Straining the future

Battlefield Earth, Space Jazz and the sounds of Scientology

Mark Evans
This article considers the sonic agenda at work in Battlefield Earth: A Saga of the Year 3000
(Christian US 2000). Through a critical analysis of the film and its associated texts namely,
L. Ron Hubbards novel of the same name and his album Space Jazz (1982) discussion of the
films sonicity will engage with Scientological views on music, popular culture and science.
This article will also consider the ways in which Battlefield Earth adheres to sf film codes and,
particularly, how the soundtrack replicates sonic formations of the genre.

L. Ron Hubbard (191186), a master of pulp fiction writing in the 1930s and
1940s, is credited with over 250 published novels, novelettes, short stories and
screenplays,1 many of which appeared in such sf and fantasy pulps as Astounding
Science Fiction, Unknown and Fantastic Adventures (see Pitt). Yet his enduring
legacy, for better or worse, is as founder of Scientology. The Church of Scientology was founded by Hubbard in 1953, three years after the publication of his
book of scientific self-help philosophy, Dianetics: The Modern Science of Mental Health (1950). Scientology, which is legally recognised as a religion in the US
and some other countries, teaches that the human soul (called a thetan) has
been reincarnated thousands of times, possibly over millions of years. This reincarnation may have happened over different planets throughout the universe.
Any troubles or anxieties experienced by present-day humans can be solved
through understanding and realigning these thetans. In Scientology this occurs
through a process called auditing, which is similar to a counselling session but
also involves the use of an E-meter, a device that measures electrical resistance
through the body via two metal cylinders held by the participant. Alongside
the auditing process, Scientology is built around a series of training and selfhelp courses based on Hubbards writings. Progress to higher levels of awareness (known as moving further along the Bridge to Total Freedom) can only
1. Since his death, Hubbards publishers (companies owned by the Church of Scientology) have been
quick to elevate the status of Hubbards writing. One such project is the The Ron Series, documenting Hubbards achievements in different literary and cultural pursuits in 13 volumes: The Administrator, The Adventure-Explorer, The Artist, The Aviator, The Filmmaker, The Educator, The Humanitarian,
The Master Mariner, The Music Maker, The Philosopher, The Poet/Lyricist, The Photographer and The
Writer. In a scathing review of The Poet/Lyricist, Tom Hansen noted: Ron was a lot of things to a lot of
people. But he was, even by generous standards, no poet People who think glibly tossed-off verse
is good poetry will like this book. But people who know anything about poetry people who actually
read mainstream poetry, or even minor tributary poetry will not (629).
ScienceFictionFilmandTelevision 3.2(2010),201216
Liverpool University Press

ISSN1754-3770(print) 1754-3789(online)
doi:10.3828/sfftv.2010.14

202 Mark Evans

be attained through successful completion of these courses, in the prescribed

order. All courses cost money, with estimates ranging between US$30,000 and
US$250,000 as the total cost to an individual of attaining the highest levels of
understanding.
Since its inception, Scientology has been hugely controversial. Whether
because of the monetary cost to members, the huge amount of litigious activity brought against opponents of Scientology, alleged bullying of members or
even the sf-like writings of Hubbard himself, the organisation has struggled for
general acceptance. Australian senator Nick Xenophon has gone so far as to
identify Scientology as creating a worldwide pattern of abuse and criminality.
In a scathing attack tabled in the Australian parliament in 2009, he went on to
claim:
this is a two-faced organisation. There is the public face of the organisation founded in 1953
by the late science fiction writer L. Ron Hubbard, which claims to offer guidance and support to its followers, and there is the private face of the organisation, which abuses its followers, viciously targets its critics and seems largely driven by paranoia. (Xenophon)

In a similar vein, Stephen Kent identifies Scientology as

much more than merely a religious organization. Its complex, international structure actively markets, promotes and advertises material related to business management, education,
mental health, physical health, drug rehabilitation, taxation, moral revitalisation (to use
its own term) and entertainment. These operations merge with the religious elements and
aim at getting the technology of L. Ron Hubbard into new territories of the world. (148)

