Goldsmith Defenders Part 2

Compiled by Lukas Kendall

Two weeks ago we printed a letter by Rafi Youngerwood innocently asking what the big deal is about Jerry Goldsmith's music. Last week we printed some responses; here are more.

Note: We are presently loading the August '99 articles into the archive -- they will be available soon.

From: PlAN0MAN@aol.com

Let me start by first saying that I have been reading Filmscoremonthly for a few years now. In addition, I've been a film music fan for more than ten years. I have degrees in Composition, Theory and History from the State University of New York at Geneseo, and am currently working towards my Master's in Composition. The other day, I was checking out the site when I came across the Goldsmith letter submitted to Mr. Kendall. I must say that I've read a number of letters like this over the years, and I keep getting more frustrated every time. So, I finally have to try to be heard, and speak out on this issue.

Let's address first, the two types of film music fans. I think there ARE in fact two kinds: 1.)Those who are musicians and understand film music as a genre of music and all of it's techniques. and, 2.) Those who are equally fans of film music for the commercial release which is given to them, and the aesthetic pleasure the music provides. *NOTE*: These can overlap, and should overlap. With this said, I think that I have discovered what has always bothered me in these letters that I read. That is, that those who write the letters really don't tend to know much about music and it's techniques, and are usually just fans of main themes. Now, I am not knocking down these people, I am actually defending the composers themselves.

When I read that someone says Jerry Goldsmith is overrated, I think to myself: "OK, let's see what they have to say?" I give the criticism fair chance. But 99% of the time, as in this recent case, someone is saying that the music outside of the main theme is boring or uninteresting. I am a composer myself, and an aspiring film composer as well. I've talked to people in the industry (McNeely, Beal, Fenton), and they will all tell you that there is no way that every cue can be gripping and inspiring. There is no movie where every scene is like that either. Thus, there will be dull times.

I also think that these are the same people who criticized Williams for Saving Private Ryan. I think that it is a fantastic piece of work both emotionally and musically. There is indeed several themes in there, and I can hum every one. Which leads into my last "gripe." Just because you can't HUM a main title, does that make it bad? That is one of the most ridiculous comments I have ever heard. Let alone, those that reflect that on the composers themselves. I challenge these people to go out and listen to Schoenberg or Bartok, and tell me if they can hum the tunes back. I highly doubt it. And these were two of the most well respected and renowned composers of the 20th century.

So, in conclusion, for those fans who just like bombastic main themes, I think you might want to stop and really think about what you're saying before you criticize a composer. It's fine if you don't like a score and all, but unless you know what you're talking about, it isn't criticism, it's ignorance. I'm sorry if anyone is offended, and no one is being singled out, I just wanted to say something that I don't see anyone else saying. Lukas...if you don't print this, I would be curious to see if you agree or not, or if you can make a little more sense of my point.

From: Andy Runestad <RUNESTADA@orthoii.com>

All I can say is, if you aren't awed by the tremendous majesty and eerie beauty of Goldsmith's score for "Star Trek: The Motion Picture," then you'll never appreciate any of his wonderful music.

From: Preston Jones <pjones@fulpat.com>

In a sense, this is a futile exercise, because, of course, music is a matter of subjective taste, and nothing I or any other Goldsmith appreciator says is going to "convince" Mr. Youngblood of anything. But since he's curious about why some of us love JG's music, I feel like putting in my two cents.

I got in on the ground floor, you might say, because I was around when Goldsmith was first making a name for himself in television, and that's where I first fell in love with him, thanks to his haunting, colorful contributions to the "Thriller" and "Twilight Zone" TV series. (Similarly, a few years down the road, I became very impressed by the versatility of one Johnny Williams' scores to the anthology series, "Alcoa Premiere"...) When, as a high school kid, I saw LILLIES OF THE FIELD, I was so taken with the upbeat but intimate Americana of Goldsmith's score that I hoped for months and months that somebody would put it out on LP. I can't tell you how delighted I was when somebody finally did. (Was this JG's first soundtrack album?) That was a wish granted, but not all my dreams came true. We still are without a legitimate album for THE LIST OF ADRIAN MESSENGER or LONELY ARE THE BRAVE, two more early Goldsmith milestones, the first an exercise in playful mysterioso (with a memorably English foxhunt chase) in his best "Thriller" vein; the second one of many lyrical westerns with tender passages amidst the scenery-painting.

I don't know what Rafi's threshold for boredom might be, or what causes him to zone out on a score past a certain point. I can only say that, decades later, I still revel in the delights of LILLIES, and the exquisite beauty of A PATCH OF BLUE, from first note to last. I never fail to find uplift in THE WILD ROVERS, first track to last, (played at full volume, please). I've listened many times to STAR TREK-TMP, from its first lp to its recently expanded cd, and I'm sorry, Rafi, but I can't find those boring cues you refer to. However, as I say, what's the point? You could name the cues which cause you displeasure, but that wouldn't cause me to suddenly dislike them after all these years, any more than I can compell you to enjoy them. It all comes down to Mark Twain: "It's a difference of opinion that makes horse races."

