Trek V: The Final Frontier
Trust Jerry Goldsmith to get
involved with another under performing Star Trek movie.
Still, William Shatner's directorial debut has its moments, and
some fun set pieces, but those budgetary limitations did the
movie no favours and is generally regarded as the weakest of
the series. But it didn't stop Jerry Goldsmith from providing
another hugely enjoyable sci-fi adventure score.
The Mountain opens the score with Alexander Courage's
famous fanfare before segueing into Goldsmith's inspirational
main theme. Here it's a little more restrained than the first
score's arrangement, with additional percussion punctuating changes,
before it's halted to make way for a beautiful secondary theme
for trumpet solo and strings capturing the tranquillity of the
picturesque Yosemite National Park and Kirk's rocking climbing
The Barrier introduces an ominous Cloud-like theme
for the Enterprise's journey to Shakari via a mysterious vortex.
Goldsmith conceives a quasi religious theme, powerfully performed
by brass, while strings convey a sense of wonder as the doubters
start to believe that perhaps this is the Final Frontier. The
ideas are further developed for a shuttle trip to the planet
surface (A Busy Man) as rhythm adds pace and anticipation
to the 'God' theme.
Without Help and Open The Gates are two perfectly
pitched action cues from the Goldsmith canon. The first is a
tense build up to a crash landing in the Enterprise's shuttle
bay. Goldsmith provides discrete orchestration for dialogue with
trembling strings and a delicate horn motif, while bursts of
action powerfully utilise quotes from both his theme for the
Enterprise and an unrelenting rendition of his Klingon theme,
with horn. While Open The Gates is pure Rambo,
as Goldsmith kicks off an electrifying tempo for an Ostinato
driven action set piece involving horse riding and hand to hand
An Angry God signals the finale sequence as the wonder
of meeting God turns to a fight for life. The lengthiest cue
on the album is an eclectic mix of sweeping strings and synth
work, capturing Goldsmith's expressive, sometimes dramatic religious
theme. But when the creature turns and reveals its true self,
Goldsmith unleashes violent recurring stabs from brass and percussion
as the doubters are punished.
Let's Get Out Of Here introduces crackling brass and suspenseful
strings as the Enterprise comes under attack from the Bird Of
Prey, while Kirk battles the beast on the planet. Goldsmith's
finale action piece is an exercise in stop/start action writing,
which does well to mask a poorly edited film sequence. While
Free Minds is a melancholy piece as Sybok attempts to
free McCoy from his 'pain'. Goldsmith provides a very moving
cue for strings and woodwinds, joined by some eerie synth work,
for the mysterious abilities of the Vulcan.
The album closes with an alternate take of the end credits (Life
Is A Dream), encompassing another rousing rendition of the
main themes for the Enterprise and the Klingons. Epic's CD and
Goldsmith's selections bring together all the major cues and
the sequencing provides a good mix of drama and action, the perfect
play with a very polished recording.