TunePlay ABOVE THE LAW 1988 David Michael Frank

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The 1980s was ground zero for a new brand of film making which still reverberates today. Technologically (with new special FX, digital sound editing techniques), thematically (the Afghanistan invasion Iran Contra still fresh) and artistically, with new breed filmmakers raised on Hawks, Hitchcock and Ford, bringing a fresh, hip sensibility to classic (some would say staid ) genres. John Hughes would redefine the coming-of-age drama with THE BREAKFAST CLUB, Lawrence Kasdan would practically give birth to the multi-threaded ensemble piece with THE BIG CHILL and SILVERADO, and Andrew Davis would evolve the urban crime thriller (at the time gone from the gritty FRENCH CONNECTION to the comedic BEVERLY HILLS COP) into the thinking man's action movie . After his Chicago set CODE OF SILENCE (1985) became (and still is) Chuck Norris' most critically acclaimed film, the documentarian / musician turned director would make a major breakthrough to the industry's A list with ABOVE THE LAW. He'd take his new star - a young lean and mean fellow named Steven Seagal, and his fave composer at the time - David Michael Frank, with him. • Drawing real world inspiration from the assassination of El Salvador's Archbishop Romero as well as the aforementioned Iran Contra affair, ABOVE THE LAW's mystery novel-like narrative tells the story of Chicago Police Detectives Nico Toscani (Segal) and his partner Delores Jackson (Pam Grier) as their routine drug bust leads to the capture (then government sanctioned release) of a group of South American smugglers in collusion with CIA chemical interrogations expert Kurt Zagon (everyone's favorite bad guy - Henry Silva), presently seeking a sequestered Nicaraguan priest come to Chicago to spill the beans on Zagon's plan to murder an adversarial Senator. ABOVE THE LAW was Seagal's film debut; he till then primarily known as a 7th dan black belt Aikido master, movie fight choreographer and Hollywood bodyguard, And Davis' sure-handed direction (as in CODE OF SILENCE he'd again make his beloved home town of Chicago the film's silent co-star) and intelligent on-the-set character re-writes would turn his new leading man into one of the most iconic and laconic action heroes since Clint Eastwood. Both Davis' slick visual style, and Seagal's imposing presence as a new-age bad-ass, are considerably fueled by Frank's super cool music score. • As mentioned in our earlier CODE OF SILENCE TunePlay suite / essay ( • TunePlay - CODE OF SILENCE (1985) Dav... ), David Michael Frank was classically trained at the Peabody Conservatory, then became one of Broadway's busiest and youngest conductors with GREASE, THE ME NOBODY KNOWS and PIPPIN. TV assignments such as COLUMBO, as well as a keen jazz / R B sensibility, would lead to his feature debut as composer on Davis' CODE OF SILENCE. They'd continue the groove on ABOVE THE LAW; Frank once again augmenting small orchestra with a front center rhythm section manned by Neil Stubenhaus (bass), Hiram Bullock George Doering (Guitars), Mike Fisher (percussion), Ernie Watts (Sax), and keys by Mike Lang, Michael Boddicker, Randy Kerber and Randy Waldman. • CEJ • 1) Main Title - Nico In Japan (0:00 of 14:21) • 2) South Side (3:36 of 14:21) • 3) Joyride (5:49 of 14:21) • 4) Nico's Theme Part One (8:48 of 14:21) • • For more TunePlay mini movie music suites go to http://www.gullcottageonline.com/Tune... • Bear Mann is a YouTube channel of The GullCottage/Sandlot, a film blog and growing reference library Celebrating The Art of Cinema, ... And Cinema As Art • Visit us on the web at: http://www.gullcottageonline.com • And on FACEBOOK at: / 129683480458380 • All rights held by copyright owner. Presented here for educational and criticism purposes only.

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