Deal of the Century (Arthur B. Rubinstein)

Arms dealer Eddie Muntz (Chevy Chase) has been doing pretty well, but an opportunity falls into his lap for the score of a lifetime: a military plane to a South-of-the-border country...with a few bugs. No one seems to like this movie, least of all its star and director (William Friedkin!!!), but while it's unlikely to be confused with Dr. Strangelove, this satire manages some hearty laughs.

Between this, WarGames and Blue Thunder, Arthur B. Rubinstein seemed to be the go-to composer for 1983's ‘military hardware gone berserk’ movies. (Do you think he’d have also done Best Defense if it hadn’t pushed back to 1984?) Rubinstein creates a number of fascinating elements, from a 'doubt' motif for Gregory Hines' born-again pilot (“Hobbling to the Rescue”, “Bickering”) to a slinky love theme (“End Credits”) as well as flavorful, exotic cues (“San Miguel”) and a quietly noble march theme for Chase's Eddie (“Ed's Got a Plan”, “Finale”).

Deal of the Century
composed & conducted

by

Arthur B. Rubinstein

1. Main Title 0.15
2. Tankbuster Ad 0.47
3. San Miguel 1.15
4. “Oh my, oh my.” 1.45
5. Successful Sale 0.28
6. “...a sorry thing.” 0.19
7. Bearing Arms 1.20
8. The Peacemaker 0.50
9. Ed's Got a Plan 0.33
10. The Airport 0.57
11. Babysitting 1.17
12. Not Under Control 0.36
13. Harold's Affairs 1.38
14. “I believe you.” 1.28
15. Ray Reminisces 0.48
16. Bickering 0.26
17. “A little touch-up.” 0.39
18. Regret 0.10
19. Cram Session 0.44
20. Good Night 0.34
21. Beddy-Bombs 1.00
22. Re-Gifting 0.21
23. Arms for Peace ‘84 0.20
24. “Shine” 2.50
25. A Gift to Kathy 0.50
26. Making a Date 1.26
27. Baptism 0.33
28. Hobbling to the Rescue 1.06
29. Peacemaker Chase 2.34
30. Planes in Flames/Finale 1.29
31. End Credits 1.51

Here's the “End Credits” cue:

Murder in Space (Arthur B. Rubinstein)

 

An outer space mission hits a snag when one of the crew members is killed, which could potentially create an international incident between the United States and the Soviet Union. Made-for-cable mystery has an interesting premise, but squanders it with a dull execution. Some good actors go to waste (and the less said about Martin Balsam's Russian accent, the better).

However, Arthur B. Rubinstein provided an exciting score based on a properly sinister four-note melody for brass.

Murder in Space

composed & conducted

by

Arthur B. Rubinstein

1. Roll Call (Main Titles) 2.03

2. Breaking News 1.02

3. Making Contact 1.02

4. Dismissed 0.22

5. The Lab 1.39

6. Friction 0.36

7. Shower Talk 0.58

8. Disrobing/Late Call 1.55

9. Autopsy in Space 2.10

10. Inconclusive 0.45

11. Handle It! 0.21

12. Bad News 0.44

13. Probably a Tumor 0.52

14. Guy vs. Dominica 0.53

15. Something to Hide? 1.39

16. Confidential 0.25

17. Moscow Morning 0.29

18. Hair Follicles 0.36

19. Everybody's a Suspect 1.18

20. Conspirators 1.01

21. Cooper Spills 0.49

22. The List 0.37

23. Divorce Papers 1.29

24. Guy Collapses 1.25

25. Demands 0.38

26. New Intel/Kurt is Dead 1.50

27. Exact Words 0.43

28. Q and A/The Gun 3.17

29. Escape Pod 1.15

30. Countdown 0.35

31. Coming Home 0.26

32. The Landing 0.45

33. Under Arrest 0.44

34. Picking Up the Pieces 1.00

35. Kurt's Secrets 1.27

36. Flashback 0.18

37. What About Guy? 1.04

38. Nothing Left 0.12

39. Neutralized 0.43

40. Russian Roulette 1.25

41. Last Call (End Titles) 1.44

Here's a sample:

The Man in the Brown Suit (Arthur B. Rubinstein)

 

An American tourist (Stephanie Zimbalist), looking for some excitement in her life, decides to extend her stay abroad, only to get wrapped up in a murder mystery. Somewhat cheesy, but entertaining made-for-TV movie, loosely based on an Agatha Christie novel (so much so that the book's actual protagonist - Miss Marple - is nowhere to be found).

