GENERAL INFORMATION
Written by David Mamet and directed by Lee Tamahori, The Edge was released
in September of 1997. It received a tepid response from critics and soon became a
forgotten film. With a budget of only 30 million dollars, its cumulative worldwide
gross revenue was only $43,312,294. Rotten Tomato critics gave The Edge a
64% favorable response. Unfortunately, the film score has suffered a similar fate
by association and seems all but forgotten, although very popular with Goldsmith
fans. Ultimately, after several years, the original 1997 BMG/RCA soundtrack
album went out of print. Fortunately, La-La Land Records issued a recording of
the complete score in 2010. The Edge is a highly underestimated film (and score
by association) and deserves reconsideration.
As we will see in the following review, Goldsmith’s approach was to score The
Edge with music that was designed for different, yet recurring situations, rather
than to provide themes or motifs for all of the characters. While there is some
thematic and motivic material, it is applied only to a few characters, permeating
the score to inform us of key moments of character development. At the same
time, there is an overall economic use of musical material in the score that
serves the film as commentary, rather than telling us everything.
SUMMARY OF THE EDGE
Billionaire Charles Morse (Anthony Hopkins) accompanies his younger
model wife on a photo shoot in the Alaskan wilderness. Photographer Bob
Green (Alec Baldwin) and a small entourage are also present. Bob is having an
affair with Charles’ wife, and plans to kill him in order to be with her and to secure
his money. Having hit a snag for the photo shoot, Charles, Bob, and Steve (Bob’s
Assistant) travel by small plane to find a local resident to photograph. While in
route, they fly into a flock of birds and crash into the middle of the Alaskan
wilderness. With all but the pilot surviving, they attempt to reach an area where
they hope to be rescued, however, they are met with setback after setback. They
soon run into, and are pursued by, a Kodiak bear. The bear ultimately kills Steve,
and continues to stalk Charles and Bob. Although the two surviving men are
dealing with interpersonal tension, they must work together in an effort to survive
while being tracked by the bear (whom Charles eventually kills). Matters are
further complicated by Bob’s constant tendency to give up, so Charles must
continually spur him on. In Bob’s attempt to kill Charles, he succumbs to a mortal
wound from which he eventually dies. Charles emerges as the sole survivor.
ESSENCE OF THE EDGE
The Edge serves as an allegory with a purpose to show the consequences for
living lives of action or inaction. Charles represents action, and Bob represents
inaction, and their setting represents the adversity and challenges of life. We
observe that our natural inclinations determine how we choose to face these
challenges, showing what kind of person we truly are. Adversity offers an
opportunity for courage and growth.
As the film unfolds, we see this dichotomy played out. Bob, the confident
photographer, is living a life of inaction, while the seemingly indecisive and shy
billionaire, Charles, is living a life characterized by action with the will to survive.
Charles, who is largely responsible for their eventual rescue, continually has to
encourage Bob, who seems content with the prospect of dying in the wilderness,
rather than trying to survive it. In fact, Bob’s inaction causes their situation to
worsen. First, he keeps the note that was fastened to the door that would have
made it easier for them to be rescued. Secondly, he then lets the campfire die.
Thirdly, he fails to bury bloody clothes, resulting in the bear killing Steve.
However, it’s not just in the wilderness that Bob manifests inaction. Earlier in the
film, this idea is firmly established by his inability to handle minor inconveniences,
such as unwillingness to mental compute the time zone difference from coast to
coast. In contrast, Charles’ continued action helps them to survive. He remains
level headed and never panics. His resourcefulness helps to determine their
direction of travel, find food, and to avoid potential danger. His drive to survive is
evident through his actions, and culminates in confronting their fiercest
adversary, the bear. Like Bob, Charles’ propensity is evident prior to their
wilderness experience. In the opening scenes of the film, we learn of his
billionaire status, and vast knowledge of many subjects. One normally does not
achieve such a status without working hard, and without possessing an inner
motivation to succeed.
