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The Hitcher," Robert Harmon's 1986 directorial debut, is a chilling coming-of-age story that sparked controversy for its unrelenting, disturbing violenceβboth shown on screen and implied. Over time, this adaptation of Eric Red's ("Near Dark," "Body Bags") bizarre tale has aged well. It revolves around Jim Halsey (C. Thomas Howell), who picks up a hitchhiker, John Ryder (Rutger Hauer), on a desolate Texas highway, only to discover his passenger is a wolf in sheep's clothingβa homicidal maniac who tasks Halsey with stopping him at any cost. Mark Isham, a jazz musician and synthesist, was commissioned to score the film. Initially hesitant, he agreed under Harmon's persuasion. The resulting score is as terrifying as the film itself, filled with action, drama, horror, regret, and tragedy. Isham's frequent collaborators, percussionist Kurt Wortmann, "Bongo" Bob Smith with his W-mu SP-12 drum computer, and bassist Bill Douglas, joined him. Using Prophet 5 synthesizers, samplers, and additional Roland, Oberheim, and ARP-2600 equipment, Isham created a hauntingly uneasy atmosphere. Silva Screen's reissue of their 1991 CD opens with the expansive "Headlights-Main Title," featuring Isham's Flugelhorn performance, evoking Halsey's lonely journey. Steel percussive snaps hint at lurking dangers. As Ryder dubs Halsey "The Chosen," xylophone, sampled, and sequenced pulses dance agitatedly. The tired electronics of "Keys" exude an unsettling aura of uncertainty, while the glimmering keyboards from "Vapor Drawings" conjure isolation and confusion. "Dust And Gasoline" reintroduces the xylophone with aggressive metal percussive devices and strange, curling synth clusters mirroring Halsey's growing fear. The bleak, non-melodic timbres of "Dream" evoke an austere mood, and the melancholia of "Gun" introduces Halsey's theme, with EVI-like emanations reflecting his anguish. Isham's score escalates to a sinister and propulsive blend of drums, steel samples, and blistering "Terminator"-styled sequenced rhythms during the "Cars And Helicopters" assault, a thrilling and eerie sequence where Hauer performed his own stunt work. The fatigued music for the "Hotel" sequence highlights the bond between Halsey and Nash (Jennifer Jason Leigh), another loner sympathetic to his plight. When Ryder is "Transferred" to jail, resigned, tense synth work accompanies Halsey's confrontation with the handcuffed psycho. During "Guards And Cards," bewitching, ice-cold electronics showcase Ryder's unstoppable will as he escapes. When he meets Halsey one last time, snare drums, brooding sequencer taunts, and metallic Kraftwerk-styled samples are angry and unforgiving. Left alone in the heated Texas sands, Halsey's theme returns for "The Hitcher-End Credits," as he mourns the loss of life and his devastating spiritual awakening. In typical 1970s fashion, the questions remain unanswered as the electronic undulations hint at Halsey's state of mind. Howell returned for an unnecessary 2003 sequel, "The Hitcher II: I've Been Waiting," with an effective orchestral underscore by Joe Kraemer ("Mission: Impossible-Rogue Nation"), followed by Platinum Dunes' 2007 remake. Harmon and Isham reunited for "Nowhere To Run," "Gotti," and the unofficial sequel "Highwaymen." With nearly two decades of fine horror and thriller scores under his belt, including "Kiss The Girls," "Blade," and "Fire In The Sky," Isham brought a profound and elaborate sense of doom to "The Hitcher." One might compare the automobile destructions and their motivations in Harmon's films to David Cronenberg's "Crash" and its beguiling metal-on-metal score by Howard Shore. However, even if "The Hitcher" isn't your cup of tea, this disc is highly recommended for fans of the composer, especially those familiar with his work on "The Beast," "Everybody Wins," and "Trouble In Mind." Just don't play it when driving alone!
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