Sharol, I was just listening to this the other day. "The Edge" is a wonderful score by Goldsmith. The theme is absolutely awe-inspiring... and the rest plays into that inspiration with shades of terror (courtesy of Bart the Bear), desperation and reflection. There's a great jazzy rendition of the theme at the end - a definite treat. Go for it.

The second half is mainly menacing stalking music (which isn't bad), just that there's not much variety as a whole.

I mildly recommend it.

*** Spoilers ahead ***

Goldsmith’s score to THE EDGE is a study in compositional conservatism. The movie itself is rather entertaining, though somewhat preposterous. An intelligent script, good performances, and excellent locations combine to create an often exciting wilderness thriller.

Goldsmith’s main theme is very good, but once again it is a little too similar to all of his other themes composed during the mid-90s. Nevertheless, matched with the wilderness scenery, Goldsmith’s score does come alive, and there is plenty of nifty acoustic percussion work during many of the action scenes.

The album itself is virtually worthless other than as an academic record of the movie’s score, but that nice jazz version tacked on at the end is welcome – apparently this was an afterthought from Goldsmith, which is funny, because it’s probably the most effective music heard in the film, and certainly the best music heard on album. Indeed, in the movie itself, the jazz version of the main theme serves as a most satisfactory termination to the movie – one could describe it as Hopkins’ theme – he has returned from the wilderness, indeed, he has beaten the wilderness, and triumphed over Baldwin – the warmth, urbanity and sophistication of the jazz version of the thematic material reflects Hopkins’ victorious return to civilization and safety.

Now that DANIEL2 has been banned from FSM board we will be forced to meet him here God knows for how long...