Each of these men have their own epiphanies as they reach the end of this trial,
having assessed their lives. Bob expresses regret for a life of inaction
as he realizes he is dying and will have no opportunity to make a change.
Charles, who arguably has it all, had always felt some unequivocal achievement
was missing in his life. With his nose constantly buried in a book accumulating
vast knowledge and never looking up, he was missing the big picture.
EFFECTIVENESS OF THE SCORE
Jerry Goldsmith’s score captures the allegory in a convincing manner and does it with the economical use of very little musical material. Tense interpersonal relationships, vast and breathtaking scenery, the harshness of the Alaskan wilderness, a plot to commit murder, characters going through personal growth, and a Kodiak bear with a taste for human flesh make up the major tenets of The Edge. Again, in spite of all this story material, the musical material making up the score is minimal. One might expect a theme or motif for each of the main characters, but Goldsmith doesn’t give us that. Instead, he gives us one theme that unifies the beauty of nature and personal growth. It is a wonderfully expansive theme with numerous variations peppered throughout the score.
The other musical material is felt more than heard and never gets in the way of what’s happening in the film. Trekking through the wilderness, being confronted, chased, and toyed with by a Kodiak bear, along with a confrontational undercurrent between Bob and Charles, are situations scored very effectively, but not by hitting all the expected points with an obvious musical choice. Instead, Goldsmith offers commentary on how we should feel instead of musically expressing the emotions felt by the characters.
Of particular interest is Charles’ relation to the main theme. In addition to capturing the beautiful Alaskan wilderness, the main theme also seems to serve as Charles’ theme. This will be discussed in more depth, but it’s important to note that the main theme is presented throughout the film in a variety of variations, some of which are brief fragments that, when associated with Charles, indicate he is undergoing his own development in the story.
The music for the Kodiak bear is featured prominently throughout the score as well and does so in a chilling and haunting manner. It becomes clear that Charles is dealing with two adversaries in Bob and the bear, both out to kill him. The bear, while being a real threat, also seems to represent the sometimes harsh and unstoppable pursuit of adversity in life.
The distinction between Charles and Bob, the two main characters, couldn’t be more clear. The chasmic dichotomy between these two becomes evident as the film progresses and we discover how Goldsmith chooses to acknowledge them in the score.
Goldsmith, known for incorporating synthesizer sounds in his scores, chooses not to include them in this score. It would not work to include them in a score for a film that largely takes place in nature.
There isn’t much music in the beginning of the film, and what is there, serves as segues from scene to scene. These segues are important because they establish the main theme in short variations until we hear the main theme in its full and very satisfying appearance as an aural background for breathtaking aerial scenery. As the film progresses, more and longer music cues are heard. A practical reason for this is that the setting and situation have been firmly established. The characters find themselves stranded in a hostile natural environment in which they must fight to survive. The mood also changes from lighthearted banter to fear and anxiety. While on the surface, Charles, Bob, and Steve are conversational and at times jovial, they are each feeling uneasy about their situation. Goldsmith tells us this in a very effective way with music that creates the impression of uneasiness. It turns out to be one of the most effective things the score accomplishes. Without that music, we would lose the sense of uneasiness, and ultimately, only see three men casually walking through the wilderness having lighthearted conversation.
Overall, this score is very effective in supporting the action, character psychology, and scenery, and does so without being obvious. Goldsmith gets a lot of mileage from one theme and masterfully uses it to convey multiple aspects of the story. Critical to writing a noteworthy film score is, in a word, craftsmanship. The better the craft, the better and more effective the film score. In Goldsmith’s case, we have one of the best craftsman in the business.
