The Big Superman Review

by Jon Hoyle

On Tuesday, October 20, 1998, Varese Sarabande released to the world a re-recording of one of the (if not the) finest non-vocal motion picture soundtracks. This magnificent John Williams composition was conducted by John Debney and performed by the Royal Scottish National Orchestra. The recording was made on August 3 and 4, 1998 at City Halls, Glasgow.

Selections

When Varese Sarabande producer Robert Townson, a long-time fan of this score, planned for this restoration soundtrack, he was beset with many problems: finding missing music from an unhelpful Warner Brothers, piecing together what was useable and what wasn't, etc. From the very beginning, it was decided that the only business case would be for a single CD, so the task of choosing what to record became a difficult one. On one hand, there was a great deal of material not available in the OST (Original Sound Track) from 1978 which could be available to Superman fans for the first time (especially extended pieces of music, and film versions that differ from OST versions). On the other hand, what kind of soundtrack could it be if it didn't include the Main and End Titles, the Love Theme, the themes of Krypton, the Fortress, the Villians, etc.? For those who will buy only one soundtrack, the major themes must be in place to put this album in consideration. So the decisions were made for a compromise between these two ideals, and the tracks you see are what were chosen. Compromise can be seen throughout, including within the "Main Title" itself.

Being overly ambitious, more music was recorded than could fit on a single CD. Rather than be forced to choose what tracks to kill a second time, Mr. Townson magnanimously chose instead to keep everything recorded, and release it on a "specially priced" two CD set. One only wishes though that this decision was reached in advance, as two CD's full of music could have been recorded and preserved.

One of the drawbacks to this CD set is the missing items. If one were to view this CD more as a companion rather than a replacement, why leave in "Trip to Earth" when "Destruction of Krypton" could be extended to include the spaceship departure? Why include "March of the Villians" when "Lex Luthor's Lair" (dropped from the CD version of the OST) could be instead? Why include the OST version of "End Title" when this is the film's "Main Title" anyway, why not simply include the film's "End Title"?

But putting the issues aside of what this soundtrack is not, what it is is a thrilling re-recording for all fans of this score. Finally hearing this fantastic soundtrack in 20-bit digital recording quality is quite invigorating. Although there are many points within this recording in which the pace is noticably slower and more deliberate, I would strongly encourage all lovers of this soundtrack to complement it with this fine piece of work.

Tracks

Prologue and Main Title (5:31)

In the OST, this track begins with the strong horn fanfare opening whereas the film version begins with the prologue and creeps up. Most people (including myself) prefer the film version, although the OST version is more well-known. Debney takes a compromise position by beginning with the fanfare and then proceeding into the prologue. It's an odd compromise musically, but it plays surprisingly well (I would have imagined it being abrupt). However, I would have been happier had this simply been faithful to the film version. After the "S"-splash, this version pretty much models the OST, which is unfortunate. However, the quality of sound and overall performance is stunning. I have heard a number of other renditions of the "Main Title", and none come close to this, with the exception of John Williams' version by the Boston Pops in his "By Request..." CD. Despite its failure to meet expectations, it is still one of the best renditions of the "Main Title" ever recorded.

The Planet Krypton (4:35), The Destruction of Krypton (5:27), Trip To Earth (2:38)

These tracks are the same versions as heard on the OST. "The Planet Krypton" is the one track which I didn't seem to notice or mind the slower pace, mostly because it added to the ominous nature of the theme. I had expectations that perhaps extended material from the Krypton theme would make an appearance, but alas such was not to be. However, I must underscore that despite the missing expectations, the themes were very well played (although "Trip To Earth" was at a noticably slower pace).

Growing Up (2:05)

Although this cut is available on the LP and cassette versions of the OST, it was one of two tracks removed from the American CD version to conserve space. Many fans will never hear the OST version of this for this reason alone, and so it was manadatory that it be included on this album.