The last clause here quotes from a Church of Scientology publication (International Management) and reveals part of the Churchs missional agenda. This
article considers whether this agenda extends to a film based on Hubbards
fiction, Battlefield Earth: A Saga of the Year 3000 (Christian US 2000), through
a critical analysis of the film and its associated texts Hubbards novel of the
same name and his album Space Jazz (1982). Discussion of the films sonicity
will engage with Scientological views on music, popular culture and science.
This article will also consider the ways in which Battlefield Earth adheres to
sf film codes and, particularly, how the soundtrack replicates sonic formations
of the genre.
A saga of the year 1982

Hubbards Battlefield Earth: A Saga of the Year 3000 was first published in October 1982. Described as a National Event in a New York Times (1 October 1982)

Straining the future 203

advertisement, the notice continues: The biggest Science Fiction book ever is
going to appear in your bookstores: BATTLEFIELD EARTH super-thriller science fiction masterpiece by L. RON HUBBARD. At 430,000 words (over 1,000
pages in most editions) the novel certainly is big, but it was derided by many
critics for being clunky, verbose, and sometimes laughable (Pitt 47), or even
worse: Battlefield may sound almost worth looking at for its sheer laughable
badness. No. Its dreadful and tedious beyond endurance (Langford 35657).
Nonetheless, the novel has allegedly sold seven million copies and been translated into 26 languages (www.battlefieldearth.com),2 and a sixth edition was
released in 2002 to coincide with its twentieth anniversary. It has won several
awards, including the US Golden Scroll and Saturn Awards. The dust cover
states that it was voted third in the best hundred English language novels of
the twentieth century by the Random House Modern Library Readers Poll.
However, since the book is not mentioned in the Random House Boards top
hundred list, it is possible that Hubbard fans or Scientologists orchestrated
poll responses, particularly as Hubbards Fear (1940) and Mission Earth series
(198587) also appear in the top ten.3
A curious prequel

An interesting textual partner to the novel Battlefield Earth was the album Space
Jazz (1982), an album conceived as a soundtrack for the book the First of its
kind!, according to the press release. Hubbard also referred to the album as
music for a film not made yet (liner notes). Intended as the soundtrack for
a film adaptation, it draws heavily on the novel in constructing image-driven
tracks. Composed by Hubbard, the album featured some big-name collaborators, including jazz musicians Chick Corea and Stanley Clarke, but even their
input was unable to stave off the universal panning the album received. One
particularly colourful review by Tom Ready observes that
Hubbard by his singular lack of talent has made an album for the ages; it is inconceivable
that even if one hundred monkeys were placed at one hundred Moogs for one million years,
2. There is considerable controversy over the sales of Battlefield Earth. It is published by Galaxy Press,
a company owned by the Church of Scientology. Various reports have come out noting irregularities
in sales, including individuals buying hundreds of copies and Scientology churches being encouraged
to buy large quantities of the book (see Miller; McDowell). Even in the university where I work, several hardcover copies mysteriously appeared on several floors of the building, for free collection. The
Nielson BookScan data available indicates that the seven million figure on the books official website
thus might be quite inflated.
3. For the full list of the Board and the readers tables, see http://ultimatebodytoner.com/news/Battlefield-Earth-(novel).html.

204 Mark Evans

any of the faeces-flinging anthropoids could conjure musical excrement to even approximate the drug-addled Sci-Fi bowel movement that is Space Jazz. (Ready)

