The Black Hole

Abstract

The following is a cue rundown descriptive analysis of John Barry's score to Walt Disney's The Black Hole. When I studied the score at Disney Studio in the spring of 1990, I did not have time to focus on each and every cue. In fact, my primary focus was on several favorite cues. I felt irresistibly drawn towards The Black Hole! This applies to the musical score, not so much to the movie itself that is an odd mixture of science fiction and Disney! When you see those Disney-cartoonish robots "Vincent" (voiced by Roddy McDowell) and "Bob" (voiced by Slim Pickens), you'll know what I mean. Anthony Perkins' wooden (two-dimensional) and Maximilian Schell's leaden (one-dimensional) acting did not help! However, I highly commend Disney for contracting John Barry to compose the interesting score (ala "Moonraker" in certain respects). John Barry's distinctive stylizations and signature (most film music fans can easily say of his scores, "Oh, yes, that sounds like John Barry!") are evident here, including the rather leisurely, deliberate pacing of many of his cues, the eminence of soli eight horns in many passages, the use of celli underpinning, ostinati rhythms, etc. Many of Barry's cues have a tranquillo effect (evident especially in a romanticized way in "Somewhere In Time," a score and pic which were very appealing to women). Such cues can be characterized by some as "laid back music," or the Perry Como of film music! Most of Barry's output is not sophisticated or virtuosic (as, say, Korngold's music would be virtuosic), but it is nevertheless very appealing in its simplicity. It is not "busy" music. Yet it savors various instrumental lines that is quite satisfying to hear. In several cues here, the music is rather hypnotic, drawing you subtly into the situation or action of the scene. I am quite fond of John Barry's music, although he tends to lack the dark dramatic impact and romantic passion of, say, Bernard Herrmann's music. Again, it tends to be more "laid back." Yet his style is quite unique and instantly recognizable. I am particularly fond of many of his cues for this Disney movie. Without his contribution (and Ellenshaw's), I feel the movie would've been sucked into the Black Hole of forgettable movies. Here are several Internet links about the movie that may interest a reader or two: