by
Paul Tonks
soundtrack -- n. / Pron. "sound ( trak"
1. The narrow strip at one side of cinema film carrying the sound recording.
2. The music that accompanies a movie.
3. A commercial recording of such music.
4. A bastardised phrase record labels use to sell you crappy songs that have nothing to do with the movie they're apparently associated with.
Everyone’s doing a Best of 2002 round-up right now, and sure enough, I’m compiling one myself for
Film Music On the Web . Not wanting to repeat myself, I thought I’d instead look elsewhere at this year’s end. Here in the UK, we suffer a peculiar brand of TV commercial. Well before any year is over with, there’s a run of compilation albums with titles like: THE VERY BEST SMASH HITS IN THE WORLD 2004 - EVER! (Volume III). I don’t have the benefit of any of those marketing department’s time machines or crystal balls. Unfortunately that means nothing but wild speculation as we enter:
THE TOP 50(ISH) 2003 FILM SCORES DEMANDING YOUR ATTENTION!
BASIC
COMPOSER: Klaus Badelt / DIRECTOR: John McTiernan / RELEASE: 18 Apr
WHY?
A thriller from McTiernan that puts John Travolta and Jackson Samuel L. Jackson back together? Can’t you just picture the poster already? Somewhere in a much smaller font will be Badelt’s name, and after the sit-up-and-take-notice year he just had (THE TIME MACHINE / K-19: THE WIDOWMAKER / EQUILIBRIUM), I for one will be watching his 2003 output with great interest. After this one, he has the Al Pacino thriller THE RECRUIT due in March.
BEYOND BORDERS
COMPOSER: James Horner / DIRECTOR: Martin Campbell / RELEASE: TBC
WHY?
Horner scored Campbell’s THE MASK OF ZORRO and to be frank, that was the last of his scores that I had fun with (although I admire IRIS). I’ve no real expectations of something spectacularly new from him for a romance set during a war, but with Campbell who knows? Later in the year, Horner has HOUSE OF SAND AND FOG, the debut of writer / director Vadim Perelman.
BIG FISH
COMPOSER: Danny Elfman / DIRECTOR: Tim Burton / RELEASE: TBC
WHY?
The composer / director’s 9th feature collaboration ought to be something very special. Daniel Wallace’s novel is an affecting intimate tale, even if told by drawing on some surreal ideas. We can only hope John (CHARLIES ANGELS) August’s script maintains that intimacy, and if so this will be more akin to Burton’s two Ed’s (SCISSORHANDS and WOOD). What that means for Elfman is some much-needed restraint after throwing everything into the mix for genre giants RED DRAGON, SPIDER-MAN and MEN IN BLACK II last year. He’s always said he prefers the smaller stuff when it’s tinged with tragedy. If the mix is right, this could be an Oscar nomination. And can this really be the first time Burton has worked Steve Buscemi?
|
BULLETPROOF MONK
COMPOSER: Eric Serra / DIRECTOR: Paul Hunter / RELEASE: TBC
WHY?
Even if this wasn’t an alluring enough proposal to see Chow Yun-Fat in a sci-fi action flick, it’s been a while since I heard Serra at work (having deliberately avoided the ROLLERBALL remake last year). I still find it incredible that in over 20 years the composer has scored less than 20 films. Not everything he picks and chooses between is outstanding, but this might be.
COLD MOUNTAIN
COMPOSER: Gabriel Yared / DIRECTOR: Anthony Minghella / RELEASE: 25 Dec
WHY?
A Civil War epic may not be everyone’s ideal Christmas movie, but from Minghella it’ll be beautifully wrapped gift. The third collaboration with Yared (after THE ENGLISH PATIENT and THE TALENTED MR. RIPLEY) should be spectacular too, as Jude Law embarks on a swoonsome journey home to wife Nicole Kidman and encounters a stellar cast on the way. Here’s hoping they get more of the drama out of this Wartime Romantic Drama.
|
THE CORE
COMPOSER: Christopher Young / DIRECTOR: John Amiel / RELEASE: 28 Mar
WHY?
