This post continues my look at the music of the Star Trek film franchise. For previous posts:
STAR TREK IV: THE VOYAGE HOME completes a trilogy of films that began with STAR TREK II. Yet in many ways, it also feels completely different from the first two parts in that trilogy and perhaps in the Star Trek franchise as a whole. The tone is noticeably and purposefully lighter, and the extensive location shooting makes the entire film feel much more airy and wide open than the others, which were almost exclusively confined to soundstages.
STAR TREK IV also brought with it a change of composer. James Horner, who had scored the previous two films, departed in favor of Leonard Rosenman, who was a personal friend of director and star Leonard Nimoy. Reportedly, Nimoy had wanted Rosenman to score STAR TREK III, but didn’t have the clout at the time to make it happen. While I would have a hard time imagining anyone other than Horner score SEARCH FOR SPOCK, I don’t think I can hear Horner’s themes working well in STAR TREK IV either.
Continue reading “Trek Charts a New Path Home”