SCORE: The Edge by Jerry Goldsmith (1997)

[Richard Penna 3,688]

It's probably evident from my avatar at the time of writing that The Edge was a minor grail release for me. I heard the main theme way back in 2003 when I first got into film music, and was overjoyed when I could throw away my DVD-rip in 2010.

Therefore I thought I'd put down a few thoughts on the structure of the score and how I feel it relates to the events in the film. This is my first proper review so forgive if it's a bit disjointed

Note that the ending of the film is spoiled in this review.

Unusually for a Goldsmith score, Director Lee Tamahori requested that there be no electronics whatsoever, presumably in keeping with the wilderness setting of the film. That didn't stop Goldsmith using instruments in a style that evokes his synth work without it actually being synth. (see 0:52 onwards in "Lost in the Wild", paying attention to the underlying rhythm). Outside this cue, this is a very natural and expansive score but fairly rough around the edges.

There is one primary thematic idea which I call the 'wilderness' theme, which is touched upon in track 1, and given a full workout in track 2 during the main titles of the film, as we see the plane flying over the spectacular mountain scenery. Just about every scenic sequence in the film is scored by a variation of this. It seems to be relatively independent of the various subplots; a constant reminder that they're in the middle of nowhere. It's also used in less enthusiastic, fragmented circumstances, as a search helicopter comes frustratingly close in "False Hope", "No Matches", a more forceful statement in "The Discovery" to reflect the extreme snowy weather, and later, as Morse makes one final attempt to get an injured Green to civilisation in "The River", with a slow, rich and thickly layered statement, surrounded by exhausted sounding strings and woodwinds, as both characters are tired and Green is only just hanging on to life from his injury.

The 'B' part of the main theme is also used sparingly on its own to represent the idea of hope, and after the opening titles, it is only used again after the bear's demise. "The Discovery" is one of few points of absolute relaxation in the score with a woodwind statement of the 'B' theme.

The early part of the score is fairly monothematic, with "A Lucky Man" offering warm strings, and "Mighty Hunter" and "The Spirit" restating the main theme, followed by swirling strings (unused in the film) and then deep brass in "Birds", as their plane hits a flock of birds and ultimately crashes in a lake. "The Fire/Breakfast" (oddly named second part...) offers a few moments of rest with warm strings and serene trumpet.

Three motifs contribute to the subplots of the film. "Bitter Coffee" starts off a rhythmic idea that returns in "The Cage" and "The Discovery". These moments find Morse's book-educated mind at work to keep his friends upbeat and solve problems. This motif also appears in "Wounded", using slow, delibrate and dramatic brass and timpani as Stephen wounds himself while making a spear and Morse briskly cleans it up.

The bear receives a recurring, descending brass motif which appears in almost every track from the moment they encounter it, to the final showdown, and hinted at first in "Open Door". The cues "The Ravine", "Bear Fight" and "Stephen's Death" are the main action cues of the score, and are percussion heavy with almost no thematic content; a constant orchestral battle between swirling strings, pulsating brass, and the descending motif. Scenes surrounding these encounters almost reach sound design levels, with isolated woodwinds and strings to convey a heightened sense of awareness and concentration. "Stalking" features this particularly, with woodwind flourishes, giving way to the bear's material. "Deadfall" is particularly interesting in its gradual buildup from strings, with more instruments introduced, all relatively melody-free (evoking "Stephen's Death", as the bear gives a similar threat), until it explodes in complex brass rhythms as man and beast fight to the death.

The last motif represents Green's plot against Morse; hinted at in "Rich Man", with nervous strings, an unsettling harp motif and wavering brass, and reaching a small crescendo in "Turn Your Back" as Green prepares to murder Morse, but falls prey to a deadfall. From this point, all conflict disappears from the score, as Green realises how much Morse's kindness and ongoing energy is going to mean to basic survival at this point.

The last track of the score, "Rescued", is simply an emotional powerhouse, and I personally can't watch this scene without shedding a tear. Following Morse spotting a helicopter in the distance, a minute of unnverving buildup, with fragments of the main theme, launches into the 'B' theme as we see the helicopter turn towards them. The rest of the cue features statements of the main theme alternating with quieter, tender moments, as Morse finds that Green has lost his life so close to rescue, the emotion of returning to civilisation, and revelation of the affair. This film does not have a particularly happy ending, and therefore it ends on a long, strained build up to a thematic statement as Morse decides to honour his friends' names.

The final track of the body of the score, "The Edge" was a last minute composition by Goldsmith during spare time at the end of the recording sessions and it's been suggested that this jazzy, piano based cue represents a return to home comforts.

[Incanus 5,714]

A great personal analysis/review Richard.

And you certainly do not have to worry about being too verbose.

[Trent B 337]

Excellent review Rich. I actually haven't listened to this score since I got my copy. I need to give it another listen.