Young fascinates me. There’s no genre he can’t handle. There’s no genre he hasn’t graced with something of exceptional class either. Somehow though, it’s as if he’s been destined to work mostly on those movies you know of as great, but that for whatever reason weren’t blockbusting hits that catapulted his name into the heavens. I will never forget purchasing the vinyl album of HELLBOUND: HELLRAISER II knowing nothing about the composer, and then voraciously obtaining everything I could find by him when the score blew me away. Young is extremely well represented on album, and has an extremely well respected reputation amongst the album collecting community. Working for the fourth time with Amiel (after COPYCAT, THE MAN WHO KNEW TOO LITTLE and ENTRAPMENT) on a sci-fi thriller about problems with The Earth’s core may not be the project that finally lets off the catapult, but I keep the faith. This’ll be a score of exceptional class regardless of how much it sets audiences alight.
|
DREAMCATCHER
COMPOSER: James Newton Howard / DIRECTOR: Lawrence Kasdan / RELEASE: 4 Apr
WHY?
It’s amazing how fast some Stephen King novels get adapted. I have a vague memory that William Goldman and a movie script were being talked about almost simultaneous with the books’ release a couple of years ago. Nevertheless, what’s fascinating here is the opportunity the sci-fi / horror tale has for Newton Howard to go nuts. Especially under the helm of Kasdan, since they’ve been turning out great stuff together so far: GRAND CANYON, WYATT EARP, FRENCH KISS and MUMFORD. Later in the year (8 Aug) Newton Howard has the equally interesting HIDALGO coming from Joe Johnstone (Viggo Mortensen as a real life long distance horse rider).
FINDING NEMO
COMPOSER: Thomas Newman / DIRECTOR: Andrew Stanton / RELEASE: 30 May
WHY?
When I first saw the composer credit I assumed there was a small error because it’s been cousin Randy who’s worked on all the Pixar movies so far. It may well be down to a scheduling conflict (SEABISCUIT below), but I guess this means a change of style and pace for all concerned. It’ll be particularly interesting to see if this Newman does any fishy sing-along songs.
GIGLI
COMPOSER: Carter Burwell / DIRECTOR: Martin Brest / RELEASE: 1 Aug
WHY?
The director of BEVERLY HILLS COP and MIDNIGHT RUN must know a thing or two about film music, right?! Basically, I’m intrigued to see what Burwell will make of a thriller where Ben Affleck is a less than perfect individual.
|
GODS AND GENERALS
COMPOSER: Randy Edelman & John Frizzell / DIRECTOR: Ronald F. Maxwell / RELEASE: 21 Feb
WHY?
Here’s the blurb from the soundtrack’s own website : “Music plays a powerful role in the film -- in addition to the haunting score by composers Randy Edelman and John Frizzell, with solos by Grammy-winning fiddler Mark O'Connor, the soundtrack features two unforgettable original songs. The first, "Cross the Green Mountain," is written and performed by the legendary Bob Dylan, marking his return to his roots as a folk balladeer. Mary Fahl, Sony Classical recording artist (and formerly lead vocalist of the Epic band October Project), has contributed the original song "Going Home," which opens the film. Directed by Ron Maxwell (GETTYSBERG), GODS AND GENERALS is based on the best-selling book recounting the dramatic early years of the Civil War -- from Manassas to the Battle of Fredericksburg.” The album is out 4 Feb and whether “haunting” (see Dictionary a few Columns back) or not, it’ll be fascinating to learn more of the pairing up of Edelman and Frizzell.
|
THE HULK
COMPOSER: Mychael Danna / DIRECTOR: Ang Lee / RELEASE: 20 Jun
WHY?
Early Seventies socio-drama featuring swinger parties. Civil War drama featuring neighbourly rivalries over tactical masterplans. Comic book adaptation featuring a giant green meanie who likes to smash. That’s a career path few could have predicted. Including Danna, really, who is blessed in his association with one of the most versatile directors working today. If the composer’s style or approach can be easily encapsulated, it is by virtue of its predictable unpredictableness. You know he’s going to do something unexpected. For HULK, you can expect exotic percussion in a score wrapped in layers of meaning. This is one of my most anticipated movies for its music this year.
|
KILL BILL
COMPOSER: RZA & Lars Ulrich / DIRECTOR: Quentin Tarantino / RELEASE: 10 Oct
WHY?