TO SCORE OR NOT TO SCORE
Where music is not needed in a film is just as important as where it should be present. As we have already observed, not scoring most of the dialogue was helpful in establishing the bleak isolation of the characters. What makes this score unique, though, is its ability to comment on the film without over explaining it. In part, this is due to a certain level of detachment. With the exception of Charles and the bear, the score keeps its distance from providing deep character insight. A case can be made for the main theme functioning as Charles’ theme, since we hear it many times when the focus is on Charles apart from its association with nature. But at no time do we ever hear music associated with Bob. There are three distinct moments in the film in which we get critical insight into Bob. These moments greatly enhance our understanding of Bob through which music could have helped create a deeper connection. In the first example, when Bob and Charles were unable to flag down a helicopter searching for them, Bob goes through a series of intense emotions. In the second example, after Charles and Bob check the canoe at the abandoned cabin to see if it will float, we get a very brief moment where Bob looks at Charles in such a way that we know he is thinking that now is the time to kill him. Lastly, there is a tender moment when Bob realizes he is dying and hasn’t done anything with his life, making a deathbed apology to Charles for trying to kill him. Scoring these three moments would have indeed given us a stronger connection to Bob, but doing that would at the same time be giving more importance to an essentially useless character, who has been the constant cause of numerous set backs. Goldsmith is saying in effect “this guy isn’t worth it”, and he’s correct.
SCORING SCENES WITH DIALOGUE
Goldsmith’s approach to scoring scenes with dialogue was not to react to the dialogue but to comment on the emotional perspective of the characters. For example, during the lighthearted conversation on the plane ride to the rustic inn, Goldsmith captures the relaxed anticipation the characters are experiencing with a gentle treatment of the thematic material as strings support woodwind solos. In another example, when Charles and Bob have surrounded themselves with a ring of fire to keep the bear from attacking them, they realize how hopeless their situation has become. As they talk it out, Goldsmith provides an eerie series of slow, dense and dissonant string chords, a sound not yet heard in the score. Totally absent is any sense of hope. A similar approach appears once more as Bob prepares to kill Charles. This time though, there’s a visceral and palpable nauseousness, as it has become clear that Bob really intends to kill Charles. Incidentally, we hear these chords for the first time when Charles indicates that Bob wants to kill him for his money. Goldsmith is giving us a heads up that this is a true statement. In general, most of the dialogue throughout the film is not scored, helping to create the sense of isolation the characters are experiencing.
MAIN THEME
His approach to this score was economical in that he composed one unifying theme for the entire film. As you might imagine, this theme serves several functions. Most obvious is it’s role in capturing the vastness of the natural setting for the film. Spanning an octave and a fourth, the contour of this melody even mimics the contour of mountain ranges. When we see panoramic shots of the natural setting, Goldsmith provides fully orchestrated versions of the main theme. But when the characters are trudging through the rocky, tree covered landscape, we hear sparsely orchestrated versions of the theme. But this theme serves another function in that it also provides one of the two themes associated with characters in the film. The billionaire Charles is so often associated with this theme, one could argue, this is in fact Charles’ theme.
MAIN THEME FUNCTIONING AS CHARLES’ THEME
It’s difficult not to associate this theme with the vast breath taking aerial scenery of the gorgeous Alaskan wilderness, since we hear it quite often during those moments. However, there are other moments in which we hear this theme and its variations when it seems to suggest an association with the billionaire Charles. In fact, the first time we hear the theme, it’s in a variation permutation. The camera pans down to reveal Charles’ plane. A few moments later, an oboe plaintively plays another variation of the theme as Charles departs the plane. This may suggest that Charles is a, if not the, main focus of the film and someone who will undergo some kind of character transformation. The humble character of this oboe solo matches the quiet nature of Charles. It is a wise choice on Goldsmith’s part not to reveal the fully developed theme yet. Later in the film we hear the oboe again, but this time with the fully developed theme. This more than likely serves as a reminder of Charles at the beginning of the film and his yet to be experienced transformation. Getting back to the initial variant statements of the main theme, it was a wise choice on Goldsmith’s part not to reveal the fully developed theme yet.
This theme occurs in either a full statement or in a variety of permutations near thirty times throughout the film.
