and repetitive on paper, but you’d be surprised how many fresh and surprising ways Goldsmith can apply this formula throughout ¾ of an hour.

It helps that the main theme is so good. It’s Goldsmith in classic Western mode, driving with a powerful minor key, yet heroic and lighthearted regardless.

The racing accompaniment, resting on acoustic guitar (and occasionally honky-tonk piano), contributes immeasurably and often serves as a thematic signature in its own right. We hear the theme frequently but not ad nauseum – Goldsmith uses the theme to punctuate the score, not to carry it. It’s most memorable when it breaks the door down at the climax of an action or suspense track, but it’s just as good in softer arrangements (with the brief and tender “Who Are You?” standing out in particular).

He also sneaks fragments of the theme into the ample suspense music throughout the score. Suspense music is rarely a promising sign for musical interest, but Goldsmith uses the inconspicuous brooding as a free reign to experiment with various unconventional instrumental techniques. Wavering woodwinds, tremolo violins, esoteric percussive effects, and the occasional odd noise from the synthesizer all interact as though in dialogue with each other. Nothing here is as audacious as Planet of the Apes, but it’s from the same school of thought and it keeps the music gripping even through the most low-key passages.

And of course, those coming for the action music will not be left wanting. Pyrotechnics are sparse, but they’re killer when they come. Fragments of the main theme holler over furious layers of brass counterpoint and odd meters that seem to change on the fly. The lengthy “The Casket / Boxcar Fight” is an excellent showcase, but “Raiding Party” is the highlight, a breathless climax that alternates between a full rendition of the main theme and furious brassy chaos. Make sure to check your pulse when Goldsmith pushes those intense triplets in the final stretch – this is vintage Goldsmith action writing, and damned if that isn’t saying something.

La-La Land’s release is uniformly excellent. Though mono, the recording captures all of the orchestral detail impeccably – we can hear the individual instruments with perfect clarity. I may be in the minority, but I’d rather have a great mono mix than a hissy and warbling stereo mix any day. It may be single-minded in design, but Breakheart Pass is taut, intelligently constructed, and supremely entertaining from start to finish. Goldsmith wrote far too much excellent music for this one to break into his upper echelon of film scores, but it’s at least the best Goldsmith release this . . . year. Copies are limited to 3000, and they’re apparently flying faster than any of La La Land’s previous releases have to date, so make haste.

Music Composed and Conducted by Jerry Goldsmith; Orchestrated by Arthur Morton; Album Produced by Ford A. Thaxton; Label: La-La Land Records, (LLLCD 1044); Availability: Limited to 3,000 copies; U.S. Release Date: July, 2006.

01. Breakheart Pass - Main Title (2′35)
02. Free Ride / Hot Stove (5′03)
03. Medical Supplies (4′00)
04. The Trestle (2′57)
05. On The Move / Runaway (2′49)
06. No Word Yet (1′00)
07. Night Watch/Help Yourself (5′41)
08. Who Are You? (0′46)
09. The Casket / Box Car Fight (7′13)
10. Make Up Your Mind / Leaving The Fort (1′29)
11. A New Friend (1′49)
12. Here They Come (1′01)
13. Raiding Party (3′57)
14. No Entry (1′31)
15. Reunited / End Credits (4′09)
16. Four Styles (0′13)
17. Charge (0′20)

Total Playing Time: 46′33