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“The Great Train Robbery” or “The (FIRST) Great Train Robbery” as it was known in the UK, is classic Jerry Goldsmith. With his name in many acclaimed films and an Oscar on his shelf for “The Omen”. Having been on the Launchpad in 1978 for “Capricorn One” and gearing up for more fateful space voyages in 1979 for “Alien” and “Star Trek”, Goldsmith comes back down to Earth for “Robbery” and trades a spacesuit for plaid trousers, top hat, walking stick and frock coat and ambles around London in a time of Charles Dickens. This is well-mannered music for the most part, but when it has to dash, it does so with force and flourish. A rarer pressing includes two discs, but this single disc version from 2004 includes more cues than the original 1970s album. “Robbery” is set in England in 1855 and the quickest way to travel or transport objects is by rail. In the East, the Crimean War rages and the local criminal element drools at the idea of getting their hands on a London to Folkestone gold bar shipment. No easy thing! Impossibly heavy safes, numerous locks and a formidable railway guard in the luggage van are just a few of the obstacles to overcome. All without arousing suspicion. Never mind the confusing album cover which depicts American dollars bills mingling with the steam and smoke (did someone try to market this movie as a Western?) Despite all the years, this incongruous image remains on just about every release. Not to fear, even the chugging train motif has a distinct British quality to it. The disc begins much the original vinyl pressing with “Main Title” which bursts to life at a brisk tempo playing the theme of the main character, Edward Pierce. After a minute of this tune is established, we cut to the all-important luggage van where a desperate struggle takes place. The tempo remains the same, but now is charged with violence with screaming strings as the railway guard tussles with a robber who is then thrown from the speeding train and down an embankment to his demise and the brass section punctuates his tumble. Contemplative low and slow music accompanies Pierce in his carriage as he reconsiders his plans. No, this isn’t THE robbery, but solid proof that one man working alone won’t succeed. From this short cue, the overall tone of the album is set in place. Pierce isn’t dissuaded though, and intends to go after the Crimean gold with the scientific approach. Brute force will NOT do--stealing the gold will have to be done with more cunning and cleverness. Four crucial keys to open the safe in the luggage van have to be found and copied without the knowledge of the men who keep them. All this crafty tip-toeing and eavesdropping is well scored by Goldsmith. His orchestrator, Arthur Morton is in step with the time period and there is no synthesizer to take us out of the era. The sound quality is terrific. “Robbery” has moments of boisterous action, but the film is a narrative of tension and nonchalance in the face of scrutiny. There are 16 tracks in all, and most play out chronologically, unlike the vinyl version. The first seven cues are generally light-hearted and edge into comedic to describe the antics of Pierce and his sneaky ring of criminals. Goldsmith musically paints the scene of polite English society with cultured strings, woodwinds and touches of harpsichord. Pierce is outwardly suave, and his oft-repeated theme is casual and elegant. Cue 5, “Rotten Row”, is Pierce’s theme reimagined as a waltz as he flirts in public with a Plain Jane to finagle more information for the crime. Especially notable is Cue 7, “Kiddie Kaper” which accompanies a foot chase and an incursion into an off-limits railway office for a quick peek at its layout. A touch of wooden ratchet, tuba and xylophone join in the fast rhythm. With eight, the tone changes to gloom, tension and outright dread. A recruited prison escapee threatens to spoil the entire endeavor just when there’s a fighting chance. Now the would-be gold thieves have to contend with more difficulties. But Pierce is nothing if not imaginative—his crew will have to step up their game. At thirteen and onward, we are engaged in the crime—more of a daring burglary than a robbery—aboard the speeding train. Cue 14, “The Gold Arrives” features a four-note chug to keep pace with the locomotive and Pierce’s seeming success with the scheme. An overlooked detail spoils the adventuresome tone in Cue 15, “Torn Coat”. The Bobbies swarm Pierce at the station because of a wardrobe malfunction. He is in shackles, but not for too long and “End Title” means the anti-heroes escape and the album comes to a rollicking conclusion. Seldom has Jerry Goldsmith utilized a faster and more lively theme or made the Victorian age so much fun. Elsewise, the album features detailed liner notes and photos of the cast and crew.Read full review
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