At the beginning of the film as the camera pans down to reveal Charles’ plane (permutation)
As Charles disembarks his plane (permutation)
As the small plane lifts off the water (permutation)
During lighthearted conversation on the small plane as Charles sits quietly reading his book (permutations)
During arial shots of the wilderness as the small plane flies over (complete statement of the main theme)
As the group disembarks the small plane and walks the lodge (permutation)
As Bob, Charles, and Steve fly to find Jack Hawk to photograph him (main theme)
As Bob, Charles, and Steve proceed to Bass Lake (main theme)
As the plane sinks and they frantically unshackle their seat belts, escaping to the surface (permutations)
As Charles’ book “Into The Wilderness” sinks to the lake floor (permutations)
As they head south towards the peak based on Charles’ ingenuity (main theme and permutation)
After Charles confronts Bob about wanting to kill him to get his money (permutation and main theme)
During a series of quick scenes showing the passage of nightfall into morning (permutation and main theme)
Trekking through the wilderness (complete permutation)
Return to the campfire site (permutation)
After Steve is killed by the bear, and Charles leaves the scene (permutation)
After Charles and Bob catch a squirrel (permutation)
As the helicopter searching for them departs (permutation)
After Charles extends his hand to Bob and they continue through the wilderness (permutation and main theme)
As Charles and Bob gather wood for spears to kill the bear (complete permutation)
As Charles and Bob continue through the wilderness after Charles killed the bear (main theme with rhythmic permutations)
As the scene changes from Charles reading a first aid pamphlet while Bob lays unconscious on the table, to the next morning (permutation)
As Charles and Bob canoe down the river (main theme)
As Charles flags down a rescue helicopter searching for them (permutations and main theme)
As Charles sees Bob dead and covers him, and as the scene switches to the helicopter landing at the lodge (permutation and main theme)
As Charles’ wife sees Bob’s dead body (permutation)
When Charles’ wife reveals the watch she gave to Bob (main theme)
After Charles says his friends died saving his life (main theme)
More often than not, we hear the theme in all its various form associated with Charles. It informs us of his development as he emerges from his narrow book centered world to assume the unexpected position of leader and counselor.
BITTER COFFEE CUE
Of particular interest, is a cue entitled Bitter Coffee, which plays throughout a number of short, consecutive scenes. The cue starts immediately after they have narrowly escaped the bear, and follows them as they attempt to reach higher ground to light a flare in an effort to be rescued. The cue ends when they realize they have made a complete circle, ending up right where they started. The cue begins with a complete treatment of music we first heard as they attempted to light a fire with a match, signaling their first encounter with the uncooperativeness of nature. There is an uneasiness in the music as it captures both the undercurrent of anxiety that the characters are feeling and a begrudging momentum forward as they trek to higher ground. This particular music occurs numerous times in the film whenever the characters deal with their natural surroundings. In all, this 3 minute and eight-second cue plays through seven different brief scenes.
Scene 1: Trekking through mountainous ranges-dialogue
Music: Uneasy/begrudging momentum music supporting a complete variation of the
main theme
Scene 2: Resting and looking at the mountain ranges-brief dialogue
Music: Reverent as Charles looks at the mountains
Scene 3: Transition to a night fire-no dialogue
Music: Distorted motif of the main theme (1st phase of the melody)
Scene 4: Transition to the next day-no dialogue
Music: Majestic variation of the main theme (2nd phrase of the melody)
Scene 5: Transition to resting-brief dialogue
Music: Main theme stated tenderly followed by a brief quote of the bear’s motif
Scene 6: Trekking through the mountain ranges and natural setting-no dialogue
Music: Uneasy/begrudging momentum music supporting a complete variation of the
main theme
Scene 7 : Ending up where they started-brief dialogue
Music: The bear motif followed by a sinister and brief quote of the main theme
Within this cue the main theme, in its original form and some variations, is heard five times. The bear’s motif is heard twice, and the uneasy/begrudging momentum music is heard twice. Goldsmith uses this cue to help the story move along and at the same time as a musical synopsis to explain what has taken place so far.
