Soundtrack Review: Star Trek: The Final Frontier (1989)

Posted by Jon Blough

May 5, 2009

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This is a review of the motion picture score Star Trek The Final Frontier by Jerry Goldsmith.

“A fine return to form for the series”

William Shatner may not have made a lot of smart moves in his direction of Star Trek V: The Final Frontier, but after the last two scores for the films underachieved he clearly made one very, VERY smart choice: bringing back Jerry Goldsmith. I suppose our modern equivalent has been people clamoring for John Williams to return to Harry Potter, though that comparison fades a bit since no Potter score has approached the depths (not a compliment) of ST4. Anyways, Goldsmith was exactly what the series needed, and while it may not have be as original or brilliant as his first foray into the genre (those expecting extended soaring performances like “The Enterprise” or any dense suspense music will be disappointed), it is still vibrant, exciting, and sweeping, and definitely one of the more lyrical Trek scores.

Prominent Ideas

Dominating the new thematic territory a four-note motif used for adventure and adversity. Goldsmith throws it out in a lot of different ways, whether pushing forth heroism in “A Busy Man” and “Without Help”, triumph 1:15 into “An Angry God”, or menace, either with a low brass register in the bleak nature in “The Barrier” or more biting on trumpets to close “An Angry God.” This theme ends up being the most prominent identity in the score and would pop up again in Goldsmith’s later scores in the series. The other two prominent ideas are of a more romanticized style. The friendship music in “The Mountain” is serene and features some bubbly background synth Goldsmith liked to use at the time. The only lament is that it isn’t integrated into the rest of the score, though maybe the unreleased music (which fans say is high quality) features it. The other idea is the sweeping theme for the god-like entity the crew approaches that is very similar to the wondrous theme from Legend. Starting out on light synth in “The Barrier”, it builds into a more sweeping take in the second half of “A Busy Man.” However, outside of the increased tempo to close “Let’s Get Out Of Here”, there’s no tremendous variation (note just a raise in musical key in “An Angry God”). Again, the theme is nice and this complaint could probably be solved by an expanded album, but for me there wasn’t enough development to make it great.

Courage Fanfare

While Goldsmith’s usage of the Courage Fanfare (an addition here given every other Trek score for film and TV had opened with it) to open the score is fine (note also the brief reference in “The Barrier”), it’s his interpretation of the Klingon theme from the beginning of TMP that is the more impressive. Maintaining the hunting style and string plucking, Goldsmith throws in a wide array of thwacking percussion and exciting brass takes in “Without Help”, “Let’s Get Out Of Here”, and “Life Is A Dream”, the latter being used in many concert performances for Star Trek. After the somewhat directionless approach James Horner took for the race in ST3, it’s nice to have Goldsmith’s more invigorating approach return.

Conclusion

I mentioned the lack of sweeping majesty set to the tunes of the title theme, and that still is a big disappointment. It’s usage here is more rapid and less memorable, with only the frantic string background at 3:30 of “Without Help” sticking. I suppose since this is a more personal film and thus a more personal score that having this theme be the dominant idea may have been out of place, but I refuse to believe Goldsmith couldn’t have found a way to better incorporate such a classic work. Still, with material that I’ve mentioned above any fan of the series or Goldsmith would be a fool to pass this up, especially when you add in the thrilling action highlight “Open the Gates” that mixes the Klingon percussion with the deliberate 5/4 rhythms of Rambo: First Blood Part II. This may not be a classic (every cue would have to function on a level similar to ST2, and the low-key “Free Minds” alone prevents that), nor does it seek out any unique frontiers like TMP did (inventive percussion aside, nothing approaches the blaster beam), but after the disappointment of ST3 and the utter failure that was ST4, ST5 is a fine return to form for the series and features some of the best action and romantically-inclined material to ever grace the saga’s images. It’s just a pity it had to be linked to one of the series’ least beloved entries…as well as that damn rock song tacked on at the end.

Album Situation: The original album, as is the case with most original Trek releases, is quite short and also out of film order. Chronological order makes for a stronger listen and is included below. Bootlegs with mostly minor sound effects hover around the internet, but none of the new material improves the listening experience. However it is absent the dreadful Hiroshima rock song and those who don’t know how to use their delete button should seek this one out.
Best Album: Original Album

Original Album (42:25)
1. The Mountain (3:53)
2. The Barrier (2:53)
3. Without Help (4:21)
4. A Busy Man (4:42)
5. Open the Gates (3:02)
6. An Angry God (6:58)
7. Let’s Get Out of Here (5:15)
8. Free Minds (3:19)
9. Life is a Dream (3:59)
10. The Moon’s a Window to Heaven – Hiroshima (4:00)

Chronological Order For Score Cues on Original Album
1, 5, 3, 8, 2, 4, 6, 7, 9

Bootleg (63:36)
1.    The Mind Meld (1:39) sfx
2.    1. The Mountain (3:53)
3.    Games With Life (1:14) sfx
4.    The Big Drop (0:20) sfx
5.    Paradise Lost/Spacedock (2:26) sfx
6.    A Tall Ship (1:19) sfx
7.    Plot Course (1:38) sfx
8.    No Harm (2:03) sfx
9.    Open the Gates (3:02)
10.    Well Done (1:14) sfx
11.    Without Help (4:21)
12.    Free Minds (3:19)
13.    Pain and Prophecy (2:53) sfx
14.    The Barrier (2:53)
15.    A Busy Man (4:42)
16.    An Angry God (6:58)
17.    Let’s Get Out of Here (5:15)
18.    Cosmic Thoughts (1:13) sfx
19.    Life is a Dream (Film) (5:15) sfx
20.    Life is a Dream (3:59)