As iconic as Arnold Schwarzenegger’s famous role as the humanoid robot in the original Terminator was Brad Fiedel’s epic percussive anthem, used as the musical centerpiece of James Cameron’s cult classic action film.
The theme became amazingly well-known and was utilized in both ensuing sequels, but for McG’s reboot of the franchise, Terminator Salvation, Danny Elfman has written a score which, while stylistically somewhat similar to Fiedel’s concepts, largely ignores the musical history of the franchise and beefs up the intensity of the music to never-before-heard levels for the Terminator series.
Elfman's New Sound for Terminator Franchise
Unlike Fiedel’s dated electronic sound for the first two films and Marco Beltrami’s bland orchestral score for Terminator 3, Elfman’s approach is extremely muscular and orchestral in construction, with electronics lending a tasteful, raw edginess to the atmosphere of the score.
Surprisingly, nowhere on the score album is Fiedel’s original theme on display, nor is there a very prominent role for electronics as a method of representing the villainous machines of the story. Instead, Elfman focuses largely on the action, with a ubiquitous, heroic six-note theme for brass, with occasional cues resorting to soft acoustic guitar to represent the struggle of humanity against the machines.
Trademark Elfman Action Soundtrack
Those familiar with Elfman’s powerful, brawny scores to Hellboy II: The Golden Army, Wanted and especially Planet of the Apes will probably know what Terminator Salvation sounds like even before listening to it; the low-range, muscular density of the music and its pounding, slamming rhythms are nothing that hasn’t been heard from Elfman before.
But in Terminator Salvation, he seems to bring the intensity to an entirely new heart-pounding level, both in his career and in the Terminator franchise, and his constant manipulation of his new theme is both admirable and satisfying (compared with Planet of the Apes and Hellboy II, both excellent scores but not known for memorable thematic development).
Terminator Salvation Score: Pros and Cons
From the stirring power of the first cue, “Opening,” to the tender piano coda of “Salvation,” Elfman succeeds very well in establishing an atmosphere of incredible drama and urgency; the desperate emotions and determination of the story has provided Elfman with a compelling canvas to embellish with his score, and his music certainly strikes a deeply energetic and emotional chord. Where it falls short is the fact that the music, while excellent in its own right, fails to sound like a true Terminator score.
Had Elfman worked Fiedel’s original theme into the body of his score, even slightly, it would have greatly elevated the score to near-perfect levels. Elfman’s own original theme for the film would have been extremely compatible with Fiedel’s anthem, with one being a perfect counterpoint for the other. And had he utilized electronics in a more character-based role than the edgy accompaniment to his orchestral ensemble, a truly menacing musical identity for the machines could have been created.
Instead, Elfman’s score seems content to be focused far less on the musical history and appropriateness of the beloved franchise, and more focused on testosterone and adrenaline. And while Elfman is certainly one of the more capable composers one should select for such a project, his involvement remains a surprise (albeit a pleasant one).
Conclusion
As an Elfman score, it ranks with the best of his action scores. As a Terminator score, however, it attempts to reinvent what the music of Terminator should sound like, at a time when expectations were that the music should adhere to established, beloved themes. Therefore, it comes recommended for fans of Danny Elfman, and admirers of solid action scores, but Terminator fanatics beware: it may be far, far removed from all expectations.
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