CHARLES EXTENDS HIS HAND CUE
A particularly poignant moment in the film occurs when Charles extends his hand to a kneeling and sobbing Bob. They had just missed a helicopter scouting the area for them and Bob experiences a myriad of intense emotions. Charles remains level headed and tries to steady Bob. The cue begins with soft string chords in an almost hymn-like fashion as a solo clarinet sings a variation of the main theme. The cue continues as Charles and Bob move forward. But this time, Goldsmith doesn’t use the uneasy/begrudging momentum music. Instead, he continues in a subdued manner, indicating that Charles and Bob feel more at ease in this strange environment due to their momentary bonding. At this point in the film, Charles’ leadership role is solidified.
THE BEAR MOTIF
Even the bear gets his own motif. It sounds humorous, but it’s actually quite ingenious, since the bear represents something quite profound. The film is essentially an allegory showing how two very different men deal with adversity. The bear represents the adversity which hounds Charles and Bob throughout the film. It’s interesting to note that the first time we hear the bear motif is while Charles is about to make a sandwich for his wife and notices that a door is open, letting the aroma of some food nearby wafting outside, possibly attracting a bear. In every other instance of the motif being heard in this manner, the bear is always visible. Goldsmith used this opportunity to give us a taste of the motif so that when we hear it again in conjunction with seeing the bear, we are all the more emotionally moved. In order to capture the brute and primal force of the bear, Goldsmith employs a similar approach that John Williams took in Jaws. It turns out that a simple and repetitive two note motif in the low register is very effective in portraying the mechanical and mindless drive of both sharks and bears. Unlike Williams, however, Goldsmith does not continuously repeat the motif. Instead, he interjects it sporadically and we are never quite sure when we will hear it, much like the way a predator sneaks up on its prey. Williams’ version captures the emotionlessness and mindlessness of a shark bent on killing. Goldsmith's version captures the confrontational and calculating disposition of a bear in the wild. Instrumentally, Williams uses the low strings playing with a detached and staccato momentum, while Goldsmith uses the horns and trombones in a series of smearing, pitching bending growls. Both Williams and Goldsmith have wonderfully encapsulated the essence of these predators with their two-note treatment and distinct stylistic approaches.
While Williams often times would score the shark motif in advance of the shark appearing, Goldsmith always waited until the bear was visible before scoring its menacing presence. For example, when the bear attacks Steve, we hear the bear softly growl before seeing the bear in the pouring rain. The bear motif begins immediately upon the visual of the bear. In this cue we hear the continuous brass growls punctuated with other brass and percussion belching the two note motif in quicker successions. As if that weren’t intense enough already, sustained high string notes provide a sense of inescapability from the bear’s deadly attack.
The next encounter with the bear occurs while Charles is fishing, and Goldsmith again waits for the bear to appear before giving us the brass growl. There was ample opportunity in the moments leading up to the appearance of the bear to let the audience know musically of the bear’s presence. But Goldsmith brilliantly establishes a pattern of waiting until the bear appears to score the bear, heightening the experience. As the bear chases Charles we hear a quicker version of the begrudging momentum music in the strings, bombastic percussion, and quick moving string motion. Through it all, the low brass smeary growl is ever present.
