hen most people recall the music of the 1980 film Flash Gordon, they usually remember the driving beat and catchy refrain ("Flash! Ah-ah!") of the rock group Queen's exhilarating theme. However, along with the band's rousing contributions, the picture also featured orchestral works composed by Howard Blake. These symphonic selections were recently issued on a promotional CD available through soundtrack specialty dealers such as Super Collector.
The first tune, titled "The Hero," introduces a vigorous melody for the movie's modernized SF champion. This succinct cue uses propulsive horns and percussion to mimic Queen's forceful motif, which is similarly echoed in later cuts like "Bell and Coffin/Zarkov/Rocket Ship Flight" and "Firefight/Finale: Death of Ming and Flash's Victory." Deep, quivering strings and resonant noises lend a restless feel to tracks such as "Barin and the Hawkmen," "Telepathy/Dale's Drug" and "Torture/The Swamp," while wailing violins and martial drums dominate the exciting "Duel on the Sky
Platform." Muted brass contribute a somewhat more uplifting air to the brief "Romantic Reunion," just as an imposing fanfare provides a grand prelude to the world of "Arboria."
Eight numbers penned by Blake for the 1983 horror picture Amityville 3D are included on the CD too. The compositions for this film differ significantly from the 18 Flash Gordon cuts, with a dark, frightful "Main Titles" cue and somber tunes like "Mother" and "The Beast," both of which spotlight a ghostly moaning voice. That ephemeral vocal element--supplied by singer Ellen Barry--returns in the movie's "End Titles," which also incorporate woodwinds and soft bells to evoke an enticing yet unmistakably evil atmosphere.
Horror and SF conquer the universe
Based upon both the classic comic strip and the space-opera serials of the late 1930s, this big-budget Flash Gordon adventure was campy, colorful and, sadly, rather tedious. In fact, for many SF fans, the best part of the film was the ... ahem ... flashy music. While Queen's high-intensity melodies undoubtedly enlivened the on-screen action, it was Blake's symphonic score that provided many of the film's sonic subtleties.
A sequence labeled "Opening Scenes/Killer Storm/Plane Crash" nicely exhibits the composer's emotional range. Sweeping violins and soft percussion reveal a tranquil setting that is soon interrupted by brassy blasts and shivering strings dramatically indicating the upcoming tempest. Toward the end of the lengthy work, the sound builds to a crescendo that's terrifying and impressive. A similar sentimental scope is evident on "The Princess/Dale's Seduction/Football Fight." This number commences with a slightly Middle Eastern motif before integrating hints of Queen's theme
and a rolling, lighthearted harmonic component that, at times, is reminiscent of the jaunty instrumental ditties that often accompanied the Lost in Space TV show.
The cuts from Amityville 3D are also rewarding, although they tend to be more consistently dour, which is appropriate considering the movie's horrific subject matter. Nonetheless, the foreboding mix of fervor and fear on "Car Death" remains zestful, while "The Doll" is simultaneously scary and sweet. Blake's music may not be the first thing that comes to mind when thinking about Flash Gordon (or, for that matter, Amityville 3D), but his imaginative contributions to both films are certainly capable and, for the most part, commendable.
