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Movie/TV/Game Scores Through The Ages - Alan's Personal Favourites

General Discussions » Movie/TV/Game Scores Through The Ages - Alan's Personal Favourites (Posts 271 to 300 of 1880)

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    •  
      CommentAuthorMartijn
    • CommentTimeApr 12th 2010 edited
    50-50, I'd say.

    Either we agree...
    ...or we don't.
    wink
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  2. There's just no talking to you at the moment, is there? Or is there? wink
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeApr 12th 2010
    Double Indemnity....right choice Alan, right choice! cool beer
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorsdtom
    • CommentTimeApr 12th 2010
    Spellbound (1945) - Miklós Rózsa

    Other Nominees:
    A Song to Remember (1945) - Miklós Rózsa; Morris Stoloff
    Brewster's Millions (1945) - Louis Forbes
    Captain Kidd (1945) - Werner Janssen
    Flame of Barbary Coast (1945) - R. Dale Butts; Morton Scott
    G.I. Honeymoon (1945) - Edward J. Kay
    Guest in the House (1944) - Werner Janssen
    Guest Wife (1945) - Daniele Amfitheatrof
    Love Letters (1945) - Victor Young (I)
    Objective, Burma! (1945) - Franz Waxman
    Paris Underground (1945) - Alexander Tansman
    Story of G.I. Joe (1945) - Louis Applebaum; Ann Ronell
    The Bells of St. Mary's (1945) - Robert Emmett Dolan
    The Enchanted Cottage (1945) - Roy Webb (I)
    The Keys of the Kingdom (1944) - Alfred Newman
    The Lost Weekend (1945) - Miklós Rózsa
    The Man Who Walked Alone (1945) - Karl Hajos
    The Southerner (1945) - Werner Janssen
    The Valley of Decision (1945) - Herbert Stothart
    The Woman in the Window (1944) - Hugo Friedhofer; Arthur Lange
    This Love of Ours (1945) - Hans J. Salter


    And this is the list of nominations, some very good scores that won't even get a second glance.

    Thomas
    listen to more classical music!
    •  
      CommentAuthorsdtom
    • CommentTimeApr 12th 2010
    Steiner could write for a soap opera like no one else, which is the plot of Since You Went Away. I do like it over Indemnity only because Rozsa wrote far better material. In fact next year he has two.
    Thomas
    listen to more classical music!
    •  
      CommentAuthorFalkirkBairn
    • CommentTimeApr 12th 2010 edited
    sdtom wrote
    Steiner could write for a soap opera like no one else, which is the plot of Since You Went Away. I do like it over Indemnity only because Rozsa wrote far better material in the noir style later on in his career.

    I'm not sure I understand what you mean here, Tom. Did you mean to say that Steiner wrote better material?
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeApr 12th 2010
    I'm sure Tom did! punk
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  8. 1945 - Spellbound - Miklos Rozsa

    Listening to Intrada's re-recording of this score brings out how good this really is. I wonder what the audience would have thought watching the beginning of this movie with it's "conventional" score only then to be confronted by Rozsa's use of the theremin. Just a hint mind you - and then back to the more conventional orchestral sound.

    I really like the use of theremin in film music and it's nice to here its use here for a more psychological emphasis rather than the extra-terrestrial associations it would get in later years (though I'm not saying I prefer it!)

    Rozsa's themes are spot-on throughout: the aforementioned psychological motif with the theremin as well as the love theme. I'm afraid to say that Spellbound is not a film I've seen though I think that it's one I should catch to solidify even more my appreciation of the score.

    BTW, Rozsa's The Lost Weekend (also featuring a psychological theremin) came a close second and Chandos' suite of tracks for Herrmann's Hangover Square coming up the more distant third.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorsdtom
    • CommentTimeApr 12th 2010
    I voted for Lost Weekend, Rozsa'a choice when asked about the two scores. Objective Burma is second for me with Spellbound coming out third. However, that has nothing to do with the new recording which was superb and got my vote for the best of the year.
    Thomas
    listen to more classical music!
    •  
      CommentAuthorsdtom
    • CommentTimeApr 12th 2010
    Winner:
    The Best Years of Our Lives (1946) - Hugo Friedhofer

    Other Nominees:
    Anna and the King of Siam (1946) - Bernard Herrmann (I)
    Humoresque (1946) - Franz Waxman
    The Chronicle History of King Henry the Fift with His Battell Fought at Agincourt in France (1944) - William Walton (I)
    The Killers (1946) - Miklós Rózsa


    The next year which by the way are all excellent scores worth exploring.
    Thomas
    listen to more classical music!
    •  
      CommentAuthorMartijn
    • CommentTimeApr 13th 2010
    FalkirkBairn wrote
    1945 - Spellbound - Miklos Rozsa
    BTW, Rozsa's The Lost Weekend (also featuring a psychological theremin) came a close second


    I cannot find fault. beer

    Incidentally, harkening briefly back to your pre-1931 remarks in the very first post, a rerecording of Napoleon is about to see the light. I have always regretted not being able to get the original release, so I'm very happy with this news.

    It is truly one of Davis' finest efforts, and highly recommended to anyone partial to his powerful scoring for silent classics.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  12. Martijn wrote
    Napoleon

    It is truly one of Davis' finest efforts, and highly recommended to anyone partial to his powerful scoring for silent classics.