The opening track, a salute to the Golden Era Of Sci Fi, is punctuated by a
group of enthusiastic young females shouting Its Buck Rogers! Buck Rogers!
Buck Rogers! Yaaaaaay!! Pop Bang Superman and cheering wildly. All
this takes place over tacky synthesised brass parts attempting to replicate grander themes while military snare drum patterns play underneath. Most songs are
punctuated by speeches from characters or commentators. For example, in
Funeral for a Planet, a character introduced to us as God proclaims: Poor
Earth, poor Earth. Thats not a woman crying thats the planet. March of the
Psychlos attempts an ominous militaristic feel, propelled by constant quadruple percussion and stabbing triplet synth figures. Making a mockery of the military precision and power of the Psychlos is the chant Psychlo, Psychlo, Psychlo
Kill, Kill, Kill that dominates the second half of the track, via deep guttural
male voices. And then there is the tragic Terl the Security Director, which
Ready describes in the following terms:
This utter silliness tells the story of the chief of security for the evil Psychlos, Terl, who
apparently minced his way down to Earth to the accompaniment of an old Simon game set
up to play bad lounge jazz and emit the occasional sound sample of a woman screaming in
terror. There are some awesomely repulsive lyrics for this one too, consisting of Terl speaking about man things and his woman friend. Then he laughs in a very evil way, and we
secretly wonder if this isnt some kind of elaborate put on; that the whole goddamn Scientology cosmology/con is just one big misanthropic uber-joke by a master craftsman.

A Scientology-run website devoted to all of Hubbards artistic and philosophical output runs a very different slant on the album, claiming technical
innovation and avant-gardism of a high degree:
To achieve what has, in all truth, only recently been approximated, Ron employed a then
wholly unexplored device, the Computer Musical Instrument (CMI) CMI represented
not a new form of synthesizer to replicate sounds, but a means of actually turning natural
sounds into thirteen note octaves, so that the natural sounds are the notes of the music
For whereas the natural sound had long been employed as a musical gimmick it had
never been integrated as music. In concise explanation, Ron wrote: Computer music can
incorporate natural sound into musical scales. A bear can growl two 13-note octaves. In a
synthesizer it is not a bear growl it is a synthesizer growl. There is a difference. Natural
sound can then be combined with real (not synthesizer) instruments. Add to that the zing
of real space opera music and you have a new era of music. (Anon., Battlefield )

Given the purpose driving the production of the album, to act as soundtrack
for the book (and film), it is pertinent to consider the extent to which Hubbards album influenced Elia Cmirals score or the film soundtrack in general.

Straining the future 205

Table1. Key musical similarities

Space Jazz
Track

m:ss

Feature

1
1

00: 04onward
03: 0103: 16

Synthesiser horn fanfares

15 intervallic motif as basis

Film soundtrack
Time h:mm:ss (start)
01: 27
1: 52: 57

15 intervallic motif starts phrase of humanity theme. Brass

prominent.
Opens soundtrack
Closes soundtrack (solo trumpet)

In interviews, neither Cmiral nor director Roger Christian refers to Space Jazz.
This is significant since the producers adhered closely to Hubbards original
wishes for the film, requiring so many changes to the original film script that
screenwriter J. D. Shapiro largely disowned the final product (see Shapiro).
Comparative analysis of Hubbards album and the film soundtrack reveals that
there are some possible connections, but these are not as overt as might be
expected. The most obvious connections are detailed in Tables 1 and 2.4 While
there is a correlation between the opening fifth interval in the first track of the
album and the opening (key) theme of the movie, this may well be because
such intervallic direction is a commonly used device in sf themes (notably John
Williams theme for Star Wars (Lucas US 1977), which Hubbards opening track
openly borrows from for three seconds between 0:22 and 0:25).
As outlined below, one of the strongest features of the Battlefield Earth
soundtrack, particularly in relation to the Psychlos, is the prominent incorporation of sound effects into the underlying music cue. Often sound effects
Table2. Combinations of FX with rhythm
Space Jazz
Track
10
12
3,4,7
6

m:ss

Feature

0: 01

Rhythmic accents created from SFX

Rhythmic accents created from SFX (drums join 0: 15)
Use SFX and/or vocal growls rhythmically
Horse noises used rhythmically

Film soundtrack

Rhythmic accents include SFX

Time h:mm:ss (startend)

14: 3014: 46 (just one example among many)
4. Each table documents an observed relationship or similarity between the movie soundtrack and
Hubbards album, with time cue points, brief description and comment. Some time cues appear with
start times only.

