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    • CommentAuthorTimmer
    • CommentTimeJul 29th 2008
    PSYCHO & CAPE FEAR don't count wink

    At the moment I can't think of a single movie remake that has a score that's better than the original, sure, for me personally I prefer Barry's KING KONG over Steiner's original, in fact, I prefer JNH's over the original too but neither of them are better than Stiner's score, how could they be?

    I was thinking of Powell's THE ITALIAN JOB Vs Quincy Jones original but that doesn't work because the films are very different.

    Any thoughts anyone?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  1. Marianelli's score to Pride and Prejudice is better than any of the other film adaptations of that story that I've heard. The same might be true of a lot of classic lit. that has been made into film several times. I've just been watching Branaugh's Hamlet. The music there has to be better than the Gibson version, but I'm unfamiliar with any previous ones....A lot of classics were put to film decades ago and I really haven't seen many of those, but it's very possible that a lot of more modern remakes are better.
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      CommentAuthorSteven
    • CommentTimeJul 29th 2008 edited
    Ocean's 11? Though I have not heard the original one, I thought David Holmes' score was perfect for the film. Really gave it that extra bit of cool.
  2. Adaptations are tricky, as arguably they're not remaking the original film, but cashing in on the enduring interest of the novel/play.

    That said, here's some:
    - Rachel Portman's MANCHURIAN CANDIDATE is certainly a better listen from a modern soundtrack perspective than David Amram's score;
    - Hans Zimmer's THE THIN RED LINE is probably better than whoever did the 1964 film;
    Both 'remakes' were however described as re-adaptations by their makers rather than remakes.
    A butterfly thinks therefore I am
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      CommentAuthorSteven
    • CommentTimeJul 29th 2008
    I'm going to get slaughtered for this, but I prefer Elfman's Planet Of The Apes to Goldsmith's. Artistically, I would place Goldsmith's well above Elfman's, but on album I prefer Elfman's to Goldsmith's. Sorry.

    I still love Goldsmith. love
    • CommentAuthorAnthony
    • CommentTimeJul 29th 2008
    Here's a fun one: Batman! tongue
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      CommentAuthorSteven
    • CommentTimeJul 29th 2008
    I hope you die a slow and painful death.

    biggrin
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      CommentAuthorelenewton
    • CommentTimeJul 29th 2008
    I prefer Marco Beltrami's "Flight of the Phoenix" to the old version.
  3. I'm surprised no-one has gone into LORD OF THE RINGS. I'm very conflicted there, but for me Rosenman edges out Shore for nostalgic value.
    A butterfly thinks therefore I am
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      CommentAuthorSouthall
    • CommentTimeJul 30th 2008
    Y'know... I can't actually think of any (if we're talking about remakes of films, not just separate adaptations of novels/plays).
  4. Certainly CITY OF ANGELS, the remake of WINGS OF DESIRE, has a more enjoyable/soothing sounding score than the original film. But I think Jurgen Kniepfer's music is brilliant as well, and does more for a better film.
    A butterfly thinks therefore I am
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      CommentAuthorDemetris
    • CommentTimeJul 30th 2008
    SOLARIS (CLIFF MARTINEZ)
    CHRISTOPHER YOUNG - THE GRUDGE / THE GRUDGE 2
    ANGELO BADALAMENTI - DARKWATER
    HANS ZIMMER (and the co) - the ring
    Love Maintitles. It's full of Wanders.
  5. Christodoulides wrote
    SOLARIS (CLIFF MARTINEZ)


    Firstly, this was also a novel, so its arguably not a remake but a re-adaptation.

    Secondly, I like the Martinez score as a listening experience, but one thing that Artemyev's all-electronic score for the original does much better is communicate the strangeness and disorientation of being caught up in Solaris. In Martinez's version, the planet is a little too friendly, the revived relationship a little too comfy. (Which stands to reason - Tarkovksy is more interested in the mystical aspect of life than Soderbergh.) Great to listen to though.