Proving the exception to the rule and proving how wrong so many others are with the idea, Tarantino can use sourced songs in a movie to great effect. And get a brilliant album out of them, too. Having seen the trailer, this bodes well for a lot of unearthed forgotten treasures. Ulrich may well have some new songs in the mix, and then there’s RZA re-visiting territory he trod on GHOST DOG: WAY OF THE SAMURAI. Oh, and you just know that somewhere on the album Samuel L. Jackson will appear as “The Organ Player”…
|
THE LEAGUE OF EXTRAORDINARY GENTLEMEN
COMPOSER: Mark Isham / DIRECTOR: Stephen Norrington / RELEASE: 11 Jul
WHY?
I can only hope the tone of this movie has been nailed. A Victorian collection of heroes as envisaged by Alan Moore really had better be done right. Isham worked with Norrington before on BLADE, but has had few other genre dabblings, which is precisely what makes this interesting. So long as no one’s trying to crowbar in rock songs or music where it doesn’t belong (hello, GANGS OF NEW YORK!), this could be one of the most interesting scores of the year.
MATCHSTICK MEN
COMPOSER: Hans Zimmer / DIRECTOR: Sir Ridley Scott / RELEASE: 8 Aug
WHY?
The Scott / Zimmer partnership seems to be set in cement now, and I don’t think there’s any argument that it’s been eliciting the best from the composer for a few years (BLACK RAIN / THELMA & LOUISE / GLADIATOR / HANNIBAL / BLACK HAWK DOWN). Eric Garcia’s novel hopefully translates for the screen into something from which the twosome produce much more subdued than before. Whenever Zimmer gets to delve deeper than explosive action sequences, I admire his work far more.
NEVERLAND
COMPOSER: Jan A.P. Kaczmarek / DIRECTOR: Marc Forster / RELEASE: TBC
WHY?
This is a biopic of PETER PAN author J. M. Barrie with Johnny Depp in the role. There’s my musical hook. Add to that the name of Kaczmarek, whose UNFAITHFUL I liked very much last year and this is likely to be one of those greats only appreciated in small circles.
RIPLEY’S GAME
COMPOSER: Ennio Morricone / DIRECTOR: Liliani Cavani / RELEASE: 4 Apr
WHY?
Because it’s Morricone! I could leave my comments at that, but the prospect of him weaving psychological intrigue around the Tom Ripley character (as portrayed by John Malkovich) really is rather exciting. The Italian maestro doesn’t often work for Hollywood, but when he does it’s always something to pay attention to.
SEABISCUIT
COMPOSER: Randy Newman / DIRECTOR: Gary Ross / RELEASE: 25 Jun
WHY?
Back with PLEASANTVILLE director Ross, Newman should have great fun on this tale of the legendary 1930s racehorse champion. I hope there’ll be more non-comedy projects from him soon, especially as the inevitable MEET THE FOKKERS is on his slate later in the year.
TIMELINE
COMPOSER: Jerry Goldsmith / DIRECTOR: Richard Donner / RELEASE: 11 Apr
WHY?
I’ve been quite outspoken about what I’ve felt to be a lacklustre period for the composer. 1997 was the last year I found myself wholly in awe of everything he was doing (FIERCE CREATURES / L.A. CONFIDENTIAL / AIR FORCE ONE / THE EDGE), but it’s been a sad downward slope since. But as I keep explaining in conversations where my opinion is challenged, the real culprit is the movies themselves. Whether it’s been a return to STAR TREK (INSURRECTION and NEMESIS), a return to Paul Verhoeven (HOLLOW MAN), sequels (ALONG CAME A SPIDER), remakes (THE HAUNTING) or franchise hopefuls (THE MUMMY), the fact is these simply aren’t the quality of movie his writing skills deserve. So what’s exciting about this year? For starters, a time-travelling movie about archaeologists in 14th Century France is a very juicy premise. On top of that, Goldsmith is reunited with Donner for the first time since THE OMEN (1976), which remains his only Oscar to date. Then sometime later in the year, he’s working on PICASSO AT THE LAPIN AGILE, a comedy that has Pablo Picasso meeting Albert Einstein (starring Steve Martin and Kevin Kline)! It puts him back with director Fred Schepisi with whom Goldsmith had a terrific 90s track record: THE RUSSIA HOUSE, MR. BASEBALL, SIX DEGREES OF SEPARATION, I.Q. and FIERCE CREATURES. And then, still to be confirmed, is a rumoured reunion with Joe Dante at the end of the year on LOONEY TOONS: BACK IN ACTION. This would be their 10th feature together, and every one of them has produced musical gold in one way or another. Such a diverse mix of movies could very easily result in the best body of work from the composer in ages.
