Prometheus Records delivers another sought-after
Goldsmith score in the form of this 1982 film by John Frankenheimer. This
period in is considered to be Goldsmith's glory days, when such works as Planet
of the Apes, Patton, and Star Trek: The Motion Picture
were composed. As such, this score represents a blending of styles and
sounds from a lot of his scores within the 70s and 80s. The style in The
Challenge can best be described as Star Trek: The Motion Picture,
Star Trek: First Contact, Planet
of the Apes, and The
Mummy all rolled into one. If this sounds like an intriguing
description, that's because it is. That is not to say that there is any real
outright copying, although there are some sequences that are heavy reminders
of other Goldsmith scores. Instead, The Challenge remains fresh and
exciting while reminding the listener that it is vintage Goldsmith.
The music is mostly Western in feel, but
Goldsmith doesn't shy from utilizing some ethnic Asian instruments,
including the shakuhachi and the koto. Thus, while the
orchestral arrangements follow a conventional Western pattern, it manages to
deliver a more exotic sound benefiting the Asian cultures. The main theme to
the score appears in the first track and is used to great effect throughout
the run of the music (especially in the end title sequence). It makes use of
the cool little string flourish that would reappear in Star Trek: First
Contact. The action music is surprisingly intense, and reminiscent of
the style from The Mummy, while using some
of the "unique" percussion instruments (read: mixing bowls) that
played a major part in Planet
of the Apes. Incorporate the Asian
sound that Goldsmith utilized for this score and the end result is very
interesting to listen to. The quieter, character-building moments are well
composed as well and never fall into the trap of becoming simply musical
atmosphere.
Thanks to Prometheus, fans of Goldsmith won't
find it such a "challenge" now to locate this score. The mastering
job is really good, although there is still some analog hiss. The linear
notes are informative, but mostly on the status of Japanese vs. Western film
and there are only about four pages devoted to Goldsmith's score. Despite
these minor flaws, this is one that no fan should be without. ****1/2
