The recent release of this collaborative soundtrack was received with hosannas from near and far and, having heard some of the musical samples, we can well see why as the exuberant energy is infectious in the extremis. Alas, we’ve yet to actually see the durn thing (hay, being perfect is perfectly boring) but we hope to remedy that anon.
Those already in advance of us are more than encouraged to express their sentiments, tho we will say this: it’s gonna be fun finally putting the themes together with the visuals and witnessing the enjoyable result.
85.
Director: Brian G. Hutton.
Oh, and speaking of fun, that pretty much sums up why we feel about this entertaining lil’ opus.
For its high-flying take on a spunky flapper and her less-than adoring pilot, JayBee whipped up one of his more spirited adventurously romantic efforts chockfull of pell-mell soaring strings and horns that single-handedly convey the euphoria of being airborne with his characteristically dramatic panache (Our Second Favorite Cue: Waziri Village Attack and Escape) and there’s also the evocative flourish given the “Flight from Katmandu” .
Not surprisingly, our two favorite passages where the music truly excels is the emotionally moving “Farewell to Struts”
and its cumulative counterpart, “Eve Finds Her Father”.
It’s a thoroughly pleasant piece of work whose foundation is solid
and overall impact nothing less than highly engaging …
This was the first time since 1967 when two competing Bond films went at it in the theatres (tho, admittedly, 1983’s dueling duo was considerably more intriguing than the abysmal creative catastrophe of the absurd “Casino Royale” vis-à-vis the Great Scot’s inaugural swan song with“You Only Live Twice”). As to that, turns out he was part of this cinematic rematch, also, via his uneven remake of “Thunderball”.
Which brings us bondfully to
86.
Director: John Glen.
There was an acutely anticipatory time when the announcement of a new 007 opus’ arrival was only matched by the knowledge the musical JayBee had also beamed aboard – and such was the case of the lucky 13th film in the franchise.
[ As definitive EON declaration of his personal and professional loyalty, tho overtures were made for him to score the rival enterprise, John ignored the entreaties – which can’t have made The Other Side ectastic – and remained resolutely committed to
The result is another high-octane musical enterprise that plays to all John’s strengths and very few of his limitations, beginning with his collaboration alongside lyricist Tim Rice
and the welcome, suitably sultry voice of Rita Coolidge
on the memorable "All Time High".
(hay, ya gotta admit Beethoven himself combined with Mozart and the sumptuous syllables of Shakespeare would’ve been stupendously stymied trying to come up with something even remotely credible if all they hadda deal with was the film’s title, noooo?!)
From Our Favorite Cue (the pounding, galvanic “009 Gets the Knife”), the soundtrack is plush with the expected Barry embellishments, be it the striking orchestrations, pell-mell action sequences, lush romantic interludes, flavorful foreign atmosphere, all in all leaving the film – and listener – with an unbeatable display of the kind of unique musical stamp The York Guv'nor has made forever associated with his artistic pedigree.
O, and by the Bonded bye, now don’t y’all forget to take good, lovin’ care
This is another one that’s unfortunately perched ‘pon the Barry Unheard (and Seen) Shelf (see previous definition re “perfection” )
tho we’d be mucho interested if those already in the know (and seen) can enlighten us as to the whys and wherefores of the rescoring and how the film’s final representation is affected by it.
Still, this extract remains most appetizing.
And then there’s this recently-released appreciation, also:
88.
Director: Francis Coppola.
Given his love of (and influence by) jazz, this project must’ve been an enormous amount of challenging fun for John and his first overtly creative collaboration with Mr. Coppola presented quite a musical canvas for his varied and sundry skills (tho it’s also gotta be said another equally compelling film could’a been made of the behind-the-scenes ultra-drama occurring simply spotlighting producer Robert Evans himself).
While the film’s many (some might opine schizo) identities – drama, musical, multiple love stories,
historical recreation, entertainment homage to a classic era –
never totally jells into a single cohesive personality, there’s more than enough flamboyant invention to keep one’s attention anchored, eye elevated and ear engaged.