206 Mark Evans

reinforce percussive tracks and play important rhythmic functions, aside from
their role as literal sounds. Certainly the strongest connection between the
album and the film occurs here. Hubbards album is heavy with sound effects
and non-musical elements. While the combination of sound effects as percussive reinforcement is quite common in soundtracks, especially for action movies, the mechanical nature of the rhythmic emphasis here suggests parallels
between the two texts.
Overall, however, there is little to suggest that Hubbards album had any significant influence on Cmirals score. It is possible that Cmiral may have loosely used Hubbards musical ideas as starting points for further development but,
if so, these ideas have been transformed to such an extent that there is no direct resemblance or discernible influence. The lack of reference to Hubbards
album in promotional or background information about the film also appears
to indicate an intentional distancing. In this instance, omission sounds loud
and clear.
A saga of the year 2000

Starring John Travolta as the villainous alien Terl and Barry Pepper as the heroic Jonnie Goodboy Tyler, Battlefield Earth adapts roughly half of the novel and
was intended as the first of a trilogy:
Theres a lot of philosophy that comes in its all set up in [the first film, Battlefield Earth].
Its only on a simple level, this first one, but it comes into the second one. Theres huge
action in the second one, but Jonnie also learns how to be the Dalai Lama, if you like.
There might be two more [sequels], theres a lot to go There are very interesting aspects
of it to come. (Roger Christian qtd in Persons 22)

However, the films monumental box-office failure seems to have put paid to
any such ambitions. At the 21st Annual Golden Raspberry Awards, a ceremony
held just prior to the Academy Awards to honour films devoid of artistic merit,
Battlefield Earth won seven Razzies out of nine nominations, including Worst
Actor, Worst Director and Worst Film (see Anon., Its Official!). In 2010, the
film won another Razzie, for Worst Picture of the Decade. Roger Ebert has it
firmly placed on his Most Hated Films list and it is currently at number 93 in
the Internet Movie Databases Bottom 100 Films of All Time; it also features
on worst of all times lists on websites such Metacritic and Everyones A Critic. Dennis Harveys scathing review in Variety lambasted every aspect of the
film, from Travoltas performance Travolta affects a hoity-toity mid-Atlantic
accent suggesting The Importance of Being Earnest as performed by the Dog-

Straining the future 207

patch Players to Robin Russells editing outdoes even Armageddon for

sledgehammer quick cutting to Giles Nuttgens cinematography viewer
fatigue is induced by widescreen lensing, which tilts virtually every shot at a
dislocated angle to wardrobe the humans [come] off like the dance troupe
Stomp! doing a tribute to Mad Max in their tasteful war paint, caveman-chic
leathers and Ally McBeal-on-a-bad-hair-day dos (26). Such criticism was common in early reviews and contributed to the dramatic fall in audience attendance after the first weekend of screenings.5
Harvey also points to the failings of the films sonic construction, especially
its volume and intensity:
Any faint fantasy-logic still standing gets lost in a chaotic final hour of nonstop explosions,
collapsing structures and more slo-mo running through close-range gunfire amid shattering plate glass than even John Woo would hazard. This may be the loudest actioner yet,
challenging viewer tolerance with incessant sonic-boom footfalls, detonations, gunplay and
screamed dialogue. Adding to the din is Elia Cmirals score, which ODs right away on bassdrum thunder, yet keeps on chugging till the celestial choirs come home. (26)