DIRECTORIAL DEBUTS
It’s my belief that a lot can be gauged about a director’s future career by their choices of music in their debut project. Of course I mean that in both its good and bad connotations! With that in mind, here’s those that have caught my eye and ear for the months ahead:
BLIZZARD
COMPOSER: Mark McKenzie / DIRECTOR: LeVar Burton / RELEASE: TBC
WHY?
Burton has directed for TV, but his feature debut sounds utterly charming. It’s a fable told in flashback about an ice dancer and an enchanted reindeer. I’m also very taken by the choice of McKenzie as composer, who gets far more work as an orchestrator than credit for being solely in the hot seat. A benefit from that however is knowing who not to sound like! My hopes are high for something very sweet and gentle.
BRIGHT YOUNG THINGS
COMPOSER: Not Yet Known / DIRECTOR: Stephen Fry / RELEASE: TBC
WHY?
I’d hoped to establish who was scoring this, but no luck as yet. A comedy from Fry with his own script adapted from an Evelyn Waugh novel, and with a fantastic cast really does bode well. Watch this space…
THE CAT IN THE HAT
COMPOSER: Not Yet Known / DIRECTOR: Bo Welch / RELEASE: 21 Nov
WHY?
Same goes for this Dr. Seuss adaptation from the Production Designer of BEETLEJUICE, EDWARD SCISSORHANDS, BATMAN RETURNS, A LITTLE PRINCESS and MEN IN BLACK. We sure as heck know it’ll look good, but who will score? Hmmm…
THE DANCER UPSTAIRS
COMPOSER: Alberto Iglesias & Pedro Malgheas / DIRECTOR: John Malkovich / RELEASE: 26 Feb
WHY?
Early reviews have made favourable mention of the score, so you don’t just have to take my word for it on this one! And apparently Nina Simon fans are in for a treat too.
ELF
COMPOSER: Not Yet Known / DIRECTOR: Jon Favreau / RELEASE: TBC
WHY?
Whatever you want, Jon; we’ll be a-watchin’ and a-listenin’.
SONNY
COMPOSER: Clint Mansell / DIRECTOR: Nicolas Cage / RELEASE: TBC
WHY?
Word on the movie is mixed, but Mansell is certainly a rising star to watch. No album has been announced yet.
BUSY BELTRAMI
It’s rare to know of a composer having more than one project on their schedule ahead of time, but boy - Marco Beltrami is sure going to have a full year. First up is the (highly?) anticipated TERMINATOR 3: RISE OF THE MACHINES due 2 Jul. Director Jonathan Mostow has a reputation for being pretty exacting in what sort of music he wants on his movies (BREAKDOWN / U-571), so after the furore over the rumour that Beltrami may or may not use the original theme – don’t completely blame him for whatever does result! Personally I’m more interested in what else he’s attached to. ALICE reunites him with Wes Craven in Dec – Craven being the guy who launched his career with the SCREAM trilogy. Based on the computer game based on the book, this should be quite different. So too should HELLBOY! Now there’s a movie I really am looking forward to…
NOT LOOKING FORWARD TO:
And saying that, I decided to be completely open and admit to some upcoming projects that for various reasons I’m not enthusiastic about:
BAD BOYS 2
COMPOSER: Mark Mancina / DIRECTOR: Michael Bay / RELEASE: 18 Jul
WHY NOT?