In the final analysis, there's no reason why Mr. Youngblood should love Goldsmith if he doesn't feel like it. There's plenty of music out there for him to enjoy, and -- thank God -- there's plenty of Goldsmith out there for those of us who love him.

From: "Christopher D. Wright" <chriswright44@hotmail.com>

What's the big deal about Jerry Goldsmith? Well, that question cannot be answered in one letter alone, but I'll try. I am not by any means Jerry's biggest fan, but I do think that he is a wonderful film composer who is among the best that ever lived. First of all, Jerry's prolificy is not necessarly his strongest attribute. He is a very talented composer who can write music to accompany just about any (if not all) genres of film. He, unlike some of Hollywood's top composers, has been very creative in his output, and he is always searching for new ways of expression. I say "new" with the understanding that, yeah, most film composers hardly produce authentic music... they mostly imitate composers of the artistic realm (e.g. John Cage, Igor Stravinsky, Bela Bartok, etc.). Jerry is one of the best who has imitated such great composers. The genius in that is that he uses a particular style that perfectly accomodates the film. For instance, Planet of the Apes (1968), with its avant-garde soundtrack to produce an eerie, other-wordly aura or even Patton (1969) with echoplexed trumpets shadowing General George Patton's belief in reincarnation. Goldsmith obviously is very well read on twentieth century art music, and he is a master of melody as well. Just because you cannot hum a tune doesn't make it a terrible one. Besides, would you consider John Williams' score to Close Encounters of the Third Kind to be an inferior score because the majority of it is no where near humable? I would suggest to Rafi that he needs to study and listen to more than just film music - try some twentieth century art music. I highly suggest Stravinsky's Rite of Spring, Prokofiev's Peter and the Wolf, Bartok's Concerto for Orchestra (as well as his Music for Strings, Percussion, and Celeste), Gustav Holst's The Planets, Shostakovich's symphonies, and anything by Paul Hindemith. And keep in mind that Goldsmith is 70 years old, and he's been doing film scores for a long time now. So try studying some of his earlier scores. I am currently trying to do so, mainly because I am only 23 years old, so most of his earlier work was done before I was even a thought. I just recently bought The Planet of the Apes CD (whose liner notes by Jeff Bond were terrific), and I want to study The Omen and some of his earlier work. I must admit that Goldsmith's most recent work hasn't been his best (well, The Mummy was really good, but...). I do expect Jerry to continue surprising us with his originality and flare. Long live Goldsmith!

From: Brian Martell <01270767@3web.net>

Oh boy, this is gonna be nasty! Before all the irate "Goldsmithers" pipe in, let me get a word in edgewise.

First, I'm a "Williamser" first, and a "Goldsmither" second. That's not and insult to Jerry Goldsmith, anymore than someone else saying, "Williams is my second favorite," is an insult to Williams. It's an honour to be one of any ones favorites, whether first, second, or third, etc.

That aside I like/enjoy/play/get a kick out of/love the music of Jerry Goldsmith. Like many of his fans, I have found his work over-all this decade wanting that old magic he had from the beginning of his career to the late 80's. He was always prolific, and he has always produced some mediocre scores, but the majority have been "special" (meaning either innovative, very interesting to listen to, and able to stand on their own, or an perfect match to the film, or a combination of all the aforementioned); not so in the 90's, in fact the reverse is now the case--it seems.

Even accepting the above (and you can choose not to--fine with me) he is a giant in the world of film composers, and deserves his place there. Ultimately it comes down to personal taste; hence why Williams is my #1 guy, and Goldsmith #2, where as for others the reverse is true. Our nefarious "Rafi" may just have different tastes, and all the power to him/her. Perhaps he/she is only familiar with the Goldsmith of the 90's, and if introduced to the Goldsmith of the 60's to mid 80's would change his/her mind. Maybe not.

"Rafi's"points are sound; yes Goldsmith is prolific. I personally feel that he needs to take on less assignments now, and concentrate his creative efforts on a few films. He has written some great music, but he is 70. This is not an indictment against age, just that he's been writing music longer than I've been alive. His creative juice isn't spent, but perhaps it's now spread to thin (Haydn wrote till his late 70's, and some of that music is great, but any composer only has so much in him. I feel Jerry still has many great scores to come, if he will slow down and focus his creative energies. One or two good cues does not a grand score make (IMHO). So, I agree with "Rafi" that prolific doesn't equal excellent.