What’s definitely not to be denied is the ornate romanticism and energetic enthusiasm when he connects with the subject matter we’ve come to expect from JayBee and you’re not disappointed by the abundance of thematic riches herein.
Considering the monstrous obstacles the entire production was heir to, it’s nothing short of amazing so much of merit – musically and otherwise -
still managed to surface, survive and somehow acquire a quality of success
Of all the grand royally romantic opuses he’s consummately composed throughout his richly remarkable career, THIS – along with one other (and no, it’s not “Somewhere in Time”) – is our unabashed favorite. It’s a textbook case of how music can elevate the visual proceedings and provide an intimate underpinning one would be impossibly hard-impressed to ever imagine the film without.
There’s soooo much emotional texture underneath what you’re viewing that you can almost close your eyes and still be able to decipher the distinctive depth of what’s going on: the passion, the longing, the miscommunication, the loneliness, the yearning and the pronounced human tapestry of two souls desperately trying to connect. Tho originally issued earlier on by
it was recently given a wunnerful resurrection by those enterprising souls at Intrada (whose reward was for it to be promply sold out, dagnabbit for those of us unfortunately too slow and forever left out of the feeding frenzy) .
Howsumever, it remains a supremely subtle but ravishing musical reflection that imparts the promise of { Love in Paris } in one of the most memorably evocative and moving representations ever heard …...
Of all the grand royally romantic opuses he’s consummately composed throughout his richly remarkable career, THIS – along with one other (and no, it’s not “Somewhere in Time”) – is our unabashed favorite.
This was John’s penultimate teaming with Mr. Marquand, and the murder mystery-legal love story between a lawyer and her accused client
has the requisite amounts of red herrings and taut twists to both keep one’s attention and interest at more than a mild boil. Whatever one can say about former uber-screenwriter Joe Ezterhaus, you can take issue about a lotta his choices whether it’s subject matter or dialogue (let alone taste) but you certainly can’t quibble with his craftsmanship (it’s not until literally the very last scene when the true murderer is revealed).
From the deceptive softly lyrical piano-introed opening leading directly to the ominous dark chords heralding the brutal slayings on into the rest of his unassumingly supportive score, the music keeps you entranced every step of the deliberately misleading way.
None of the usual lazy accusations of blatant mickey-mousing apply or is anywhere in evidence; as to that, the inherent integrity of the composer’s choices is such that any horrific discovery Ms. Close’s character makes is never tipped off before-hand – ergo, we find out precisely at the same moment she does (with the music quietly reacting in much the same manner).
As to that, the suite that appears on the CeeDee is fairly representative since there’s not exactly a Niagara over-flow of material,
There are some projects so pivotal in an artist’s life that the perspective between the personal and professional is virtually indistinguishable; we can generally cite at least three in John’s life and career starting with both his parents dying in the late 70s/early 80s (which can’t have helped but give “Somewhere in Time” its melancholy mixture) and when his brother Patrick succumbed circa the year this film - and its theme of affection found and tragically lost - came into being.
As to that, there are also those marvelously felicitous occasions that play to a composer’s strengths to such an extent there’s no way you can imagine anyone else being enlisted in the enterprise’s beholden behalf. This is one of those times.
Mind you, others can come close to maybe rivaling, even equaling, but we boldly state nobody EVER eclipses John in virtually defining what a romantic epic – with all its aching emotion, frustrated destinies
and transcendent awareness – not only can but should be. This is also one of those titled times. (There’re many sequences here any class for would-be composers can study for inspirational foundation, but one of them is as startling and surprising a dramatic foreshadowing of a character’s fate as you’re likely to encounter anytime, anywhere, anywhen from anyone).
