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JERRY GOLDSMITH
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- CommentAuthorCaptain Future
- CommentTimeDec 30th 2012
PawelStroinski wrote
Chariots of Fire?
I still have to see that film!
Bingo!
Well, see it! That film (and the score) provoce very mixed reactions.
It's certainly a feel-good-movie. Beautiful people doing beautiful things. And it takes some liberties with history, too. Still, I bath in that film like in warm water. I have a soft spot for such films, you know, like "Dead Poet's Society" or "To Kill a Mockingbird", or "The Mission".
The fotography is awsome and so is (in my opinion) the score. One of the most memorable main themes in history. (I believe Erik once wrote it was the most overrated one.) The cast is stellar, the depiction of the Paris Olympis just stunning.
I have heard people praise this film to heaven, I have heard people say it was the most boring film they ever saw.
Just take the opening sequence: Parry's Jerusalem, a memorial serivce then cut: young men running joyfully along the waterline of some beach. A man stands watching, his dog starts ofter the runners ... and Vangelis' incredible music starts playing ... oh, God, this is art, this is greatness!
Much nostalgia involved here: My first to score (vinyl!) were "Return of the Jedi" and "Chariots of Fire".
Whoever also loves this score, check out Vangelis' second take on the story, "Chariots of Fire - The Play" from the London stage production. I'd love to hear some of the new material in the film.
Cheers!
VolkerBach's music is vibrant and inspired. -
- CommentAuthorErik Woods
- CommentTimeDec 30th 2012
Captain Future wrote
One of the most memorable main themes in history. (I believe Erik once wrote it was the most overrated one.)
The main melody is superb! Even some of other melodies are very nice. But I'm a fan of Raiders of the Lost Ark and I can't forgive Chariots of Fire for winning both the best picture and best score Oscar that year.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorCaptain Future
- CommentTimeDec 30th 2012
Erik Woods wrote
Captain Future wrote
One of the most memorable main themes in history. (I believe Erik once wrote it was the most overrated one.)
The main melody is superb! Even some of other melodies are very nice. But I'm a fan of Raiders of the Lost Ark and I can't forgive Chariots of Fire for winning both the best picture and best score Oscar that year.
-Erik-
Right, it was about "Raiders". Yeah, a decision on knive's edge for sure. It's ovbiously as heart-stirring for you as it is for me.Bach's music is vibrant and inspired. -
- CommentAuthorSouthall
- CommentTimeDec 30th 2012
Captain Future wrote
It's certainly a feel-good-movie. Beautiful people doing beautiful things. And it takes some liberties with history, too. Still, I bath in that film like in warm water. I have a soft spot for such films, you know, like "Dead Poet's Society" or "To Kill a Mockingbird", or "The Mission".
I'm interested in what you mean by "such films" here because that list of films doesn't seem to have much in common to me! -
- CommentAuthorCaptain Future
- CommentTimeDec 30th 2012 edited
Southall wrote
Captain Future wrote
It's certainly a feel-good-movie. Beautiful people doing beautiful things. And it takes some liberties with history, too. Still, I bath in that film like in warm water. I have a soft spot for such films, you know, like "Dead Poet's Society" or "To Kill a Mockingbird", or "The Mission".
I'm interested in what you mean by "such films" here because that list of films doesn't seem to have much in common to me!
I am an indealist in every sense of the word (ethical and epistomological). I strongly connect to people (or characters in films) that do what they think is right, regardless to personal consequences. The films I named share a similar protagonist:
Atticus Finch / Gregory Peck
Neil Perry / Robert Sean Leonard
Eric Liddell / Ian Charleson
Father Gabriel / Jeremy Irons
And also
Marshal Will Kane / Gary Cooper (High Noon)
Jim Garrison / Kevin Kostner (JFK)
Fred Friendly / George Clooney (Good Night and Good Luck)
Ransom Stoddart / James Stewart (The Man Who Shot Liberty Valance)
Martin Brody / Roy Scheider (Jaws)
Mahatma Gandhi / Ben Kingsley (Gandhi)
There is also a diabolic veriaty of that kind of character:
Captain Ahab / Gregory Peck (Moby Dick)Bach's music is vibrant and inspired. -
- CommentAuthorPawelStroinski
- CommentTimeDec 30th 2012
Having listened through the Jerry Goldsmith score to Hoosiers, I know it will order the Intrada release when I'll have more money. It's brilliant.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorPawelStroinski
- CommentTimeDec 30th 2012
Oh. I just did :mrgreen:
Does anyone know how to pick a cover when there are alternate ones at Intrada?http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorCaptain Future
- CommentTimeDec 30th 2012 edited
PawelStroinski wrote
Oh. I just did :mrgreen:
Does anyone know how to pick a cover when there are alternate ones at Intrada?
