Star Trek - The Motion Picture DIRECTOR'S EDITION UHD/BD Release; Limited Set Includes 1983 TV Version!

[AndyDursin]

Not the whole set apparently -- yet -- but I'm definitely IN. A nice new transfer of TMP minus the DNR from the Blu-Ray -- even that would be perfect.

French preorder confirmed (just a matter of time before it pops up here) --



https://www.fnac.com/a16047055/Coffret- ... Blu-ray-4K

[Paul MacLean]

I'm only interested in TMP if Paramount has the DVD effects re-done in 4K (though even 1080 would be more than satisfactory!).

[AndyDursin]

My guess is that's not happening with this release, it should just be the theatrical cut.

Maybe they will fork over the cash for the TMP Special Edition when the next Trek movie comes out. If this is only I,II,III & IV, they might do a complete movie set when that happens, and pay for an enhancement/restoration of the TMP FX work at that time (also as a means of getting consumers to buy it). My gut tells me it's not happening here though, especially given the covid issues of the last year.

The poor sales of the Next Generation's pricey HD remaster may have something to do with it too -- it could preclude them from justifying the cost. Maybe they could do an extended edition without the FX -- like the TV cut--- which I'd also be happy with because I didn't think all of those "revised" FX were satisfying.

[Paul MacLean]

My guess is that's not happening with this release, it should just be the theatrical cut.

I thought some of the revised effects were improvements.

But I have no real problem with the effects in original theatrical cut. In fact I'd be happy with the theatrical version -- if they would just add the the scene where Spock sheds a tear and reveals insight into V'Ger. To me this is one of the key scenes in the movie and the film is much weaker without it.

Guess I'll just have to wait for a fan edit!

[mkaroly]

This thread inspired me to go back and do some score listenin'!

ST:TMP - operatic in its scope...probably my favorite score of the entire Star Trek film series.

ST 2 - brings back a lot of memories of watching this film, reading the paperback book of the movie (which I still have on my shelf). My eyes still get wet when Kirk realizes what Spock did to save the ship...for me the emotional high point of the series as a whole. Outstanding film.

ST 3 - not the best listen right after hearing ST 2. Horner doesn't do a whole lot in the way of bringing new material to this sequel - The Katra Ritual is pretty good but otherwise the score is brooding and depressing in a way.

ST 4 - nice change of pace musically with an upbeat Main Title and some great soft jazz stuff that captures the fun and "sunshine" this movie brought to the trilogy of 2 through 4.

[AndyDursin]

Great quick analysis Michael! You nailed it.

It's funny, as time has gone on, my fondness for III has diminished. It's a very claustrophobic film (no wonder why they wanted to go out of the studio and make a big change of pace with IV) that has trouble existing on its own merits. It has some strong scenes, but it feels like a movie sandwiched between two superior parts. It's also diminished by the lack of Kirstie Alley -- which ruined what could've been a great character addition to the series -- and some depressing elements. What was the point of even introducing David Marcus, only to kill him off? Horner's music is just a recycle, it's not one of his better efforts.

You know me, I'm a fan of Rosenman's STAR TREK IV score. I think coming off Horner's phoned-in STAR TREK III it was time for a change, and the mood of IV was suited to a more "festive", upbeat, jubilant kind of score than Horner's "heavy going" Trek music. That theme of his is more "melodramatic" than Goldsmith's swifter, more militaristic, classic TMP theme -- and while it fits II perfectly, it works serviceably in III but it doesn't have as much energy -- it's sort of like an "adapted" score.

Rosenman nailed the tone of IV. From the opening notes they establish it's not going to be another heavy-going film that's preoccupied with death -- and Nimoy wanted that (the script even called for it!). And his theme for the whale is just lovely, very melodic for him. I also loved the end credits suite playing over a montage of scenes from the film, and the use of modern jazz was smart and effective.

It also has a lot of energy, which Horner's music for III did not have. Very underappreciated IMO. It's why I don't understand why people wanted Horner scoring IV. The tone of his music would've needed to be altered significantly for the film, and really would not have fit. It's dense "seafaring" orchestral music -- it's not as adaptable, as, say, Goldsmith's TMP theme is.

[Paul MacLean]

For me, Star Trek: The Motion Picture is the more impressive score, but Star Trek II is the more enjoyable and emotionally resonant score.

Agreed on Star Trek III. Horner said in an interview he considered his music for III superior to II -- can't say I agree!

