After their hit, Wargames, from 1983 the screenwriters Lawrence Lasker and Walter F. Parkes wrote another script, which tells a story set in the computer milieu: In Sneakers a Russian mathematician develops a universal decryption program that can decrypt all codes (information). To keep this software accessible, it is saved onto a microchip hidden in the casing of an answer phone (for disguise purposes). It goes without saying that the American counter-intelligence would love to get hold of this box, just like many other organizations; for whoever calls this „black box“ their own has potential access to confidential data all over the world.
That’s the plot in a nutshell. From a purely mathematical standpoint, the story is utter nonsense because there is in fact an
infinite number of encryption algorithms. Besides, tight limits would have been set on a technological solution – as shown in the movie – by compatibility problems and the fast progress in technology (just imagine this 8-bit system decrypting a modern AES-code). The screenwriters were fully aware of this weak aspect of their fairly primitive basic idea and therefore added a comic note to the conceptual thriller. Some jokes are hidden in the movie and may reveal themselves only to those who are interested in the world of bits & bytes. Still, the mix of thriller and comedy works perfectly. Here, Lasker and Parkes proved their talent for covering up the implausibility of the plot.
For the music James Horner was hired. And he produced a catchy score for Sneakers. The music has turned out well, particularly with respect to theme, even though there are hardly any highlights to speak of – you especially should not expect any action sequences. The reason for this is the dilution of the thriller element by the comic aspect. The movie does have its moments of suspense but the atmosphere completely misses any ups and downs. Therefore, Horner’s music is perfect for relaxation purposes; the rare action moments soon die down again before the listener can react. One example for this is “The Hand-Off“: The track hits you with a sound layer of piano, heavy on the bass, and percussion; within seconds, however, it lapses back into a leisurely, catchy flow and then pads towards its end without any further induction of emotions. The “Main Titles” present themselves in a charming way, appreciated by many Horner connoisseurs. A saxophone introduces the main theme, livened up with a choral Partikel chant, which is reflected by a harmonious wood percussion. The effect of the finale of the CD, “... And the Blind Shall See,” is similar, only that its music is livelier and more melodious – after all, this is supposed to be the final anchor sending home the audience with a pleasant feeling.
Overall it’s a jazzy score that lends the movie a laid-back atmosphere and accompanies the old school anarchists, the hacker and his friends, on their cheeky routine work – just listen to the third cue, “The Sneakers Theme.” Owing to its saxophone and glockenspiel, the song recreates the atmosphere of a jazz club, which invites the audience to sit back and relax likewise. Horner’s music never becomes too complicated. He has contributed a music rather simply structured but not to be sniffed at, which does the trick and keeps the audience happy. As usual the composer touches his musical past, this time only peripherally; for instance, a couple of times there is a hint of Aliens. Furthermore, Horner anticipates his future work, like Apollo 13. This score completely builds on Sneakers and is often cited in this context in other reviews. Another reference is the work for Titanic; in particular track 7, “Playtronics Break-In,” bears a striking resemblance. The saxophone sounds just like the Uilleann pi
pes while harsher, military march-like piano chords are reminiscent of the more brutal Titanic cues (“The Sinking” and “Death of Titanic”).
The tenor of the movie may be illustrated best by the cue “Planning the Sneak”: The cue conveys cleverness as well as motivation paired with reflection and reveals a tinge of comedy with its glockenspiel chords.
Well, music is and will always be a matter of taste and the fact is that Sneakers is popular (not only) among many Horner fans. I personally would have liked a score by Arthur B. Rubinstein for this movie because he proved his innovative talent and expertise with Wargames. Horner’s score for Sneakers is undeniably functional but it is nothing new. Still, I can indeed recommend the music and even if it’s only for the main theme (which is mandatory for Horner fans). Whoever got something out of Goldsmith’s The Russia House or Grabowski’s Last Orders will also find much pleasure in Sneakers – I promise!
English translation: Isabel Seidel, M.A.
Oliver M. Strate, 15.02.2008
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