The box-office success of CONAN THE BARBARIAN (1982) meant that a sequel to the sword and sorcery epic was inevitable. Two years later, the follow up to John Milius' graphically powerful depiction of Robert E. Howard' tales was released. Directed by veteran filmmaker Richard Fleischer, CONAN THE DESTROYER (1984) strikes a completely different chord than its predecessor. With the exception of Arnold Schwarzenegger, who returned as Conan, an entirely new cast was assembled to perform Stanley Mann's screenplay. The new ensemble, a triumph of surreal casting, includes actors as varied as Grace Jones, Wilt Chamberlain, Sarah Douglas, Olivia d'Abo and Mako. In an attempt to distance themselves from the original CONAN, the creators of the sequel abandoned Milius' grim narrative and hypnotic visual rhythms in favor of a cinematic menu emphasizing action and modern special effects (typical of early 1980s fantasy films) with splashes of humor on the side. The film was not well-received, but the return of composer Basil Poledouris was noticed and welcomed by many critics and fans of the genre. Poledoris' quasi-operatic score for the original CONAN was a marvel of film composition, an effort which succeeded in breaking down some of the barriers which separate absolute music from film music. For CONAN THE DESTROYER, Poledouris had to write music that would correspond with the ethos of the second chapter. At the same time, he had to preserve some of the musical structures used to carve out Conan's mythological pre-historic world in the first film. But with the exception of a few quotations from the original CONAN, Poledouris composed an entirely separate work which does not depend upon reference to its predecessor for clarification.

The music for CONAN THE DESTROYER represents a worthy continuation of the Conan aesthetic. Working with a challenging disparity of materials, Poledouris has written cues which expose the versatility, resourcefulness and power that are trademarks of his orchestral writing. The operatic style and thematic variety of the first CONAN score are less apparent here, but the composer has provided the sequel with germinal motifs and themes which give the music architectural integrity. Interest is sustained further through the variability of objective and subjective moods, contrasting keys, and fascinating harmonic polarities. For the most part, the geography of Conan's existence is mapped out with a series of dark, ominous episodes. In "Main Title / Riders Of Taramis" Poledouris offers a reworking of the original CONAN theme while introducing the oppressive, minor-mode theme for the villains. A brief, restrained statement of the Conan theme is heard in "The Katta", while the "Riders Of Taramis" theme reappears in "Dream Quest" (a flautist gives a somber spin on the melody). One of the score's many highlights is "Crystal Palace", a deliberate, relentlessly advancing piece (the pace is set by three groupings of two eighth notes heard in the low strings and brass) bookended by a lyrical flute motif. "Nights Bird" and "Dueling Wizards" offer appropriately brooking and tension-filled atmospheres, while the majestic march accompanying "Approach To Shadizaar" gives the trumpet players a place in the sun. Since Poledouris is also a romantic composer, there are a number of subtle, lyrical passages. Of course the Conan genre doesn't permit the possibility of lengthy romantic excursions. As a result, the composer's emotional subjectivism remains properly restrained, but never at the expense of evocation. The strings emit a lyrical, mid-range mysticism in "The Horn Of Dagoth" and "The Scrolls Of Skelos", while "Illusion's Lake" offers listeners a more contemplative diversion. The mood is allowed to swell in "Valeria Remembered", a moving reprise of the love theme introduced in the first film. The inclusion of these insular cues gives the picture a few moments of emotional depth. Darkness is revived when "Conan And Bombaata Battle", a cue in which a sustained moment of musical suspense heightens the drama. When the conflict is resolved, a spacious statement of the Conan theme brings the film to a close. By positing a final triumph of sanity over chaos, Poledouris gives the saga a dynamic culmination, one which brings the score full circle.

After looking for ways in which they could depart from the first Conan, the filmmakers made several changes but preserved the moral tenets of Conan's world. The filmmakers were reformist rather than reactionary, a fact which influenced the composer in writing his score. Poledouris had to examine the musical language of the first film, reconsider it, and integrate what was elemental in the context of a new symphonic endeavor. When considered as a whole, the score establishes, develops and completes Conan' filmic universe with sonata-like complexity and intelligence. In retrospect it seems that no other composer could have done a better job than Poledouis. Most Poledouris scores shows the composer feeling comfortable in modernistic idioms while still finding romantic problems and possibilities in music. For the CONAN films, Poledouris added pre-historic forms and styles to this repertoire. Poledouris isn't just a throwback to a lost era-his melodies are deeply individual, and if technical analysis yields some rudimentary comparisons with other writers, the affective impact of Poledouris' style remains unique. A decade later the CONAN films have been left behind along with the early part of his career, a period which includes scores for BIG WEDNESDAY (1978, his first film), THE BLUE LAGOON (1980), SUMMER LOVERS (1982), FLESH & BLOOD (1985), and a series of films with John Milius. In these and other scores Poledouris demonstrated a maturity that continues to develop in recent releases such as ROBOCOP (1987), CHERRY 2000 (1988), THE HUNT FOR RED OCTOBER (1990), RETURN TO THE BLUE LAGOON (1991), and WIND (1992). While all of these scores are excellent, most people consider Poledouris' work on CONAN THE BARBARIAN (available on Varese Sarabande VSD-5390) to be his best. With the compact disc release of CONAN THE DESTROYER, we at last have its worthy companion piece.