The conductor, John Debney, would have you believe that this is one of the great film scores of all time. I don’t agree with that. It’s less inventive than many of Herrmann’s best. But it’s still way more interesting than most Hollywood film scores of its era, and it’s also very much a piece of music that can be listened to without any knowledge of the film. It reminds me of some late 19th century Romantic programmic pieces which were supposed to suggest a plot to you through music.
It’s certainly good, it’s just not quite among Herrmann’s greatest moments. As I noted before, just a little too conventional compared to his best work.