Jarre Over Parador

Compiled by Lukas Kendall

The following is in response to our recent Maurice Jarre columns (one and two). Thanks to everyone who sent in some thoughts. By the way, I don't know if I mentioned one of my favorite Jarre scores: Moon Over Parador, available on an out of print MCA CD. Gotta hear it!

From: Preston Jones <pjones@fulpat.com>

Until I read Clauliac@aol.com's entry, I did not know that Lean had placed a stricture against "Irish music" in RYAN'S DAUGHTER, but the fact sheds light on why that score is not one of my favorite Jarre works. I don't know what problem Lean had with Irish music, but the marked absence of any semblance of it was (to me) a distraction throughout the film. Jarre's RYAN music always sounded more appropriate for a Fellini picture. If Mr. Lean didn't like Irish music, why didn't he call Bolt's script FIORELLO'S DAUGHTER and set it on Sicily? Personally, (and admitting to a Celtic bias), I think a sensitive utilization of Irish folk harmonies (as opposed to hokey jigs and reels) would have added a badly needed poignancy, as well as rooting in time and place, which would have immeasurably helped the drama. Imagine HOW GREEN WAS MY VALLEY tracked with the circus theme Jarre gave Mr. Lean in RYAN'S DAUGHTER, and you'll get an idea of how distracting I found the music in that spectacularly beautiful film.

From: Guy McKone <guymck@cims.net>

For those interested, there is a single from the score of Topaz ("Topaz Theme" / "Juanita's Theme" a.k.a. "Strange, My Love") performed by Stanley Wilson and His Orchestra, on Kapp Records, K-2073. I have a promo copy, most likely a commercial one was issued also.

I tried hard to like Ghost and Only the Lonely. Ghost had many "Jarreing" moments that - for me - made for a rather unsettling listening experience. It worked well in the film, however. The centerpiece of the score, Alex North's much-beloved "Unchained Melody" was even missing the yearning bridge ("Lonely rivers flow, to the sea, to the sea..." - lyrics by Hy Zaret, copyright 1955, Frank Music Corp., renewed). I've yet to see Only The Lonely, but again - I was expecting a more romantic approach. This is one reason why certain soundtrack cues should not be issued - not all music stands alone, away from the film.

The "Love Theme" from The Damned I first encountered on the classic mood album, "Airport Love Theme" by Vincent Bell (Decca DL-75212). The original score album (WB WS-1829, recently reissued/expanded), was beautifully recorded (where?), and was again, quite unsettling music. A touch of "Zhivago", but just a touch. Rather disturbing, to my ears. X-rated when first released, it's probably just a shade above PG, on the "13 side". Ash Wednesday had a beautiful main theme, but I've yet to see a recording of it, even from LeRoy Holmes.

For a well-recorded over-view of the Jarre career, you might want to try "Jarre by Jarre" available from CBS Masterworks, on Lp, CD, and cassette.

From: david.yazbek@bankerstrust.com.au

I have to agree with Alphonse Brown that "Molly's theme" from GHOST" shows a striking similarity to the main title theme from BATTLESTAR GALACTICA. FATAL ATTRACTION offers a beautiful piano solo as the love theme between Michael Douglas' character and his wife, and was the reason I purchased the CD. Unfortunately Jarre's post 70s music does not appeal to me as much as his earlier forays, hence LAWRENCE OF ARABIA and DR ZHIVARGO are played more freqeuntly than GHOST or FATAL ATTRACTION.

From: "Marco Stefanini" <mstefanini@sogei.it>

For sure Maurice Jarre ranks among the top five scorer that I mostly like, being the others in hierarchical order Goldsmith, Williams, Barry, Hermann. That's why my collection includes a lot of Maurice's scores, from classical works of art ("Doctor Zhivago", "Lawrence of Arabia") to more recent compositions such as "Witness", "Enemy Mine", "A Passage To India", "Ghost" and so on. Anyway, I like very much one of his most underrated scores - maybe cause the movie turned out to be a flop -, I mean "The Mosquito Coast". It is one of the most exotic soundtracks I've ever listen to. The main theme is amazing: a wonderful mix of synthesized sounds and - still sampled? - percussions, very evocative and quite complex. You see, I don't like the "synthesizer's abuse" - sort of speak - that many of a scorer put in nowadays compositions, but when that "big toy" is used by a genius ... well, it is another story. To me, only a few composers can take the luxury of using a massive synthesized approach: Jarre, Isham - he really knows how it works! - and, of course, Goldsmith. Returning to Jarre and particularly his classic works, I just don't understand why "Grand Prix" hasn't been released on CD yet. It is an epic score which shows that "grandeur" flavor which can be found in many Jarre's compositions! Finally, I would like to put in a word about "Mad Max Beyond Thunderdome": rarely have I seen such a perfect mosaic made of songs and music! Ehi, songs aside, it is an outstanding score and the children theme is great!