Yet if Battlefield Earth elicited the years worst reviews and a domestic box
office to match (Lyons and Harris 2), what are the grounds for this universal
derision? Was it the lingering presence of Scientology around the film? Harvey
notes that Travoltas star power is not enough to save a film for whose construction he is also largely to blame. Glenn Whipp described it as an $80 million
dollar vanity film (7) for Travolta, who for more than 15 years was a driving
force behind its realisation, even contributing US$5 million to the budget. His
public enthusiasm was unbridled: Ive never spearheaded a film before that I
have passion for. Its meant so much to me. Its a new feeling for me, to be honest (qtd in Persons 21).
5. On its opening weekend (14 May) in the US it grossed US$11,548,898 off 3307 screens, and US$3,924,
921 off the same number of screens the following weekend; and on its third weekend US$1,073,097 off
2587 screens. Per screen averages thus dropped precipitately from US$3492 to US$1186 to US$415 over
three weeks; through the rest of its release until mid-July, it showed on far fewer screens with averages
of around US$300. Its global box-office, including the US, totalled US$30 million. (Figures derived
from IMDb.) Published budgets for Battlefield Earth ranged from US$70 million to US$80 million,
yet its actual cost turned out to be substantially less than that. German film licenser Intertainment
covered 48 per cent of the published budget (i.e., US$38 million) in exchange for pan-European rights,
thus unwittingly providing the majority of the actual budget. Audiences in Europe reacted even more
strongly than their North American counterparts, meaning that Intertainment recouped negligible
sums. Intertainment filed a lawsuit alleging that Franchise Pictures had fraudulently inflated budgets,
thereby extracting more money from Intertainment due to their percentage deal. The case was tried
in May and June 2004 in a Los Angeles federal courtroom, where it was proven that the actual cost
of the film was only US$44 million. Intertainment were successful in their claim, and were awarded
US$121.7 million dollars, bankrupting Franchise Pictures and producer Elie Samaha. (See Parish 275
91 for further details.)

208 Mark Evans

Awareness of the films source in a Hubbard novel, intensified by the involvement of Travolta, a prominent Scientologist,6 made speculation about the
purpose of the film inevitable. As the New York Times reported in the week
prior to the films release, several anti-cult websites had warned that the film
contained subliminal messages meant to lure people into Scientology, that the
film was secretly financed by Scientology, and that Scientology planned recruiting efforts to coincide with the moves release; but according to Scientology
spokesman Marty Rathbun, the Church of Scientology had no financial interest in the movie and had nothing to do with how it was made (Lyman E1).
However, Author Services Inc., the Church of Scientologys in-house literary
agency, had released statements in 1999 indicating that they would donate all
profits (largely from merchandise rights) to charitable organisations, run by
Scientologists, around the world (see Di Matteo).
Such was the media speculation that Travolta released a statement in conjunction with the films production notes:
People have asked me if there is a connection between Battlefield Earth and Scientology.
There is no connection. L. Ron Hubbard wrote numerous science-fiction epics which
created the same kind of excitement amid sci-fi circles as such classics as Robert Heinleins
Strangers in a Strange Land and Frank Herberts Dune. Other than being created by the
same person, the two have virtually nothing to do with one another. (qtd in Lyman)

Denials aside, Scientological theology certainly seeps into the film. Persons
contends that Jonnies dramatic arc mirrors the path that Scientologists say
humans must travel to escape the instinctual dictates of their reactive minds,
while the Psychlos are named to clearly reflect the religions antipathy towards
the field of psychiatry (19). This aspect is largely to be expected, given that
these features underlie Hubbards novel, written long after his religious philosophies had taken root.
Was the adverse media speculation about the films relationship with Scientology partly to blame for the films disastrous box office? Certainly, pre-release
controversy revolving around a fringe religious group about which many were
already cynical could not foster the ideal public relations platform from which
to launch the film. What was largely missed in the media frenzy that accompanied the film was what it might reveal about the philosophical constructions of
Scientology, and more particularly, about Hubbard himself. It is such findings
that the analysis below seeks to uncover.
6. It is rumoured that the film only came about because of Travoltas lobbying. He had hoped to be
involved in a film version of the novel since its publication, originally intending to play the hero. He
was assisted by the new production company Franchise Pictures, whose business strategy was to offer
top stars the chance to make their dream projects (see Lyman).

