Timeline (Rejected)

Review by Thomas Glorieux:

I can't remember when the first score ever was rejected. Because it has been happing all the time. But now it even happens to the biggest composers of today, Alan Silvestri, Howard Shore and who would have thought it ever would happen to Jerry Goldsmith? More then sad was that it happened to one of the last scores Goldsmith would ever pen! Timeline was a scenario doomed from the start and they believed a different (read not better) score would help! It goes to show how important music has become lately for cinematic movies. Still, many people will always come back to the point why not Jerry Goldsmith but replacement Brian Tyler's score was used in the final film. Richard Donner could explain and repeat how phenomenal and extraordinary it was, people will always see rejections as music that didn't work, is this for the director, producer or the film is their reason. Of course, for Varèse Sarabande (who remains an avid fan of Goldsmith's work) it wasn't a question about rejection, because they in the end supported the 2 scores written for the film, and released them separately in time for the fans. And now of course the debate can start about which score is the best, better, best suited for the picture. I can only come to the conclusion, I wanted Jerry Goldsmith to end with a bang and I can now say he has done this with Timeline, his ultimately rejected phenomenal extraordinaire. The score however doesn't start all too promising with 'The Dig', a sinister underscore typical to the last Goldsmith scores he composed, having as well a standard trumpet he used for the suspense and the pounding percussion, it reminded me of his normal Star Trek: Nemesis. But as the score progressed, I began to realize it started to grow to the epic finish of his career. The light charming piano and strings are heard in 'Cornflakes' while 'No Pain' has the same suspense beats ala Nemesis, but introduces us to the theme, which uses a Rambo III inspired ditty in a Legend manner, you'll pick it up very easily.

What's also comforting to spot is how well Goldsmith returns to his grander brass writing (or using it better) then the last scores of him, and there lies the ticket of Timeline's success. 'To Castlegard' has the main theme in a rapid tempo (First Knight) while 'Find Marek' has a thundering string opening that races by in the best Goldsmith standard. 'A Hole in the Wall' has the theme return with the Legend effect but it are the longer tracks that make much more of an impact. 'Move On' introduces us to the love theme which is a simple yet lovely theme for flute, later returning on strings and a well noted heroic brass version of it. 'Ambushed' has this heroic version return with the actual theme and sounds well together. 'Setting Up' and 'Greek Fire / Light the Arrows' use then the same ideas, with the love theme softly, a darker underscore exploding into whirling strings or a love theme heroic fanfare, it all shows the Goldsmith creativity that scores like Nemesis or The Last Castle lacked just too much. And when you have heard all this, you come to the conclusion you want it longer and better. And then Goldsmith pulls out all his stops in the thundering epic 'Prepare for Battle / Victory for Us'. Lasting a whopping 11 minutes, its where Tyler's effort had rhythm but lacked finesse and where Goldsmith's effort rains in creativity and thundering pumping action music. Unbelievable to hear Goldsmith could handle to compose such a thriller of 11 minutes when he was battling with his decease and ultimately producers. Here is the real proof that Goldsmith's score belonged in the picture, his constant toying of the main Legend theme or the heroic spiced up love theme is a gift for the ears and shows one of Goldsmith's best tracks in years. 'To my Friends' is the soft love theme with a brief finishing fanfare. Put it all together, and above all hear the music grow from a disappointed sinister opening to the thundering epic closer, Timeline is the score that suited the movie best, but didn't belong in the picture because it didn't deserve to support such a crappy movie. In that regard, it makes the rejection at least on one point sense full. How well Tyler's effort fitted the movie, Goldsmith's score is in the end better and will be remembered for the last breath of epic spectacle coming of legendary Jerry Goldsmith, and I'm so thrilled to see it didn't go to waste without a CD release.

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Tracks

Single Disc

1. The Dig (4.08)

2. Cornflakes (2.01)

3. No Pain (3.08)

4. To Castlegard (2.35)

5. Find Marek (1.55)

6. The Rooftop (4.18)

7. A Hole In The Wall (2.24)

8. Move On (6.55) Excellent Track

9. Be Careful (1.25)

10. Ambushed (1.10)

11. Setting Up (2.10)

12. Greek Fire / Light The Arrows (2.32)

13. Prepare For Battle / Victory For Us (11.10) Excellent Track

14. To My Friends (1.40)

Total Length: 48.04

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Jerry Goldsmith ===