You will get both covers, one on the front of the booklet, the other on the backside. It's up to you which cover your CD will show.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorTimmer
- CommentTimeDec 30th 2012 edited
Erik Woods wrote
Captain Future wrote
One of the most memorable main themes in history. (I believe Erik once wrote it was the most overrated one.)
The main melody is superb! Even some of other melodies are very nice. But I'm a fan of Raiders of the Lost Ark and I can't forgive Chariots of Fire for winning both the best picture and best score Oscar that year.
-Erik-
I remember watching the Oscars show at the time, even then I had a feeling Vangelis score would win.
1981 was an incredibly strong year for film scores, Georges Delerue's TRUE CONFESSIONS, Elmer Bernstein's HEAVY METAL, John Barry's BODY HEAT and Philippe Sarde's QUEST FOR FIRE to name but a few but for me the Oscar should have gone to a score ( that had no chance in hell of being nominated ) by Jerry Goldsmith, the incredible work that is THE FINAL CONFLICT.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSouthall
- CommentTimeDec 30th 2012
Timmer wrote
for me the Oscar should have gone to a score ( that had no chance in hell of being nominated ) by Jerry Goldsmith, the incredible work that is THE FINAL CONFLICT.
Without a doubt! Phenomenal work. Even in a strong year, it stands apart. -
- CommentAuthorFalkirkBairn
- CommentTimeDec 30th 2012
I completely agree with The Final Conflict comments. This is a truly spectacular score that, for me, has most of what you would want in a score.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 -
- CommentAuthorThor
- CommentTimeDec 30th 2012
THE FINAL CONFLICT is good, but nowhere near the groundbreaking brilliance of CHARIOTS OF FIRE. IMO, the latter was a welldeserved Oscar winner that year.I am extremely serious. -
- CommentAuthorErik Woods
- CommentTimeDec 30th 2012 edited
All the scores (minus Chariots) mentioned above are great but nothing was and has ever been better than...
RAIDERS
of the LOST ARK
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorFalkirkBairn
- CommentTimeDec 30th 2012
I think that Thor and Erik have been on the drink because they are havering nonsense. FACT!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
- CommentTimeDec 30th 2012
Thor wrote
THE FINAL CONFLICT is good, but nowhere near the groundbreaking brilliance of CHARIOTS OF FIRE. IMO, the latter was a welldeserved Oscar winner that year.
Why do you think it was groundbreaking? Surely Giorgio Moroder did that with MIDNIGHT EXPRESS.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorTimmer
- CommentTimeDec 30th 2012
FalkirkBairn wrote
I think that Thor and Erik have been on the drink because they are havering nonsense. FACT!
Alan hath spoken.
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorErik Woods
- CommentTimeDec 30th 2012
Timmer wrote
Thor wrote
THE FINAL CONFLICT is good, but nowhere near the groundbreaking brilliance of CHARIOTS OF FIRE. IMO, the latter was a welldeserved Oscar winner that year.
Why do you think it was groundbreaking? Surely Giorgio Moroder did that with MIDNIGHT EXPRESS.
Wasn't Vangelis the only film composer at the time basically improvising his music to picture?
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorThor
- CommentTimeDec 30th 2012
'Groundbreaking' in that it featured an electronic score for a period flick and subsequently became one of the biggest hits in popular culture of all time.