Straining the future 209

Sounding the battlefield

Battlefield Earth is set on Earth in the year 3000. A nine-minute war with the
universes dominant species, the Psychlos, has all but obliterated the human
race. The Psychlos run extensive mining operations on all their conquered planets, exhausting them of natural resources before moving on. Captured humans,
known as man-things, work as slaves and, when Psychlos decide they need to
go hunting, prey. Small pockets of free human activity remain in the radioactive
mountains and caves. Uranium is the Psychlo equivalent of kryptonite, meaning that they leave these humans alone. The radioactivity is obviously detri
mental to the humans too, who suffer widespread cancerous afflictions and
infertility. From one of these outposts comes Jonnie Goodboy Tyler, aware of
the inevitable fate awaiting humanity unless they can leave the area. Ignoring
the legends of monsters and demons that live beyond the gates of the camp, he
ventures down the mountain, eventually arriving in the post-apocalyptic city
of Denver, where he is captured by Psychlo chief security officer Terl. He is
taken back to Psychlo headquarters, a massive dome-like structure that is filled
with the Psychlos breath gas and thus contains no organic life. The ambitious,
greedy and stupid Terl decides to train Jonnie in Psychlo ways in order to
make a private fortune mining gold. Unsurprisingly, Jonnie uses his newfound
knowledge, skills and position to plot the downfall of the Psychlos by planning
to destroy their home planet.
In terms of diegetic sound worlds created, the film divides fairly neatly
between the space of the Psychlo dome and the ruins of Earth where humans
persist. The former is filled with futuristic technological sounds; an electronic
score and extensive reverb and echo emphasise the enclosed domes scope and
the dominance of the huge Psychlos. The latter allows for some, albeit small,

Battlefield Earth: A Saga of the Year 3000. Warner Bros.

210 Mark Evans

traces of humanity to creep into the scoring, and for emotive vocal expressions.
While the crowded sound mix initially suggests that musical elements of the
soundtrack are minor, this perception is contrary to the amount and scope of
music recorded for the film. As the composer noted of the 75 minutes of music
recorded by the 96-piece Seattle Orchestra, with embellishments from a choir,
synthesizer, and percussion section, This is absolutely the biggest score Ive
ever written, in every direction Its like a roller coaster. One minute it is
going very fast and you are flying along with hair raised, and then the next its
like it is moving slowly to the top of a big hill. The music has adventure, great
tempo changes. Its tender here and there, and then aggressive again (Cmiral
qtd in Olson). Catherine Olson goes on to state that Cmirals score is so large
in scope that it fills virtually all of the musical space, but what she appears to
be referring to is the generally overloaded soundtrack, rather than any distinct
musical dominance. Cmirals score, particularly in the Psychlo dome sequences, is dominated by miscellaneous electronic sounds, sound effects and digital
effects, submerging traditional non-diegetic scoring beneath a welter of bleeps,
bangs, crashes and explosions. While Hubbards novel pays little attention to
aurality, the films soundtrack is congruent with his descriptions of sound. For
example, a passage such as Then Jonnie noticed an undulating wave of sound
and a quiver in the wires (Hubbard 245) is matched by the films sound design,
predicated as it is on sound effects and hyperbolised Foley sound.
As soundtrack of the future, Battlefield Earth wears its earthly sf lineage for
all to hear. There are more than passing references to the scores of Star Wars,
2001: A Space Odyssey (Kubrick UK/US 1968), Spawn (Dipp US 1997) and Blade
Runner (Scott US/HK 1982), and even more blatant allusions to (and quotations
from) The Matrix (Wachowski brothers US/Australia 1999), The Terminator
(Cameron UK/US 1984) and Terminator 2: Judgment Day (Cameron US/France
1991). Karen Collins description of the Terminator films classic dystopian scenarios a cataclysmic war precedes a new state, a guardian elite (in this case, the
machines) maintains power through technology, a substitution of the manufactured for the natural takes place, and then a revolt against technology (167)
applies equally to Battlefield Earth, with the Psychlos as the elite guardians
in a totally manufactured, technological, non-organic world. Collins describes
the sound world of the Terminator films, built upon a plethora of urban and
industrial sounds including factory machines, construction, metallic sound
effects, deep bass rumbles, horns, screeching, crunching and howling rather
than music, as hellish (167). This, too, effectively describes Battlefield Earth, the
soundtrack of which is designed in a similarly cacophonous and overwhelming
way. Curiously, this was also Hubbards vision for the world he wanted created