    CHRISTOPHER YOUNG - THE GRUDGE / THE GRUDGE 2
    ANGELO BADALAMENTI - DARKWATER
    HANS ZIMMER (and the co) - the ring


    While I don't disagree that the western versions of these films have called for music that's closer to my comfort zone, I suspect you have issues with the style of Japanese horror scoring. I find the music Kawai did for THE RING much more terrifying than Zimmer's.
    A butterfly thinks therefore I am
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      CommentAuthorsdtom
    • CommentTimeJul 30th 2008
    If we call the original Superman television show the original score then the John Williams soundtrack wins easily.

    And while I don't agree some will say the Barry Kong (Timmer) or the Newton-Howard Kong superior to the original one Maxie did.

    Williams certainly did a fine job on his Dracula as well as James Bernard.

    Thomas smile
    listen to more classical music!
  6. Thomas Newman's score to Little Women in 1994 is far superior to incarnations of the past. But I can't really think of anything too high profile. At least with this version of the film, they didn't change anything drastically like other film incarnations do which make it difficult to compare.
    I'm your Piper at the gates of dawn.
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      CommentAuthorDemetris
    • CommentTimeJul 30th 2008 edited
    franz_conrad wrote
    Christodoulides wrote
    SOLARIS (CLIFF MARTINEZ)


    Firstly, this was also a novel, so its arguably not a remake but a re-adaptation.

    Secondly, I like the Martinez score as a listening experience, but one thing that Artemyev's all-electronic score for the original does much better is communicate the strangeness and disorientation of being caught up in Solaris. In Martinez's version, the planet is a little too friendly, the revived relationship a little too comfy. (Which stands to reason - Tarkovksy is more interested in the mystical aspect of life than Soderbergh.) Great to listen to though.


    CHRISTOPHER YOUNG - THE GRUDGE / THE GRUDGE 2
    ANGELO BADALAMENTI - DARKWATER
    HANS ZIMMER (and the co) - the ring


    While I don't disagree that the western versions of these films have called for music that's closer to my comfort zone, I suspect you have issues with the style of Japanese horror scoring. I find the music Kawai did for THE RING much more terrifying than Zimmer's.


    I didn't have the slightest of doubts you'd actually disagree. rolleyes wink

    As for SOLARIS, nothing "friendly" and "comfy" comes out as far as i am concerned when i am listening to the score. And as for the japanese scores, electronic synth drone was never part of what i would call music anyway.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeJul 30th 2008
    But would you call them good scores? I've never heard them. (Or seen the films, I'm too wimpy.)
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      CommentAuthorSouthall
    • CommentTimeJul 30th 2008
    Steven wrote
    But would you call them good scores?


    They might, but you wouldn't!
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      CommentAuthorSteven
    • CommentTimeJul 30th 2008
    Dunno, if they work in the film and make it scary for folk, surely I'd agree they're good? (Hence scores, not music.) Don't think they'd be my kind of thing on CD - or at least data files these days.
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      CommentAuthorSouthall
    • CommentTimeJul 30th 2008
    Sorry, I entirely missed your point. One of those days.
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      CommentAuthorSteven
    • CommentTimeJul 30th 2008
    Blame the heat, I do.
  7. Christodoulides wrote
    As for SOLARIS, nothing "friendly" and "comfy" comes out as far as i am concerned when i am listening to the score. And as for the japanese scores, electronic synth drone was never part of what i would call music anyway.


    Not to be condescending, but I'm having trouble figuring out from your reply if you've actually seen the original? smile
    A butterfly thinks therefore I am
    • CommentAuthorTimmer
    • CommentTimeJul 31st 2008
    sdtom wrote
    If we call the original Superman television show the original score then the John Williams soundtrack wins easily.

    And while I don't agree some will say the Barry Kong (Timmer) or the Newton-Howard Kong superior to the original one Maxie did.

    Williams certainly did a fine job on his Dracula as well as James Bernard.

    Thomas smile


    Tough one Tom, hard to start with DRACULA? Williams score is superb and darkly romantic but I'll take Wojciech Kilar's score over that! In fact I'll take James Bernard's scores over Williams too, though I'll admit this may be a nostalgic decision.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 31st 2008
    Steven wrote
    Ocean's 11? Though I have not heard the original one, I thought David Holmes' score was perfect for the film. Really gave it that extra bit of cool.