From: Michael Schramm <mschramm@ftw.nrcs.usda.gov>

Maurice Jarre's compositional style and approach to film scoring reminds me much of Dimitiri Tiomkin. Both composers have written memorable lyrical passages, melodies and waltzes but have contributed little in the way of dramatic underscore and have mutilated scenes intended to showcase stark dramatic moments. Many of Jarre's cues for action and suspense for me have created an opposite intended effect; I recall several scenes in "A Walk in the Clouds" where Jarre's music for tense situations seemed markedly awkward.

As for his decision to use electronics in "Witness", this demonstrated poor judgment in establishing the "musical palette" for the film as the culture of the Amish and electronic tonalities are diametrically opposed. Certainly, a composer like Bernard Herrmann would have instead provided a spare, monochromatic score possibly utilizing a few strings and woodwinds to describe a way of life deeply set apart from a modern urban society. If you want to get right down to it the French school of film scoring has really missed the boat: Colombier, Legrand and Serra have all made poor contributions where solid dramatic scoring was required.

From: sharol <sharol@jps.net>

I have enjoyed reading about Maurice Jarre. I love his score to the "Witness". When I think of that film, the music always comes to mind too. I did not know that the Amish do not use musical instruments and found that interesting.

From: "Liverance, Howard M" <HLIVERANCE@tpa.HealthPlan.com>

I have only seen snippets of Ryan's Daughter but am familiar with the Jarre main theme as well as the overall story and Robert Mitchum. It was nice to see this epic mentioned and as is the case with several Messageboard postings, I am further compelled to rent the video. I can only hope it's in widescreen somewhere but I'm not holding my breath.

Anyway, it was a welcome breath of fresh air to see Jarre return to his native soil (full orchestra) with A Walk In The Clouds. I'm not a fan of electronic/synth scoring so let me contradict myself and say I love his The Year Of Living Dangerously. It is a haunting, moody film with a moody pace to match and the score stands out for enhancing this sublime quality of moodiness. The Kwan theme in particular moves me and I really get into the score in the puppet scene because the throaty delivery of Linda Hunt combined with the shadows on the wall and the music is extremely sensual and calming, in its way. And there's also the scene/cue of Sigourney Weaver's character swooning in the tropical rainstorm...

I realize now he's collaborated with Weir on this one, Witness, and Dead Poets Society. Not really into these that much scorewise (except when Ford & Gillis finally embrace passionately in the former), but as for Year of Living Dangerously-- C'est magnifique, Monsieur Jarre'.

From: Paul MacLean <skye@lightlink.com>

Much is made of the biblical epic scores of Rozsa and Newman, but sadly little attention is drawn to the score Maurice Jarre wrote for Franco Zefferelli's Jesus of Nazareth. Jarre went for a very intrpspective approach in this film. Although tempted to use the "heavanly choirs" which typified 50s bible epics, Jarre wisely went for a fully intsrumental approach.

This score also features some of his finest ethnic scoring. Again much fuss was made the supposed "authenticity" of Peter Gabriel's music for The Last Temptation of Christ, but Jarre's Jesus of Nazareth features a far greater autheticity. A facinating array of sounds is at work, including the Santur, Uggav, Shofar, Chalil and Chatzotzerah. These eastern instruments combine with ondes martinot to create a powerful sense of time and place, and an arresting aura of spirituality (Gabiriel's Last Temptation incidentally was esentially a new age synth score with some pastiche of North African music -- geographically and culturally incorrect).

Jarre's music is also, finally -- and most importantly -- reverent. His "Christ" theme perfectly evokes Jesus' nobility, compassion and majesty, without ever seeming overblown. Perhaps Jarre's most clever cue comes in the "Three Kings" sequence, where the composer adroitly works-in three different themes -- a percussive theme for Balthazar, a Santur theme for Melchior, and a Ondes Martenot theme for Gaspar. Jarre brings all three themes into a convergence (as the kings themselves meet) each overlapping and culminating in an impressive finale. It is certainly one of Jarre's finest moments in scoring.

Thanks to everyone who sent in their comments!