But then I cannot deny that my transition from sneering outsider to reluctant fan was aided enormously by the score. Of course, as the years have gone by, and perhaps inevitably, the film has grown on me, and even if I rarely think to spin a copy of it, whenever I do see Back To The Future I am invariably swept along by the sheer fun it provides and the undeniable zest with which the Spielberg/Zemeckis juggernaut, at the height of their powers for crafting easygoing, euphoric entertainment for the masses, propel their story.
Yet, whilst everybody as his dog seemed ecstatic to be along for the ride, I was enormously reticent about the whole Marty McFly thing, the “Power of Love” somehow bypassing me and my teenage predilection for cinematic carnage. Spielberg, himself, had cemented the persona of one of the greatest action heroes of all-time only the year before with the awesome Indiana Jones And The Temple Of Doom, and this time out he would embrace SF and high-school comedy with supreme time-travelling chutzpah in the runaway success of Back To The Future. We had Sly bashing Commies in Rambo and Rocky IV, Arnie tooling-up in Commando, Tom Cruise taking on Tim Curry's enormo-horned Darkness in Legend, Tom Selleck battling robot spiders in Runaway and, ahem, a crippled Corey Haim outsmarting a werewolf-of-the-cloth in Silver Bullet, the pulverising platoon of amped-up heroics smashing their way across cinema screens like a worldwide tsunami of testosterone.
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1985 was a year of fantasy and action, all right. You know, when this beloved Spielberg/Zemeckis SF/comedy classic first came out, I wasn't at all smitten by it.
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are you telling me that you built a time machine.