Communication (Creative, Artistic or Otherwise) Ain’t Just Anything, It’s Every Damn Thing Department:
It’s also a rare occasion (especially nowadays when any aardvark who can write a check thinks that makes them automatic 'writers' and every helmer who likes rock and roll imagines themselves imbued with equally astute musical insight) when someone admits up front they’re wrestling with a seemingly insurmountable problem on the picture – and it’s the COMPOSER who rescues it all. This is what
Y’know, there are many things indisputable about The Barry Bond
but uppermost in our minds is the fact they’re usually not just an EON of excellence but undeniably a EOR (Embarrassment of Riches).
Durn near EVERY cue is chockful of thrilling themes, inventive melodies, pell-mell action, scenic splendor and enough charismatic composition many would fall short of in an entire career (let alone almost a dozen films over just about a quarter-century).
This – his penultimate Bond opus – found JayBee in formidable form, beginning with his collaboration with Duran Duran’s No. 1 chart-topping title tune,
which was preceded by his pile-driving incredible “Snow Job” (which we once devoted a thread to along the lines we found it comparable to, and (heresy!) almost preferring instead of the OHMSS theme)
to the jaw-dropping Eiffel Tower sequence (if you wanna see – and hear – something that virtually defines what unforgettably memorable “Mickey Mouse” scoring is, this is it).
It’s also another opportunity to savor John’s immaculate orchestrational concepts vis-à-vis the deeply delicate yet evocative lovely love theme he weaves from the main title’s foundation.
Whether it’s his sorrowful take
on Pat Macnee’s swan song
the galvanizing
or the dynamic drum-ornamented dramatic favorite
it’s another incredible example of muscular music damn near singlehandedly investing one helluva anemic film with far more style, substance and kinetic sensation it couldn’t have hoped would actually manifest.
Frances ... I've yet to see the film but the theme is one of Mr. Barry's very best ... simply gorgoeus. On the CD, the score is not particularly involving (seeing the film may help) so I'm a little torn in rating this one highly.
The Golden Seal ... an LP I bought on a rare visit to London many years ago. I never thought I'd see a CD release ... and am so grateful that Intrada thought better. I've read that the JB themes are taken from another original source; whatever, they're gorgeous melodies.
High Road To China ... I've always liked this score (and the film of which I'd love to get a decent DVD release) but the original album (on the Lark label) had poor sound and I had to wait the CD release to enjoy this lovely score fully. At the time I kept wondering just how longer Mr. Barry could generate such lovely melodies ...
Octopussy ... compared to what came before this JB007 score seems half-hearted, almost too reliant on the James Bond Theme (note: this pre-dates Licence To Kill and Tomorrow Never Dies) but in the film it works perfectly (I always assumed that the James Bond Theme is used heavily at the request of the Producer/Director to remind the audience that this is the real JB007 as opposed to the pretend one arriving soon!)
Mike's Murder ... I've had a TV/Video~cassette recording of the music for many years (I will get the CD at some stage) but whilst I have no problem with the JB music (as opposed to the Joe Jackson songs) I can't honestly rate it as a memorable entry in his canon of works.
The Cotton Club ... this should have been so good but the film fails and JB's music suffers in the fall-out. Watch the film, enjoy the music and try to ignore the failures in the storyline/acting. The CD release is superb but it could have been so much better with more of the underscore.included.
Until September ... superb, superb, superb, lovely, gorgeous, romantic, heart-warming, perfect ... did I mention superb? I thoroughly enjoyed the film and long to see it again.
Jagged Edge ... a lovely marriage of electronics and piano. I've tired of the film (seen three times, I probably won't bother again) but this score, in the lower half of his catalogue for me, is well worth a play from time to time. I failed to get a copy of the rare CD release and hope to rectify this though my LP~CDr is very good.
Out Of Africa ... has never been a favourite (an example of there being so many better scores in his carer which should have won the Oscar and the many plaudits) and yet ... it is perfect. I didn't realise just how good it is is until I watched the film. The fact that the theme has appeared on almost every compilation since perhaps mars its brilliance. I do know that the Flying Over Africa cue has been cited by more aquaitances than any other piece of film music. I had to watch the film to understand why so many people raved about it.