Straining the future 211

in the film. In a note to whomever would eventually take on the adaptation,

he wrote: Remember, overwhelming suffering, thats the feeling of Battlefield
Earth (qtd in Persons 27). Perhaps overwhelming suffering is created sonically
through relentless, space-less walls of sound, particularly those involving nondescript, non-musical sounds? This should also be read in light of Scientologists
disdain for unnecessary noise, particularly that produced by the irrationality
or frailty of non-enlightened humans, even during childbirth (see Beyer). If
controlled, quiet, moderated sonicities are the goal, then the Psychlos world
would indeed be hellish by Scientological standards.
The Psychlo dome is constantly immersed in crescendoing bursts of sound.
Often bursts of atonal strings blend with electronic wobbling noises and various sound effects (e.g., 19.5023.00).7 Clichd mickey-mousing techniques are
also deployed, with sound levels swelling to suit rising anger (often from Terl).
At 23: 30, heavy echo is applied to the line with endless options for renewal,
replete with long sinister laugh, as Terls fate is seemingly sealed by the Psychlo
authorities. When music does occur within the Psychlo world it often features
militaristic (rat-a-tat-tat) snare drum figures or thumping percussion. Brass
swells and stingers also feature, often stitched together to form a patchwork of
intense sonic moments (e.g., 61: 0063: 00). Even when these elements build
towards triumphant brass melodies (e.g., 62: 30), Cmiral allows the swell to
climax fully but holds off the trumpet melody for another 30 seconds, effectively fragmenting the sound and reducing expected humanistic qualities. Such
techniques work well with cinematography that is deliberated skewed, angled
and unsettling. Indeed, cinematographer Giles Nuttgens boasts in a DVD extra
that there is no level frame in the entire film, effectively unsettling the viewer
and not allowing for long musical themes to develop. However, the strongest
musical connections in the film are attached to the humans as they exist in the
natural world. Here we find a curious glimpse into Christians, Cmirals and,
by inference, Hubbards musical sensibilities, and how they attach themselves
firmly to the past and the pre-technological.
The most restrained and sympathetic musical scoring is reserved for the
human characters in their natural environment. This music is, however, focused
around nostalgia, suggesting a longing for humanitys past. In this sense, the
music creates a leitmotif for humanity in general, with many variations of the
basic theme occurring throughout the film. The constant variations, rather than
straight recapitulations of the theme, may indicate the fragmented, dystopian,
daily battle for existence.
7. Note that all timings given come from the DVD release of the film and are listed as minutes and
seconds.

212 Mark Evans

Example 1. Opening motif Humanity Theme (authors transcription)

The humanity theme first enters at 01:27 (Example 1). Here the opening rising
fifth interval signals hope and strength, referencing numerous sf themes and
leifmotif anthems, none more than Star Wars. Yet unlike the Luke Skywalker
theme, here the hope is contained through the quavers that stifle the upwards
movement and call tonality into question. The humanity theme rarely settles
back to its tonic, always furthering anxiety and uncertainty through ambiguous tonality. The motif, delivered via strings, is enhanced by female vocality
that identifies the human community and comments on its suppressed lifestyle.
The timbre of the voice is dampened, sad and realistically earthy. It is melodic
contour alone that points to the hope that lies buried under the surface.
In one of the most telling scenes, Terl has taken Jonnie to the National Library
to illustrate how stupid and unadvanced humans are through the worthlessness of their books. Here the humanity theme is strongly announced, with lush
string orchestration highlighting the connectedness of humanity and pointing
towards the artistic culture that separates humanity from the one-dimensional
Psychlos. Once again Cmiral shies away from direct quotation, preferring to
offer two variations of the original theme (Examples 2 and 3).
The first variation is far more contained and hopeless than the original statement of the theme. This corresponds with Jonnies realisation of the scale of
the destruction that has befallen a once proud race, and Terls taunting of him.
However, as Jonnie comes to realise the scope of material present, and the possibility that answers to his problems may well lie in these books, the theme

Example 2. Variation N4A of Humanity Theme (authors transcription)

