Released in 1987, CHERRY 2000 is set in the year 2017 (so just two years away from now). The United States has been hit by a series of civil unrest periods and also a number of serious economic downturns which has resulted in the country being fragmented and separated into sparsely populated areas leaving much of the country a desolate wasteland. Because of the economic situation the norm is now not to replace but repair equipment that is from the 20th Century as new products are not being manufactured. But saying this robotics has come forward in leaps and bounds with Female androids being in demand to take the place of human females and also acting as substitute spouses or companions for males. Sam Treadwell played by David Andrews has a Cherry 2000 android which he inadvertently shorts out whilst engaging in sex with it on a wet washroom floor (someone should have told him water and high voltage don’t mix). He calls the repair man but the news is not good the parts he needs for his Cherry 2000 are near on impossible to get, the repair guy offers Sam one of his own models but Sam refuses asking where he might get the parts for his own, apparently the parts were manufactured in Zone 7 which is in the Antebellum area which would you not guess it is a particularly violent and dangerous area. So we are off on a quest to find the part for the android, Sam enlists the aid of a tracker Edith E Johnson played by Melanie Griffith with red hair. It is her job to guide him through Zone 7 safely get the part and return him to the relative safety of his home, simple yes ? Well actually not really.
The music for the movie is the work of composer Basil Poledouris, who creates an amazingly thematic and dramatic score for the picture that to be honest outshines the actually film it has been written to support. There is a definite Western sound to the work, the composer combining both electronic and symphonic elements to produce a soundtrack that is filled to overflowing with infectious sounding themes and romantically laced compositions, these are played alongside an equal amount of fairly fast paced action cues which although can be atonal in their make up still remain melodic. The composer utilises the brass section to great effect within the score and laces this with a scattering of strings and woodwinds, at times giving us a fleeting snippet from an electric guitar. Percussion too features large within the score underlining the more dramatic moments within the score, synthetic sounds do play a big part within the score but they are fused with conventional instrumentation and compliment the orchestral sections of the score wonderfully. His is I would say one of the composers best and that is saying something when you consider the scores he wrote in his sadly short life.
As I have already stated in my opinion there is a definite Western feel to the work, which manifest themselves within the scores central theme which is rather like 100 RIFLES meets ROBOCOP, bold and forthright and highly thematic. I cannot recommend this score enough, it may be difficult to purchase as the original was on the Varese Sarabande CD club label initially and then more recently in 2004 released by Prometheus being paired with the composers score for NO MANS LAND. Then there is the 2011 Intrada special release which also includes music from THE HOUSE OF GOD. Any version would be a plus to any collection. Just buy it.