    I bought this as a download last week - and I have to say that I think that it is the Davis score I enjoy the most.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorsdtom
    • CommentTimeApr 13th 2010
    alan and everyone already knows my pick
    Thomas smile
    listen to more classical music!
  14. I'll post my pick later this evening...
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  15. 1946 - Anna and The King of Siam - Bernard Herrmann

    Herrmann's probably most famous for his collaboration with Alfred Hitchcock and scores such as Vertigo and Psycho. But Herrmann's much more than this, and this score highlights some of those talents.

    Although the score on CD amounts to 47 cues in just under an hour, there's a cohesiveness that's strengthened by the composer's oriental-tinged main theme. As with Herrmann it appears in a myriad of different forms but the composer is talented enough to be able to keep the variations interesting: it can be a grand regal statement or a more delicate almost sorrowful mood-setter. Just like in his score for Beneath the 12-Mile Reef, Herrmann's track "Elegy" showcases the composer's ability to get to the emotional centre of a score.

    I'm always a sucker for the eastern-influenced score and this, in combination with Herrmann's style makes for an enjoyable score.

    I'm sure I'm leaving myself open to (at least) Tom's "wrath" - especially, after I chose Friedhofer's The Best Years of Our Lives last time 'round. I'm not sure what changed my mind in the intervening years.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  16. FalkirkBairn wrote
    I'm sure I'm leaving myself open to (at least) Tom's "wrath" - especially, after I chose Friedhofer's The Best Years of Our Lives last time 'round. I'm not sure what changed my mind in the intervening years.

    Now I'm more worried by Tom's silence! Maybe he's just travelling...
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorsdtom
    • CommentTimeApr 14th 2010
    shock is more like it
    listen to more classical music!
    •  
      CommentAuthorsdtom
    • CommentTimeApr 14th 2010
    WINNER
    A Double Life: Miklós Rózsa
    NOMINEES
    Captain from Castile: Alfred Newman
    --------------------------------------------------------------------------------
    Forever Amber: David Raksin
    --------------------------------------------------------------------------------
    Life with Father: Max Steiner
    --------------------------------------------------------------------------------
    the next year
    listen to more classical music!
    • CommentAuthorTimmer
    • CommentTimeApr 14th 2010
    I've never heard Herrmann's Anna and The King of Siam score so...

    No comment.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeApr 14th 2010
    I have no strong opinion on '46, and I don't know Anna And The King Of Siam. SO it's all good. smile

    I DO have a strong opinion on next year's contenders though! punk
    (I'm pretty sure what Alan's choice is going to be, and I think I will come up with the same arguments I did last time. Simply because I love to impose my opinion. wink )
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeApr 14th 2010
    Opinions are like arse holes, we've all got one.

    Cliches are overrated, don't you think!?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMartijn
    • CommentTimeApr 14th 2010
    I can't believe you didn't come up with that before!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeApr 14th 2010
    Touche mon capitan. beer
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  24. 1947 - The Ghost and Mrs. Muir - Bernard Herrmann

    This is my favourite of Herrmann's early scores that featured more of his romantic music (and before scores such as Psycho and Vertigo) for a film that's not shown much on TV - though I have seen it relatively recently so I could see this excellent score in situ.

    My enjoyment of this score is enhanced by having read David Cooper's "film score guide" to the music and that's helped me to tag the various themes and their variations throughout the score. And helps to link the music (and its use) with what's happening on screen.

    But the music in isolation is also worthy of my selection as a favourite: the sea motif that starts off the first cue of the score - and recurs throughout, Lucy's theme and the sea shanty motif that's associated with Rex Harrison's character. It's all highly enjoyable and used to great effect.

    One thing that I hadn't realised that this score is one of the few that replaced Alfred Newman's original 20th Century Fox fanfare with the sea motif - more in keeping with the feel of the film compared with Newman's fanfare.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorMartijn
    • CommentTimeApr 14th 2010
    Oh, Alan's on one of his Herrmann binges again. rolleyes
    There's just no reasoning with the man! Otherwise how could he have failed to choose the magnificent lyricism that is Newman's Captain Of Castile?
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  26. sdtom wrote
    shock is more like it

    biggrin

    Good one, Tom.

    I'd certainly recommend people take a listen to Anna and The King of Siam. I really like it...but then you'll already know that!
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  27. Martijn wrote
    There's just no reasoning with the man! Otherwise how could he have failed to choose the magnificent lyricism that is Newman's Captain Of Castile?

    I listened to Captain From Castille again yesterday. Apart from being far too long in terms of a listening experience, it does have some highlights but doesn't approach the appeal that Herrmann's score has.

    BTW, how can you recommend a score to a film that you can't even cite the title correctly? wink
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  28. Martijn wrote
    Oh, Alan's on one of his Herrmann binges again. rolleyes

    Now, did Herrmann do anything in 1948? wink
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeApr 14th 2010
    "ouch" biggrin wink

    I too will have to go with Herrmann's gorgeously lyrical The Ghost and Mrs. Muir, simply because it's a score I'm familiar with, in and out of the film, Captain From Castille is excellent but I only know it from the Charles Gerhardt, Alfred Newman album.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  30. Maybe if I had just heard a suite of Captain From Castille then it might have made more of an impact on me when I first heard it.

    BTW, going back to The Ghost and Mrs. Muir, I much prefer the original tracks compared with Bernstein's re-recording that's heard in the FSM box.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn

271 to 300 of 1880

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