Arthur B. Rubinstein's score is rich in flavor, ably reflecting the story's international travels, and buoyed by a swaying, four-note melody.

The Man in the Brown Suit
composed & conducted
by
Arthur B. Rubinstein

1. Ride Through Cairo (Murder!) 1.12
2. The Man in Blue 1.59
3. Dead Girl from the Picture 0.20
4. Breaking News 0.43
5. Pictures at Sea 0.36
6. Sir Eustace 1.05
7. Eustace Meets Race 0.18
8. Holding Out for a Hero 0.12
9. New Friends 0.34
10. Itinerary 1.34
11. Looking for a Man 1.28
12. Ransacked/Suspect List 3.35
13. Party source 1.24
14. Dance source 0.27
15. Prize source/Secret Meeting 1.10
16. Suzie in Danger 0.20
17. No Stewardesses 0.59
18. Expensive Development 0.48
19. The Show Must Go On 0.31
20. Starboard source/Overboard 0.34
21. Looking for Diamonds 0.48
22. Welcome to Mombasa 0.20
23. Diamonds Found/Bazaar source/Captured 2.28
24. Digging to Freedom 2.03
25. The Ledge 1.08
26. Escape! 0.30
27. Bazaar Chase 0.46
28. New Secretary 0.46
29. The Oasis 1.03
30. The Note 0.58
31. Water Falls 0.33
32. To the Rescue 0.48
33. Annie and Harry 1.48
34. Garden of Eden 0.24
35. No Peeking 0.38
36. The Race is Over 0.28
37. A Long Trip 0.40
38. Evil Eye 0.16

39. The Colonel 2.45

40. Anita's Demise 1.16

41. The Ol' Switcheroo 1.01
42. Showdown 1.09
43. Under Arrest 1.01
44. Who is Harry? 0.23
45. Lord and Lady 0.46
46. End Credits 1.00

Secrets (Arthur B. Rubinstein)

The incidents faced by the characters on the new soap opera "Manhattan" pale in comparison to those of the actors playing them. I've never read a Danielle Steel novel in my life, but given this made-for-TV drama adapted from one of her books, maybe there's a reason for her success. Cliched as all get-out, but undeniably compelling. Plus, Christopher Plummer can sell pretty much anything.

Arthur B. Rubinstein's score features some neat passages for the many dramatic scenes as well as a bustling main theme for the show-within-a-show.

Secrets

composed & conducted

by

Arthur B. Rubinstein

1. Main Title 2.58
2. "Read this." 0.29
3. Going Home 0.53
4. Phone Call 0.44
5. Blackmail 0.49
6. Script Coverage 0.56
7. Bad Love/Candlelight source 2.40
8. "Thank you...for everything." 0.27
9. Jane Says Yes 0.39
10. Mel Visits Sabina 1.29
11. The Airport 0.19
12. "Sorry to see you go." 0.40
13. House Rules 0.47
14. Sandy's New Friends/Sabina on the Phone 1.07
15. "I'm with you now."/Spousal Abuse 1.44
16. Jane Leaves/Location Shooting 2.23
17. Billy Confronts Gabby 0.34
18. Goodnight Kiss/Christmas 1.36
19. Party source 3.14
20. Dance source 2.01
21. Jane x Zack 1.16
22. Gabby Covers for Billy 0.34
23. Traumatized Jane 0.56
24. Gabby Consoles Billy 1.21
25. "Manhattan" Opening Credits/Goodnight All 1.57
26. Private Investigator 0.47
27. Zack Rescued 1.05
28. Running Lives 1.43
29. To the Hospital 1.07
30. ICU 0.55
31. That's a Wrap 1.08
32. Dan Has a Gun 1.30
33. Alexa Learns the Truth 0.37
34. The Verdict 1.42
35. "Marry me." 1.13
36. End Credits 0.46

The Best of Times (Arthur B. Rubinstein)

A blown final play of a high school football game still haunts Jack (Robin Williams) years after the fact, so he arranges a rematch. All he needs to do is convince quarterback Reno (Kurt Russell) to get back into the game. Likable comedy never quite reaches greatness, but it's still entertaining, with Williams and Russell making a good team.