Because Mancina deserves better than to return to something he did 8 years ago. I’m sort of flummoxed by what exactly anyone is going to have that’ll be new on this one. However, the good news is that 25 July he’s back with Jan De Bont (SPEED / TWISTER) for LARA CROFT & THE CRADLE OF LIFE: TOMB RAIDER 2. Why is that good news? Well, they can’t possibly make a worse movie than the first, right?
FINAL DESTINATION 2
COMPOSER: Shirley Walker / DIRECTOR: David R. Ellis / RELEASE: 31 Jan
WHY NOT?
For the same sort of reasons, I don’t look forward to this. Walker could really use a different sort of movie to work with. The upcoming WILLARD from SPACE ABOVE AND BEYOND writer Glen Morgan (who has himself moved on from the FINAL DESTINATION franchise) is also a horror, but hopefully there’ll be something more interesting for her to get to work with. I’d love to hear what she’d do with a romantic drama, even a teen comedy!
DAREDEVIL
COMPOSER: Graeme Revell / DIRECTOR: Mark Steven Johnson / RELEASE: 14 Feb
WHY NOT?
Controversial? Me? Well, initially I was quite excited to see Revell attached to this, but
already it seems whatever he’s come up with will be totally obliterated by the marketing of the
“20 New Songs” that will be on DAREDEVIL – THE ALBUM (due 4 Feb on the Wind-Up label) Go
here for more info on what to expect to be hearing instead of the score. Sigh.
FREDDY VS. JASON
COMPOSER: Charles Bernstein & Harry Manfredini / DIRECTOR: Ronny Yu / RELEASE: 13 Jun
WHY NOT?
And this one? Hmmm. The double composer credit is highly unusual. I’ll pass on any clarification that’s made. Basically, what’s to look forward to?
SEQUELS, REMAKES & ADAPTATIONS:
Every year has them. Every year has a few that suck. Maybe, just maybe some of these will prove surprising and be something to actually look forward to as a double-dip DVD re-release.
CHARLIE’S ANGELS: FULL THROTTLE
COMPOSER: Edward Shearmur / DIRECTOR: McG / RELEASE: 27 Jun
WHY?
You certainly wouldn’t know Shearmur did a score on the original from all the advertising it got (i.e. none). It was there nonetheless, and in amongst the perfectly chosen song fragments it worked just great. If the same level of doing-it-for-laughs is applied, this’ll make for another rare showcase of what can be funny in applying film music. Just don’t expect to find any score on the album…
THE FAST AND THE FURIOUS 2
COMPOSER: David Arnold / DIRECTOR: John Singleton / RELEASE: 6 Jun
WHY?
Arnold told me he hoped to do this one so that he’d get back with Singleton (they did SHAFT and BABY BOY). Apparently they both have some cool ideas for this sequel, otherwise, why else would they take it on having had nothing to do with the original? Check back in the interview with Arnold that featured here a few months back for an idea of what to expect…
THE MATRIX RELOADED / THE MATRIX REVOLUTIONS
COMPOSER: Don Davis / DIRECTOR: The Wachowski Brothers / RELEASE: 15 May / 7 Nov
WHY?
The first movie just about managed to squeeze in a use of “Spybreak” by The Propellerheads before their stuff overstayed their welcome. Yes, there were some cool uses of songs, but one of the best things for me was Davis’ outstanding score. The Wachowski’s have stuck by him (after BOUND), and I genuinely have nothing but positive feelings on these. And the animated project too!
THE LORD OF THE RINGS: THE RETURN OF THE KING
COMPOSER: Howard Shore / DIRECTOR: Peter Jackson / RELEASE: 17 Dec
WHY?
Not a sequel! Where else could I have listed it, though? Anywho, I doubt it will surprise anyone who reads this Column that this is pretty much at the top of what I’m looking forward to about this year. Once this movie’s out, we’ll have the album. Then a year on we’ll have the Extended DVD, and then we’ll have the full Extended albums. What a way to mark the passage of time! No one’s ever tackled a film scoring project of this magnitude, and when it’s all said and done, I look forward to talking about how it all ties together. How many motifs? How many re-writes? How many hours of recording? It’ll all add up into a fascinating and unique whole. Naturally you can expect me to carp on with updates here as they’re announced.