The final confrontation with the bear begins, as expected, with the bear motif and the bear appearing simultaneously. Like in the attack on Steve, we hear the antagonizing and relentless low brass growls, quick and punctuated brass belches of the bear motif, and sustained strings, this time though in a much more subdued manner. The bear is engaged in an intense face off with Charles and Bob. After a failed attempt to impale the bear, a chase ensues and Goldsmith implements one of his trademark techniques. As the scenes go back and forth between the predator and prey, the music matches in perfect synchrony. When we see Charles and Bob running, we hear punctuated percussion and brass hits. When we see the bear in pursuit, we hear proclamations of the brass growl. The scene is edited quickly, allowing Goldsmith to compose a seamless cue that naturally follows these edit points so that the music lines up with its respective character. Goldsmith had employed this technique in Star Trek: First Contact a year earlier. When Picard and Warf are leading their own search parties as they search the Enterprise for the Borg, the scenes move back and forth between each party. When we see Picard, we hear a calm, collected, and analytical music. When we see Warf, we hear warrior like subdued swelling in the low brass. Again, Goldsmith was able to compose a seamless and musically coherent cue that played through the scene changes, acknowledging the character traits of whoever appeared on screen at that moment.
As we’ve already established, Goldsmith consistently waited for the visible presence of the bear to give us the bear motif in its growling presentations. That’s not to say Goldsmith didn’t provide reminders of the bear at other points in the film. He understood that no one being relentlessly pursued by a bear only thinks about the bear when the bear is actively pursuing them. On numerous occasions, Goldsmith interjects the two note motif without the visual reference of the bear, but never in the way he does it in conjunction with that visual cue. Only the smeary pitch bending low brass rendition of the motif is reserved for the visual presence of the bear. Goldsmith doesn’t attempt to perfectly imitate the bear’s growl. Instead, he composes the essence of it. This is masterful since there is an allegorical application of the bear representing adversity. Since we all have our own manifestations of adversity, each one of us, as we watch the film, can picture ourselves facing the growling brutality of our own adverse situations.
In the Bitter Coffee cue discussed earlier, there is a moment where a bassoon serves as a haunting reminder of the bear. Interestingly, the two note motif continues to complete a different musical phrase, but the bear motif has been so engrained at this point it is difficult not to make a connection to the bear upon hearing those two notes. In the context of the film, the characters are resting momentarily from their arduous journey. The main theme is heard in a gentle statement by a solo English Horn. Bob and Steve are sitting together in quietness while Charles, standing separately, takes in the breathtaking view. It’s during this moment we hear the bassoon interrupting the English Horn, the way an unpleasant thought interrupts a pleasant one. Charles comes back to the reality of their situation and the urgency to keep moving returns. We hear the bear motif again later on in the clarinet as the characters approach the campfire from the night before, having traveled in a circle. Finally, and much later in the film, as Charles and Bob bait the bear with the scent of human blood, we hear the bear motif played by an oboe. With spears in hand, they wait for the arrival of the bear. On this occasion, Goldsmith may merely be indicating that the bear is foremost on the characters’ minds. It could also be that we are being told that the bear is there, unseen and watching. In any event, the bear is clearly in mind.
Like the motif from Jaws, this two-note motif captures the essence of mindless brutality and instinct that cannot be reasoned with, only conquered. In the case of the bear however, an allegorical application of the hardships of life is clearly evident.
CONCLUSION
Instead of writing themes or motifs for all the characters in the film, Goldsmith seems to have written music for different categories or situations.
1. Main Theme and its Permutations: Nature and Charles
2. The Bear Motif: The Bear and Relentless Pursuit of Adversity
3. Begrudging Momentum Music: Trekking through the Wilderness
4. Driving Percussion: Always Associated With Running to or From Something
5. Arpeggiated Woodwind Figure: Ambiguity and Mystery
6. Dense and Dissonant String Chords: Uneasiness
Goldsmith is able to tie everything together neatly with the use of just a few musical ideas that are permeated and developed to varying degrees throughout the film. This is a film heavily dependent on dialogue, since we learn more about each character and their relationship dynamics as they interact. The dialogue is already in competition with the breathtaking beauty of the story’s setting, so an abundance of music would be distracting. A lesser amount of music also heightens the sense of isolation and vulnerability one feels when lost in a vast wilderness. Goldsmith understood this and stayed out of the way. His score for The Edge serves as a hallmark example of a little going a very long way. This is a highly underestimated film (and score by association) and deserves reconsideration.