Two; the lack of hummable themes is accurate. But Goldsmith's strength was never in single themes; he's not a leitmotif guy like Williams. Goldsmith doesn't necessarily "score" a film, he "scapes" a film. His strength is in creating original, and fitting sounds for the world of the film (PLANET OF THE APES, MEPHISTO WALTZ, OMEN, GREAT TRAIN ROBBERY, WIND AND THE LION, etc.) Goldsmith has always excelled in creating a "sound world" for the story to unfold with an orchestra--and I don't think any composer has stretched the symphonic orchestra as much as Jerry Goldsmith--and inspired other composers, of the generation before, during and after him). Jerry's scores tend to work as a whole, and are usually not based on themes. So "Rafi's" statement is correct, but it really has no bearing on the "greatness" and "talent" of a composer.

Finally, the can't "fill" an album. Purely a matter of taste. GREAT TRAIN ROBBERY, CAPRICORN ONE, WIND AND THE LION, PLANET OF THE APES, UNDER FIRE, and I'm stooping here, as I could go on with many more titles, certainly stand on their own as "albums." I may be a "Williamser" but not all of his albums are "sustained" either. One thing Williams can offer a listener more than Goldsmith is that his scores are "listenalble;" i.e. you can put the CD, cassette, or vinyl on and enjoy a good listen. This cannot be said of Goldsmith's work. Some are almost unlistenable. MEPHISTO WALTZ for example; a grand score (listen to it surround--scare your socks off), but not an enjoyable, comfortable listen. Same with PLANET OF THE APES, FREUD, OMEN, etc. Again, "Rafi" may be "right" in the observation, but not correct in the "grand scheme."

As always, it's taste. If he/she asks, "What's the big deal?" we can only point to Goldsmith's many great, and trend setting scores. And the films they accompany. The rest is up to "Rafi." He/she may just never "get it" and leave Goldsmith a respected, but not admired composer in his/her world, and leave Williams and Barry on the top.

Who's "right" or "wrong?" No one. We have our own tastes, interests, etc. No one, not even Rafi, can entirely explain why Goldsmith doesn't "do it" for him/her; just as I can't explain why Williams "does it" just that bit better for me, but Goldsmith for my buddy Amin. We're all different.

So don't get mad, or nasty, get interested (in other's different tastes that is)

From: DrCochrane@aol.com

For one, I hum the boring cues as much if not more than I hum the main themes of Jerry Goldsmith, Mr. Youngerwood. Especially the cues from TOTAL RECALL. I think you need to listen to Jerry Goldsmith a lot longer before you really form an opinion about him. Sure, he's not the "master of motif" like Johnny Williams, but he's more like the "apprentice of motif" (even though he is older and has employed Williams in the past). All of Goldsmith's Star Trek scores are really good (although, I'm not sure if you have to be a Trekkie to say that or not). I've got OUTLAND and TOTAL RECALL, and they're both great. OUTLAND is a little boring in some parts (especially with CAPRICORN ONE), but it's still better than a lot of Elfman. But still, I think you need to hear Jerry Goldsmith more than you previously have before you open your mouth. I take it since you haven't really taken too kindly to him, you don't have much of his music and haven't seen many of his movies. Listen to him more and I guarantee you'll like him. At times, you might like him more than John Williams because you've listened to THE EMPIRE STRIKES BACK too much.

And as to saying John Williams aren't as prolific as Goldsmith is a sign of ignorance on your part, my friend. I don't mean to ridicule you, but John Williams has done more than any other film composer has ever done. He's done more work for events and other categories calling for music more than any other film composer has done. For instance, the theme for the Summer Olympics ever since 1984, the Liberty theme for the Statue of Liberty's re-opening (Is that what it was for?), the NBC Nightly News theme, and the music for a royal Japanese person's wedding (like a princess?) to name a few. John Williams, by far, is the best. That's not an opinion; it's a fact.

From: ROB RITCHIE <flippyfrog@home.com>

True, he dose only do fleeting pices of music that are good.But in 97 and 98 you must admit that he had great full albums.and the end of 96 with First Contact and Ghost and the Darkness.But like you say everyone's entittled to thier opinion.I am a die-hard Goldsmith fan.That's my opinion.

From: "Chris Tilton" <Chris46@email.msn.com>

I I have to say I agree with Mr.Youngerwood. I don't understand why everyone thinks he's so wonderful. He has some really effective score writing in some cases, but as a whole, almost all his themes sound alike. I mean if he were to score some film that required a big main theme then you can be guarenteed that he'll have the french horns doubled with trombones playing some typical melody with the strings, woodwinds and percussion doing hits on various downbeats, then after a minute or so of that he'll come in with some lush string melody. He does that with practically EVERY score nowadays!! That's just my little two bits.

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