F/X (Bill Conti, 1986): I remember really liking this mid-80s thriller about a special effects artist that gets caught up in real life intrigue, but I also admit that I don’t really remember very much about it. While Varese Sarabande released a soundtrack LP at the time of the film’s release, I never bought it and the score didn’t particularly stick with me after seeing the film. As a result, I ended up essentially re-discovering this score with the 2007 Varese Sarabande CD Club release.
Bill Conti provides a moody, vaguely noir-inspired mixed orchestral and electronic score with several melodic main themes as well as fair amount of suspenseful, string-dominated music. The "Main Title" cue actually opens with a bit of suspense-driven piano and string music before shifting into a brassy, percussive fanfare. About a minute and a half in, it then transitions into the score’s main theme, which features a string melody overlaid with a repetitive piano motif.
The more melodic aspect of the score first comes into play in the cue "Rollie’s Diversion", which is primarily a piano-driven version of the main theme, although with some strings joining in towards the latter half of the cue. The theme continues to provide a melodic line throughout the score, although the darker, more-suspenseful music tends to dominate the soundtrack. Conti does occasionally provide some of the brassy, fanfare type music that is often his trademark. In addition to the brief fanfare during the main title, the cue "No Loose Ends" also is a very brassy, action-oriented cue and is very recognizably Conti. Horns are used more sparingly here than in most of Conti’s scores, but that just tends to make them a bit more impacting when they do appear.
The score is primarily orchestral, but Conti does make sparing use of electronics, such as in the cue "The Wrong Hit". The electronic elements are typically used to ratchet up the suspense a bit. Another change of pace comes with an extended militaristic drum solo during the late cue "Lipton’s Last Ride".
Fahrenheit 451 (Bernard Herrmann, 1966): The CD that I have of this classic Bernard Herrmann score is not actually the original soundtrack recording. Instead, it is an excellent re-recording of the score by the Moscow Symphony Orchestra, conducted by William Stromberg. This re-recording was released by Tribute Film Classics in late 2007 and also includes music from Herrman’s score to the "Twilight Zone" TV episode entitled "Walking Distance". The music from Fahrenheit 451 runs a little over an hour in length and is billed as being complete.
Herrmann’s score uses an interesting mix of fairly light-touch, vaguely fantasy-inspired melodies along with some darker, fairly oppressive music. The lighter portions are dominated by piano as well as frequent use of xylophone and harp. The darker material features aggressive, lower-register strings as well as some slower, vaguely-sad melodies. The two styles of music are often presented side-by-side, reflecting Ray Bradbury’s story’s depiction of a society that is characterized by a surface happiness masking an underlying oppression.
There are some faster paced, action-oriented cues as well. Herrmann makes especially effective use of very fast paced violins in these segments of the score. Really good examples of this aspect of the score can be found in the cues "Fire Alarm" and "The Hose". Occasional bits of xylophone and harp overlaying the strings add an especially appealing bit of color to these cues. Herrmann also includes some emotional, melodic material, particularly in the later part of the score. "The Reading" is a particularly emotional cue.
The score is presented as 47, generally very short cues. The longest cues run a little over 3 minutes while many are well below a minute in length. Despite this, the score does not seem choppy or disjointed. The music is arranged so that the cues typically flow cleanly into one another, making for a very effective listening experience. The large number of cues mainly makes it very easy to connect each bit of music directly to the appropriate part of the film.