Here's what I said in Alan's thread on yearly favourites:
"1981...in terms of soundtrack listening experience:
Well, if you had asked me 10 years ago, I would have said RAIDERS in a heartbeat. But these days, I find it a little too rambunctious and action-ey, despite some wonderful themes like the ark cue. I far prefer LAST CRUSADE. FINAL CONFLICT is very good too, and by far the best OMEN score (even though the film is pants).
But none of them can compare to two of my favourite synth-based scores - CHARIOTS OF FIRE and DAS BOOT. To be fair, it's mostly their respective themes that I love, but there's some nice music beyond that too.
If I really had to choose one, it would probably be CHARIOTS - a welldeserved Oscar winner!"I am extremely serious. -
- CommentAuthorCaptain Future
- CommentTimeDec 30th 2012
Thor wrote
THE FINAL CONFLICT is good, but nowhere near the groundbreaking brilliance of CHARIOTS OF FIRE. IMO, the latter was a welldeserved Oscar winner that year.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorCaptain Future
- CommentTimeDec 30th 2012 edited
Thor wrote
'Groundbreaking' in that it featured an electronic score for a period flick and subsequently became one of the biggest hits in popular culture of all time.
Here's what I said in Alan's thread on yearly favourites:
"1981...in terms of soundtrack listening experience:
Well, if you had asked me 10 years ago, I would have said RAIDERS in a heartbeat. But these days, I find it a little too rambunctious and action-ey, despite some wonderful themes like the ark cue. I far prefer LAST CRUSADE. FINAL CONFLICT is very good too, and by far the best OMEN score (even though the film is pants).
But none of them can compare to two of my favourite synth-based scores - CHARIOTS OF FIRE and DAS BOOT. To be fair, it's mostly their respective themes that I love, but there's some nice music beyond that too.
If I really had to choose one, it would probably be CHARIOTS - a welldeserved Oscar winner!"
, too!
Seems we have really big overlaps in our music taste. I LOVE "Last Crusade" (espacially the expanded release) and Doldingers "Das Boot"!Bach's music is vibrant and inspired. -
- CommentAuthorSouthall
- CommentTimeDec 30th 2012
I love the Chariots of Fire theme - really love it. It's one of the great film themes, I think, and more than deserves its place as one of the few pieces of film music to have really permeated pop culture. I can't say the rest of the score does much for me at all - on album it's one thing, but it seems almost amateurish in the film and is largely ill-fitting.
Raiders of the Lost Ark is great, of course. But it's a great film and the score is straightforward, linear, telling the story through music. Wonderful if that's your thing.
The Final Conflict does something more than either of those. For one thing, Goldsmith didn't have a great film to take inspiration from - in fact he had one of the lousiest films there's ever been. Yet somehow he still managed to get in there and write music that's not just magnificent within the film, it reveals endless depths when studied away from it. It's lightyears ahead of any other score written that year in my opinion. -
- CommentAuthorErik Woods
- CommentTimeDec 30th 2012
Southall wrote
I love the Chariots of Fire theme - really love it. It's one of the great film themes, I think, and more than deserves its place as one of the few pieces of film music to have really permeated pop culture. I can't say the rest of the score does much for me at all - on album it's one thing, but it seems almost amateurish in the film and is largely ill-fitting.
Southall wrote
Raiders of the Lost Ark is great, of course. But it's a great film and the score is straightforward, linear, telling the story through music. Wonderful if that's your thing.
It is so much more then that, James. So much more!
Southall wrote
The Final Conflict does something more than either of those. For one thing, Goldsmith didn't have a great film to take inspiration from - in fact he had one of the lousiest films there's ever been. Yet somehow he still managed to get in there and write music that's not just magnificent within the film, it reveals endless depths when studied away from it. It's lightyears ahead of any other score written that year in my opinion.
So, if Raiders was a piece of shit film the score would receive higher marks? I don't see the logic in that thinking.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorSouthall
- CommentTimeDec 30th 2012
Erik Woods wrote
So, if Raiders was a piece of shit film the score would receive higher marks? I don't see the logic in that thinking.
