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Allow me to remake your sentence: the Love Theme is more than decent and it is indeed elegant. It is also touching. I agree though, it does not fit the movie.

I thought I'd give...


NP : L.A. CONFIDENTIAL - Jerry Goldsmith


...a spin.

Very aggresive percussive score with a touch of Chinatown, I like it a lot but people who are familiar with this should give Leonard Bernstein's On The Waterfront a play, it's very similar ( and SUPERB too )

^ Brilliant score! One of the all time greats!

-Erik-

NP: Surf's Up - Mychael Dana

I really enjoy the serious main theme. Dana put much more intensity into it than many other composers would have for an animated movie about surfing penguins. The mock-surf music is less interesting, but overall a short, but very nice score.

Hostage is brilliant! My second favourite Desplat after Largo Winch.

The best score of the prequel by far!

-Erik-

Stunning, Timmer! I wish I knew where to find it as well!

-Erik-

Oh absolutely, it has such a unique blend of sounds and it works perfectly.

Surely you do not mean that you listened to it every single day for "some years."

So, for how long a period did you listen to it every single day?

JP: CAPRICORN ONE - Jerry Goldsmith
It's unfortunate that such a master of the orchestra had such fondness for experiments with now dated synths and horribly schmaltzy ballads or interludes (see also: The Omen, The Boys From Brazil).

Capricorn One, fortunately, only has a small portion of this. The hinted at synthesizer early on is thankfully just a one timer to convey a certain sci-fi otherworldlyness (and works quite well, to be honest). Kay's Theme, however, is a downright awful soft-rock beat that destroys the atmosphere provided by the rest of the score and firmly dates the thing.

Needless to say, I skipped this track to continue enjoying this great blend of atonal suspense writing and more bombastic pieces that's a strong mix of the accessible and the less-accessible, tied together by a main theme that functions as the driving force of the score. Thoroughly enjoyable, despite its single shortcoming.

"Laurette" / "Prince Jack"
(Elmer Bernstein)

The Kritzerland release. Traded a CD with an FSM user to get this. A worth wild trade as far as I am concerened. Two very plesant scores. Not as strong as "Ghostbusters" or "The Great Escape", but still good nontheless.

I am partial to "Prince Jack" as I love his use of the ondes.

I'm listening to the V.I.P.S in preparing for my second review in the Rozsa Box. Here is yet another score that slipped past me.
Thomas

The Man Without a Face - James Horner

A wondrous listen full of thematic loveliness. 'A Father's Legacy' sums it all up in 6 great minutes. One of those by the man that never fail to get me all emotional.

Today is FANTASY FRIDAY!

I will begin the day with John Williams' classic CLOSE ENCOUNTERS OF THE THIRD KIND.

I will then move on to the Williamsesque score from FORBIDDEN WARRIOR by Mike Verta. You can hear the score in its complete form HERE! Click on the MUSIC link and it will take you to a page where you can hear the score.

I will then spin one of the very best comic book scores of all time; THE PHANTOM by David Newman!

I will close the day out with Bruce Broughton's brilliant score LOST IN SPACE. I still can't comprehend how Broughton managed to write such creative and detailed orchestral music in under 14 days.

-Erik-