Jonathan's Death (4:09)

This is the first unreleased piece of music on the CD. Without having an OST version for 20 years to compare it with, my ears perked up at this theme. Fans of the movie will instantly recognize the beauty and sadness in this track, as it is one of the most moving pieces of the entire CD set.

Leaving Home (4:46), Fortress of Solitude (8:22)

Although John Williams will be best known for Superman in the "Main Title" and "Love Theme" themes, it's his genius for subtlety that deserves the attention, especially in these two pieces from the OST. "Leaving Home" is the most moving track from the OST, and I am glad it was preserved for this CD. As the teenaged Clark says goodbye to his mother, the touching departure in the beautiful wheatfields of Kansas is so wonderfully expressed and dutifully reproduced by Debney, that it remains my favorite. "The Fortress of Solitude" combines awe and majesty, strangeness and exciting newness. No Superman soundtrack would be complete without it.

The Helicopter Sequence (6:16)

This is another big addition to the CD that was not found in the OST. Perhaps my favorite part of the entire movie, Superman's introduction to the world as he saves Lois and the helicopter is a magnificent scene, and the accompanying music is absolutely fantastic. Debney does an outstanding job and is one of the biggest selling points for the CD set.

The Penthouse (1:50)

This short piece is the theme to Superman's arrival to Lois Lane's penthouse apartment for the interview (and by the way, exactly how does she afford this on a reporter's salary??). A loving soft prelude to "The Flying Sequence", not found in the OST.

The Flying Sequence (4:16)

A masterpiece of work by Debney as he faithfully reproduces the first half of "The Flying Sequence & Can You Read My Mind" from the OST. The OST version includes the voice of Margot Kidder reciting the lyrics to "Can You Read My Mind", which was a bit controversial to fans of John Williams. It way my hope that the complete theme (without the lyrics) would be reproduced by Debney, but to save space for other tracks, Debney ends this piece at Superman and Lois ascend above the clouds, thereby bypassing the "Can You Read My Mind" portion altogether.

The Truck Convoy (1:54), To the Lair (3:56)

These two pieces are also not found on the OST. "The Truck Convoy" is a short variation of "March of the Villians." "To the Lair" is more interesting, as it is the piece that follows Superman from the Daily Planet to Luthor's Lair for the first time. Very well done and one of my favorite pieces on the CD set.

March of the Villians (3:56)

Although this theme is never found in the movie, it is the standard from which the all other variations derive. It serves as the basis to everything from describing Otis' bumbling to Lex Luthor's humorous appearances in Supermans II and IV. Faithfully reproduced by Debney.

Chasing Rockets (5:12), Pushing Boulders (2:24), Flying to Lois (2:58), Turning Back the World (2:01)

These four tracks represent the music from the OST's "Chasing Rockets", "Turning Back the World" and parts of "Superfeats" except placed into their correct film order. "Chasing Rockets" is as wonderfully powerful and urgent as "Flying To Lois" is climactic and sad. Interestingly, there is no pause in music between "Pushing Boulders" and "Flying To Lois", just a longer transition between themes. "Turning Back the World" is noticably slower in pace than in the OST, especially while Superman is actually spinning the world backwards, which should be a fast tempo-ed theme.

The Prison Yard and End Title (6:27)

I had initially hoped that this would be the film's "End Title", but rather it was the OST's. Although admittedly the OST's version a better tune (the film version was a bit on the soft side), much of the OST's "End Title" was actually the film version's "Main Title", and thus being faithful to the film in the "Main Title" would have made it unnecessary to duplicate here. However, the performance by the RSNO was outstanding and wonderful to listen to. In previous tracks, the slower pace was obvious in the conductor's attempt to match the sound note-for-note, whereas in "End Title", Debney seemed more relaxed by this point, making the flow easier and more natural than in the "Main Title."

Love Theme from Superman (5:01)

Placed in its film appearance (it occurs in the middle of the OST), this theme is the standard bearer for all Love theme variations throughout the movie. This is perhaps the loviest Love theme I've ever heard, and I thought the RSNO performed magnificently.

***

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