Arthur B. Rubinstein's score is quite engaging, utilizing Sousa marches for the big game scenes, Elgar's "Pomp and Circumstance" (the base for the school's fight song, and given a neat rendition in "Make-up Sex"), some tritone material reminiscent of WarGames ("Rainfall"), as well as a pair of themes: a determined motif for Jack and a wistful one for Reno. A long ago Rubinstein compilation promo featured some cues that seemed to be dialed out of the film, so all the more reason for a release.

The Best of Times

composed & conducted

by

Arthur B. Rubinstein

1. Pomp and Circumstance (Main Titles) 3.31

2. "What's the problem?" 0.38

3. Reno's Office (source) 1.24

4. Jack Takes Off in Le Pile 0.35

5. One Good Reason... 0.08

6. Junk in the Yard 1.36

7. Jack's Idea 0.36

8. Taft High Doorbell 0.09

9. Make-up Sex/New Digs 4.03

10. Reno's Lament 0.50

11. Extortion/Loyal Order of Caribou (source) 3:05

12. The Colonel Lays Down the Rules 0.39

13. The Safari Room (source)/Paint Job 2.10

14. Phony the Tiger 0.13

15. Team Run/The Offensive Line Returns (source) 2.27

16. Plays in the Dirt/Cleaning Up Taft 2.26

17. The Parade (source) 0.45

18. At the Bar #1 (source) 1.28

19. At the Bar #2 (source) 0.27

20. Losing Confidence/Bakersfield Trains 1.21

21. Arrival in Taft 0.51

22. Liberty Bell March (First Half Blues) 1.44

23. Rainfall 0.36

24. Jack Gets Benched/Reno's White Shoes 1.31

25. Washington Post March (The Comeback) 2.04

26. Touchdown! 1.46

27. Reconciliations 1.47

28. End Titles 0.55

Gridlock (Arthur B. Rubinstein)

Comical circumstances result in a massive traffic jam on Los Angeles freeways and a number of stranded travelers try to make the best of it. There's a scene where port-a-johns are airlifted onto the roads while "Ride of the Valkyries" plays. If that sounds like comedy gold, you might enjoy this made-for-TV movie loaded with familiar faces. If not...I don't know what to tell you.

Arthur B. Rubinstein's score is highlighted by some rising tritone material reminiscent of WarGames and a neat recurring motif for the scenes of various people on the freeway.

Gridlock

(aka The Great American Traffic Jam)

composed & conducted

by

Arthur B. Rubinstein

1. Main Title 0.29

2. Friendly Wager 0.31

3. Chrissy's Plea 0.41

4. "My baby! It's coming!" 0.39

5. Parking Space 0.49

6. Heeeeeere's the Queen 0.36

7. Whatchu Haulin'? 0.32

8. "A little touchy." 0.33

9. The Jam Begins 0.58

10. Lady with a Baby 0.30

11. Going on Tour 0.33

12. Truckers Ride 0.25

13. Driving Range 1.07

14. "...officially on vacation." 0.24

15. Mass Confusion on Wheels 0.55

16. Scratching Rigs 0.52

17. Running Through Traffic 0.32

18. Truckers' Jam 1.00

19. Leaving Without Daddy 1.12

20. Still Stuck? 1.10

21. A Drink from Snake 1.10

22. T-shirt Type 0.09

23. Trying to Relax 0.32

24. Fingers Do the Walking 0.41

25. Off to the Races 1.09

26. Gaining an Audience 0.54

27. Can't Run Away 0.06

28. All Eyes on Buzz 0.15

29. Buzz in Charge 0.26

30. General's Speech 1.56

31. Airlift Relief (Strauss arr. Rubinstein) 2.02

32. 27 Years 0.34

33. Playing with Clarence 0.23

34. "All we can do is wait." 0.33

35. Creating a New Road 2.18

36. Troops Move Out 0.43

37. It's a Boy! 0.51

38. Meeting the Crew 0.49

39. Family Reunion 1.18

40. Working Things Out 1.16

41. End Credits 0.47