X-MEN 2
COMPOSER: John Ottman / DIRECTOR: Bryan Singer / RELEASE: 2 May
WHY?
Ottman was the first interview to appear here (check Archives), and back in July he was already working on the picture. In other interviews he and Singer have said this was the sort of project they always dreamed of working on together. For their sake, I truly hope they haven’t suffered the sort of studio interference that confused and protracted the job that poor Michael Kamen inherited on the first movie. Singer knew to keep songs out of the equation before, so this could very well be the most high-profile release for Ottman.
PIRATES OF THE CARIBBEAN
COMPOSER: Alan Silvestri / DIRECTOR: Gore Verbinski / RELEASE: 9 Jul
WHY?
This is one wacky adaptation idea. Why does a pirate movie have to be sold on the name of a Disney ride? I guess we know the answer to that actually, but it grieves me that people will be seeing it because of that association as opposed to it being a great pirate movie of its own volition. I’ve no idea whether Silvestri will be allowed to produce something unexpectedly spectacular. It all smells of so much pre-conceptualised packaging that I wouldn’t be at all surprised if the poor guy is relegated to a track or 2 of score at the end of an album of unrelated songs. Fortunately the year may start better for him with IDENTITY (21 Mar), which is a whodunit from James Mangold. Looking at the cast list, my bet’s on Ray Liotta being the killer!
NO COMPOSER ANNOUNCED, BUT INTERESTING BECAUSE OF THE DIRECTOR:
This heading speaks for itself I trust!
ANYTHING ELSE
DIRECTOR: Woody Allen / RELEASE: May
WHY?
Allen always manages to find a selection of ditties to pepper his movies with that work beautifully. Too few get albums though. One day someone will see the sense in releasing a collection.
BORGIA
DIRECTOR: Neil Jordan / RELEASE: TBC
WHY?
Fingers crossed for Elliot Goldenthal really. This historical epic would be something wonderful for him to sink his teeth into. Jordan hasn’t worked exclusively with him, so there could yet be a surprise announcement.
THE COMPANY
DIRECTOR: Robert Altman / RELEASE: TBC
WHY?
You never know whom Altman will choose for his music, but it’s never less than an intriguing choice. This being a tale centred on ballet dancers, expect it to be someone able to juggle classical source and style with ease.
INTOLERABLE CRUELTY
DIRECTOR: Coen Bros. / RELEASE: 1 Oct
WHY?
The safe money is on Carter Burwell scoring this. Being a romantic comedy with George Clooney and Catherine Zeta-Jones, there may be a couple of fluffy love songs. I’m sure the Coens will have him penning a kooky love theme though.
MASTER AND COMMANDER
DIRECTOR: Peter Weir / RELEASE: 6 Jun
WHY?
Weir severed ties with Maurice Jarre some time back, but it’ll be exciting to see who gets to tackle his Napoleonic Wars epic. An announcement should come very soon.
JERSEY GIRL
DIRECTOR: Kevin Smith / RELEASE: TBC
WHY?
Our very own Master and Commander is likely to surprise in his choice of composer. So far in and around his canny uses of songs he’s employed: Scott Angley, Ira Newborn, David Pirner, Howard Shore and James L. Venable. Set a few years back, the film’s going to call for an element of pastiche. We know there’s a Musical (that’s with a capital ‘M’) moment, too. Leaving all speculation aside, I can promise to give you as much info as possible just as soon as it’s passed muster in its testing phase!
So there you have a wonderful window on what’s ahead – both in your local theatres and in this Column. And yes, if I have to make some apologetic retracting statements at year’s end should all 50(ish) turn out to be pants, I will do so around a very large mouthful of Momma’s home-made Humble Pie.
NEWS NUGGETS:
Having looked ahead to scores of the coming year, I thought I’d devote the capsule review section to some releases of scores from yesteryear.