    Now THAT's a good call Steven, the re-make is far better though I'd have to see the original again to assess the score as I don't remember it that well.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeJul 31st 2008 edited
    Christodoulides wrote
    SOLARIS (CLIFF MARTINEZ)
    CHRISTOPHER YOUNG - THE GRUDGE / THE GRUDGE 2
    ANGELO BADALAMENTI - DARKWATER
    HANS ZIMMER (and the co) - the ring


    Have you heard Eduard Artemeyev's original score for Solaris D ?

    I like Martinez score a lot ( exellent chill out music ) but I prefer Artemeyev's. I can't compare the films though as I've only seen the remake.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorsdtom
    • CommentTimeJul 31st 2008
    The Bernard score was excellent I think the best of the Hammer films.
    Tom smile
    listen to more classical music!
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      CommentAuthorDemetris
    • CommentTimeJul 31st 2008
    Steven wrote
    Dunno, if they work in the film and make it scary for folk, surely I'd agree they're good? (Hence scores, not music.) Don't think they'd be my kind of thing on CD - or at least data files these days.


    I'd recommend listening to THE GRUDGE 2 (Christopher Young) out of these, and THE RING; but i am a sucker for horror / thriller scores anyway, especially when played loud; i don't know if you are. As for their function within the films, they worked wonders.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 31st 2008
    Timmer wrote
    Steven wrote
    Ocean's 11? Though I have not heard the original one, I thought David Holmes' score was perfect for the film. Really gave it that extra bit of cool.


    Now THAT's a good call Steven, the re-make is far better though I'd have to see the original again to assess the score as I don't remember it that well.


    Although not a big fan, Holmes' scores are very cool indeed.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeJul 31st 2008
    Timmer wrote
    Christodoulides wrote
    SOLARIS (CLIFF MARTINEZ)
    CHRISTOPHER YOUNG - THE GRUDGE / THE GRUDGE 2
    ANGELO BADALAMENTI - DARKWATER
    HANS ZIMMER (and the co) - the ring


    Have you heard Eduard Artemeyev's original score for Solaris D ?

    I like Martinez score a lot ( exellent chill out music ) but I prefer Artemeyev's. I can't compare the films though as I've only seen the remake.


    I have, but i haven't watched the film.

    Michael, what are the differences between the original and the "remake"? Why would you recommend the first movie against Soderberg's vision, if you would do that?
    Love Maintitles. It's full of Wanders.
  8. Christodoulides wrote
    franz_conrad wrote
    Christodoulides wrote
    SOLARIS (CLIFF MARTINEZ)


    Firstly, this was also a novel, so its arguably not a remake but a re-adaptation.

    Secondly, I like the Martinez score as a listening experience, but one thing that Artemyev's all-electronic score for the original does much better is communicate the strangeness and disorientation of being caught up in Solaris. In Martinez's version, the planet is a little too friendly, the revived relationship a little too comfy. (Which stands to reason - Tarkovksy is more interested in the mystical aspect of life than Soderbergh.) Great to listen to though.


    CHRISTOPHER YOUNG - THE GRUDGE / THE GRUDGE 2
    ANGELO BADALAMENTI - DARKWATER
    HANS ZIMMER (and the co) - the ring


    While I don't disagree that the western versions of these films have called for music that's closer to my comfort zone, I suspect you have issues with the style of Japanese horror scoring. I find the music Kawai did for THE RING much more terrifying than Zimmer's.


    I didn't have the slightest of doubts you'd actually disagree. rolleyes wink

    As for SOLARIS, nothing "friendly" and "comfy" comes out as far as i am concerned when i am listening to the score. And as for the japanese scores, electronic synth drone was never part of what i would call music anyway.

    The music for the "Westernised" versions of the Japanese horror movies is certainly more listenable to Western ears but whether it is more effective than the original is certainly debatable! It sometimes seems that, although the scores for the remakes offer some effective underscoring, the Kawai & Sato scoress for the originals seem to be more of the fabric of the movie itself: they seem to be more of a part of the actual visuals themselves. dizzy
    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