Example 3. Variation N4B of Humanity Theme (authors transcription)

Straining the future 213

Battlefield Earth: A Saga of the Year 3000. Warner Bros.

morphs once again. It is freed to soar, albeit using a minor sixth in this instance
(for much work still needs to happen); nonetheless the captivity of the theme
appears less impenetrable. Indeed now the theme ends with the promising lift,
seemingly unlimited in potential. Similar treatments are applied to the theme,
with ever increasing major tonality and strong intervals, as the humans draw
on their new knowledge of history to plot their victory. The trip to Washington
(72: 00) is a good example, with the humanity theme now treated with grandeur,
lush string arpeggios and prominent mixing. Similar American history scenes
are suitably rich with string-based orchestration. This sets up an important
juxtaposition to the world of the Psychlos with its electronic, rhythm- and percussion-driven sound. The contrast becomes stark between the organic, analogue and emotive humanity cues and the rhythmically strong yet colourless
Psychlo cues. The latter seem to indicate efficiency and power, but are devoid of
any emotive settings. Nowhere is this more apparent than on the home planet
Psychlo itself, which is shown without any non-diegetic music underscore at all,
the soundtrack restricted to dull howling wind, thunder, synthetic droning and
the sound of machinery.8
Conclusion

Hubbard himself wrote: To grasp the role of music in cine, one first has to
understand and accept that music, in itself, is capable of communication (qtd in
8. Many thanks to Harry Wilson for this observation.

214 Mark Evans

Anon., Scoring). As the composer for 22 Scientology training and promotional

films, Hubbard no doubt saw musical underscore as an important dimension in
communicating his message. But from his own soundtrack to Battlefield Earth,
Space Jazz, we might conclude rather disparagingly that he simply did not have
anything significant to communicate. The music there is hackneyed, shallow,
clichd and childish. Of film music in particular, Hubbard suggested that
[it can] be likened to an interpreter who, standing slightly to the side, tells the audience
what to feel about what they are seeing It establishes and engenders the emotional reaction of the audience to the pixs [sic]. In other words, it is actually influencing audience emotional response to the film. (qtd in Anon., Scoring)

In Battlefield Earth, that interpreter is firmly between the viewer and the
screen. The soundtrack is none too subtle about how we should feel about this
future dystopia and the shock and wonder of technological advancement. The
cool, emotively muted efficiency of the Psychlos is pitched against the artistic
voice of humanity. There is no doubt that Scientological voices influenced the
creation of Battlefield Earth, since a number of prominent members actively
pushed for its creation since soon after the novel was released. Indeed, it is
hard to imagine the film being made without the star-power of Travolta and
the Church that backs him. If nothing else, it was in their best interest to
support the film in order to produce more exposure for Hubbard, and more
texts to sell. But pragmatics aside, what we hear is a conquering race that has
surpassed music in favour of the sounds of industry and technology, where
rhythm replaces melody as the dominant feature, where the natural order and
all that is produced by it has been destroyed. Cmirals score does give humanity
back its spirit, a soul of strength in the facing of overwhelming odds, yet always
with a sense of nostalgia and never with sustained, triumphant deliverance.
The score is chopped, fragmented, overcome and overrun with the futuristic
noise. Perhaps like much of Hubbards work, and particularly his forays into
philosophy, mental health and ultimately religion, the Battlefield Earth soundtrack over-reaches itself. It seeks to combine as much as possible, creating a
relentless assault that does not allow the listener/viewer time to construct deep
emotional connections. It pays homage to other sf films, but not in any sustained or substantial way. Adverse publicity aside, if Scientologists had wanted
to use Battlefield Earth as some form of vehicle for their cause, either financial
or spiritual (or both), then they should have focused on producing a text that
satisfied mainstream expectations and aimed for artistic merit within a popular
cultural rather than doctrinaire context.

Straining the future 215

Acknowledgement
Many thanks to Melissa Carey, Liz Giuffre, Ashleigh Sladden, Sarah Keith and Alex Mesker
for their assistance, in various forms, with this article.
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