I've never been a fan of IV. I find Rosenman's theme kind of silly and overly-celebratory. I have to agree with Lukas, who said it "sounds like Christmas music". Rosenman's more incidental cues get the job done, but I don't find them anything spectacular.

Nimoy should have hired Rosenman for The Good Mother and used Elmer Bernstein for Star Trek IV!

[AndyDursin]

I have to agree with Lukas, who said it "sounds like Christmas music".

See that's exactly what I like about it! (and it opened at Christmas time, so it worked there too!). I also think Lukas eventually embraced the score, despite his initial "why did they hire him" stance like a lot of Star Trek fans had. (Probably was after he took "Lenny" to lunch or whatever )

What can I say, I liked the score as a kid, still like it today. I was happy they didn't bring Horner back. It's a movie celebrating life -- not death -- and after two films that were basically preoccupied with the latter, it was the right score for the right movie.

Nimoy should have hired Rosenman for The Good Mother and used Elmer Bernstein for Star Trek IV!

That is an interesting idea. Except, I could see Elmer's "comedy scoring" (like the goofy stuff in Ghostbusters they removed) sinking the movie though.

IV also is -- compared to other Trek films -- underscored, and the economy of it works in its favor also. Elmer would've blanketed the movie with too much score, as I think he had a tendency to overstate the obvious at times (one reason why he had so many rejections in the 80s and 90s) and went "big" in places when he didn't need to.

It's funny, he did great work on things like HEAVY METAL and SLIPSTREAM, but when forced to write an outwardly "heroic sci-fi score" he wrote a dud like SPACEHUNTER. So I dunno about Elmer and Star Trek...that's an intriguing proposition but I don't know if it would've been a good fit necessarily. At least not in IV for me at least.

[jkholm]

I'm glad to read that Andy likes the ST 4 music. It may not be as good as what Goldsmith did on 1 and 5, or as good as Horner's work on 2 but I still like it and never understood the dislike for it.

As far as Part 3 goes, I agree that overall the score is underwhelming although I do like the Stealing the Enterprise cue.

[AndyDursin]

I think Goldsmith could've written the score for IV and adjusted his music accordingly to suit what Nimoy wanted. His music IMO was more adaptable to that. But Horner was never a "comedy composer" or someone who often could become "light on his feet" with his music. Like would you have wanted Horner scoring a Joe Dante movie?

Not that IV required that level of zaniness, I just think the tone, the spirit of the score needed to be very positive and energetic. Rosenman to his credit understood that and nailed it. Jerry adjusting his TMP score to suit IV would've been interesting to hear, and undoubtedly would've serviced the film splendidly also, especially in that era where he did some of his best work.

[Paul MacLean]

It's funny, he did great work on things like HEAVY METAL and SLIPSTREAM, but when forced to write an outwardly "heroic sci-fi score" he wrote a dud like SPACEHUNTER. So I dunno about Elmer and Star Trek...that's an intriguing proposition but I don't know if it would've been a good fit necessarily. At least not in IV for me at least.

On Spacehunter though, he was told "Just write a western score" -- so I blame the filmmakers for that one.

I think otherwise Bernstein connected with sci-fi very well -- he loved scoring those kinds of movies (Heavy Metal and Slipstream are two of his best). Plus he was one of the best comedy composers ever. Maybe even the best.

Bernstein was actually on the short list back in the 1960s when they were seeking-out a composer for "The Cage". A Bernstein Star Trek score is something I'd love to have heard!

[AndyDursin]

Listen Paul you may feel that way but I am connected with the community of film music and I can say for certain that Leonard Nimoy was thrilled with Leonard Rosenman's score and therefore you are absolutely wrong that it did not work in the movie or was inappropriate for it. Please get off your high horse and realize for a moment that film music is bigger than you are and that when you criticize a score like this, it sends a negative net effect to the mission statement that we are trying to deliver for the betterment of the community. If you don't have something positive to say then you should not say anything at all. That's all I'm asking for. Perhaps you can start your own film music label or start a podcast and make a positive contribution to this field the way I have in writing endless message board posts every day. And by the way, if you find my attitude to be snarky or condescending, then I GLADLY will take that as a compliment as it has inspired me to make even more endless message board posts in response to the snarky comments you have already made.

[mkaroly]

Ha ha ha!!

[Paul MacLean]

[Eric Paddon]

Andy don't get me started again on why I felt storyline consistency should have required keeping Horner's theme for IV even if he didn't write the main score for the film!