-Erik-
No - definitely not that! I clearly didn't explain myself very well, but now I need to go and eat! -
- CommentAuthorErik Woods
- CommentTimeDec 30th 2012
I do appreciate the fact that a composer can find inspiration from a lousy film. That is indeed a special talent but I can't remember if Goldsmith did anything particularly special to help enhance that film. It's been such long since I last viewed it. On the flipside, the score on its own is remarkable and is one of my all time favorite Goldsmith scores. I'm not poo-pooing it at all but I have a gigantic bias towards Raiders so I will just step aside and let the rest of you continue to be wrong.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorTimmer
- CommentTimeDec 30th 2012
May you always rejoice in Raiders heaven Erik
As for CHARIOTS OF FIRE I've always liked the album but on the one viewing of the film I found it a very jarring experience.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorfrancis
- CommentTimeDec 30th 2012 edited
The Final Conflict is an amazing score BUT it is a sequel score and he already won for The Omen. I think that because the movie was so bad, the music does suffer from it especially in the underscore, whereas Raiders doesn't have that problem. But 'the hunt', 'the second coming' and the whole finale are evidence that Goldsmith was the star of the Omen movies, whereas Indiana Jones had Harrison. Face it, everyone who played Damien, even the great Sam Neill, put in a shitty performance. Goldsmith's music brought the scares.
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- CommentAuthorSouthall
- CommentTimeDec 30th 2012
The interesting thing about Goldsmith's Omen scores is how different they all are. The first uses a chamber orchestra and small choir to chilling effect, and of course he takes every opportunity to accentuate the romantic aspect of the storyline (the Peck/Remick story). Then in the first sequel he multiplies everything by a factor of ten - arguably less effective because of that, but it's interesting to hear him changing the approach. Finally for The Final Conflict he changes tack completely, writing this great gothic masterpiece.
(Likewise the second Poltergeist score isn't really a lot like the first, the three Rambo scores are all completely different and, while there's thematic continuity, each of his Star Trek scores is pretty distinct too.) -
- CommentAuthorfrancis
- CommentTimeDec 31st 2012
To me the comparison with the Rambo scores is striking as both franchises follow the same evolution; the first has the basic foundation with strong themes, the second takes those themes and goes crazy, and the third is a best of both worlds with a more rounded approach. Which is why I like the third scores the best in both cases. It's a shame he never got to finish the Poltergeist trilogy, though part III was on par with Final Conflict as being an abismal sequel. -
- CommentAuthorTimmer
- CommentTimeDec 31st 2012
francis wrote
The Final Conflict is an amazing score BUT it is a sequel score and he already won for The Omen. I think that because the movie was so bad, the music does suffer from it especially in the underscore, whereas Raiders doesn't have that problem. But 'the hunt', 'the second coming' and the whole finale are evidence that Goldsmith was the star of the Omen movies, whereas Indiana Jones had Harrison. Face it, everyone who played Damien, even the great Sam Neill, put in a shitty performance. Goldsmith's music brought the scares.
I disagree with you on Sam Neill, Francis, he put in a very powerful and charismatic performance IMO, in fact all the cast were very good, that plus the cinematography and JG's phenomenal score are all huge plus points in an otherwise mediochre 3rd instalment.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorFalkirkBairn
- CommentTimeDec 31st 2012
Timmer wrote
francis wrote
The Final Conflict is an amazing score BUT it is a sequel score and he already won for The Omen. I think that because the movie was so bad, the music does suffer from it especially in the underscore, whereas Raiders doesn't have that problem. But 'the hunt', 'the second coming' and the whole finale are evidence that Goldsmith was the star of the Omen movies, whereas Indiana Jones had Harrison. Face it, everyone who played Damien, even the great Sam Neill, put in a shitty performance. Goldsmith's music brought the scares.
I disagree with you on Sam Neill, Francis, he put in a very powerful and charismatic performance IMO, in fact all the cast were very good, that plus the cinematography and JG's phenomenal score are all huge plus points in an otherwise mediochre 3rd instalment.
I thought that some of the set pieces in The Final Conflict work really well and I love watching them again and again. The sequence to The Ambassador is a great marriage of visuals and music and Goldsmith's score for the sequence with the hounds on the bridge (and the subsequent scenes) are worth mentioning. The latter sequence with the hounds on the bridge would be (more) laughable without Goldsmith's music!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