ZULU DAWN (1979) – Elmer Bernstein, Cerberus Records CST-CD 0201 ****
This is a re-release of the album through La-La Land Records. Bless ‘em. Bernstein’s prequel / sequel score is far more involved and involving than John Barry’s one-theme-suits-all original. Shame the movie wasn’t. How on Earth is it that this came after ANIMAL HOUSE, though? A quick scan through the period on Bernstein’s CV is full of such surprises. It was an amazingly prolific and varied time for him. If only directors / producers today would employ him as gainfully. But hang on, what’s this? Is Oscar calling? Watch this space in less than 2 months time…
THE PACKAGE (1989) – James Newton Howard, Prometheus Records PCR 516 ***
I’m proud to have been associated with Newton Howard’s output; I wrote the booklet notes for this one. So I feel qualified to comment on the music (having been through the movie and the album a number of times) as being impressively conceived for what was really a rather flimsy movie. It’s topic, tone, fashions and hair-dos are all quite out of date now, yet the score would be as relevant to any contemporary action thriller. There’s a pleasing slow-burn contour to the progression of the score and album. It builds to an enormous chase finale that gets more and more breathless. To read my full review of the score, simply buy the disc and open the book!
|
THE SWARM (1978) – Jerry Goldsmith, Prometheus Records PCR 517 ***
Late 70s Goldsmith is slap-bang in the middle of what you might call a heyday for the composer. Even as Irwin Allen’s disaster epic heyday wound down, Goldsmith still turned out a memorable contribution that’s nowhere near as piercingly dramatic as you might recall. That’s the shrill buzz of the pesky bees themselves that still rings in your ears. A terrific essay on the score and times is in the booklet from a chap I’ve not encountered in ages – Mr. Gary Kester, Movie Poop Shoot salutes you!
THE MARTIAN CHRONICLES (1980) – Stanley Myers, Airstrip One AOD 003 ****
Last Column I hoped to obtain a copy of this for review. When Soundtrack Santa delivers – he really delivers! This brings back so many memories of the 3-part TV movie. Late nights up and getting scared for no apparent reason other than the episodes went quiet a lot. That’s been an overriding memory – that Mars would be frequently depicted as a ghostly expanse of land with gusting winds. But playing this album through brings back all the other auditory associations with weird alien visitations, land boats, Rock Hudson, Roddy McDowell and lots of pointy things. Myers music will undoubtedly seem dated to anyone unfamiliar with the series. It utilises keyboard effects that were no doubt cutting edge at the time. Personally, I’m mostly of a mind that these things blend into the scenery as a welcome historical marker on good projects. Besides, there’s so much variety here that the occasional beep is hardly incongruous to depicting this futuristic vision. I ought to have left myself room to devote a whole review section to this one. Instead I may well return to it in a special Column some time down the road. Meanwhile, snap it up quick since it’s a limited pressing.
All these discs are readily available from the excellent on-line store BuySoundtrax.
I said above I’d be reporting RINGS news, and sure enough, it didn’t take very long to find a piece of RINGS news to report! After stating before that Liv Tyler would have a song in THE TWO TOWERS, it now turns out she was slightly premature in her announcement. This just appeared at Lycos Movie News:
“Liv Tyler's following in her father's footsteps by singing a song on the third LORD OF THE RINGS soundtrack. The actress sings a tune in elfish in the final instalment of Peter Jackson’s J.R.R. Tolkien epic and producers were so taken with the love song they insisted it was added to the film's soundtrack. She says, "I think it's called “Arwen’s Song”. When Peter was editing the film he felt a song would be perfect as a finale in the third film, so I recorded it.”
We celebrate the following Birthdays:
Trevor Rabin (ARMAGEDDON / GONE IN SIXTY SECONDS)
- Born 13 January 1954, Johannesburg, South Africa.
John Carpenter (HALLOWEEN / ESCAPE FROM NEW YORK)
- Born 16 January 1948, Carthage, New York.
Ryuichi Sakamoto (MERRY CHRISTMAS MR. LAWRENCE / THE LAST EMPEROR)
- Born 17 January 1952, Tokyo, Japan.
And we commiserate the anniversary of the death of:
Mario Nascimbene (THE VIKINGS / ONE MILLION YEARS B.C.)
- Born 28 November 1913, Milan, Italy.
- Died 6 January 2002, Rome, Italy.
SHOOT-BACK HERE! |
ARCHIVES