A View To A Kill ... I've never found this score as enjoyable as his other JB007 works - the film is somewhat lacklustre in comparison, too - but, as you point out, Neo, it is full of inventive themes. I can't agree that the Snow Job theme is on a par with the theme from OHMSS and it remains one of my least liked action scores of his. But, if nothing else, the score shows that Mr. Barry was still creating new sounds for the franchise after more than 20 years.
For whatever unknown creative differences with the producers led JayBee to beam outta this project, we say he was blessed from any further involvement in egoholic Eddie Murphy’s lop-sided love affair (with himself, natch – tho this is almost nirvana compared to the truly atrocious, horrendous “Harlem Nights”).
All that seems left of John’s involvement (apart from “Wisdom of the Ages” on the soundtrack) is
.
sung by Heart lead singer Ann Wilson.
Ah, well, let's call it
a professional case of lethal la guerre, shall we? …
Complimentary Comparisons of The Two Johns Department
M&M, your reflections on the ‘Out of Africa’ aerial sequence brought to mind something we’ve only recently realized, and that’s the connection it has with
In each case, the composer provided the profound highlight
of the love story in magically
masterful terms
indeed, providing a kinda cinematic consummation for both couples in a way their tragic star-crossed unions would never allow total fruition within the frustrated framework of both relationships.
No doubt Mr. Pollack was certainly aware of this unanchored aspect, and it’s to his eternal credit (ditto Mr. Donner towards Mr. Williams) such a transcendent opportunity was delivered into the hands of those ready, eager and exceptionally willing to take it that marvelous musical step further …
The Hits Don’t Keep Komin’ but the Merry Music Does Department:
In the late 70s, there was no greater subversive mainstream comic phenomenon than Steve Gerber’s sharply satiric
Nothing was sacred (or shielded) from Mr. Gerber’s righteous indignation about societal mores and means, rules and regulations, justice and grotesque miscarriages of same as well as proper indignation about the compelling contradictions part and parcel of America. So a decade later when it was announced a film version was in the works, there was acute anticipation as to how the fiery fowl would be treated in Lotus Land – which brings us (spectacular sigh) to
94.
Director: Willard Huyck.
Now, posterity has done her own devilish job on languishing heaps of deserved disdain on what the film-makers lived down to – all we’ll add is whatever you’ve heard about this monstrosity is nothin’ compared to actually wading through it. They had NOOOOOOO idea how to transfer Mr. Gerber’s brilliant brain-child into cinematic terms, instead saddling the character with an insipid storyline, excruciating dialogue – never has “oy” been so asininely and odiously outta place – and, all in all, an embarrassment of extremis proportions.
All wasn’t apparently honky-dory in the musical control booth, either, as it’s well known John was less than enthusiastic about the whole deal; that didn’t deter him from coming up with a flurry of strong cues that are both memorably imaginative
or grandly theatrical with his patented dramatic panache.
Other than that, those of us who still revere Steve Gerber (royally R.I.P.) ‘s greatest creation
will just haveta more appropriately utter Howard’s clarion cry, “Waughhh!?!” at this monumentally misbegotten misfire.
We list this one purely for its historical chronology
Director: David Saperstein.
as (aside from not being previously aware it even existed) it apparently has what’s been described as “an appropriate thematic score electronically organized by John Barry”
and the fact it’s also known by another title …
96.
Director: Francis Coppola.
Unlike his negative experience with Mr. Coppola’s cinematic companero (Mr. Lucas) earlier that year, JayBee had enough harmonious creative synergy with the former to enter into a second collaboration involving nostalgia, time travel (or is it?), regrets for what was, dissatisfaction with what is and the second chances life so often presents disguised as anything but.
This was another opportunity to offer a sensitive, wistful and affecting score by nurtured nature simultaneously poignant and hopeful. Interspersed with some of the era’s standards (including the famous ditty with the heroine’s name), it results in a disarmingly enjoyable experience.
The soundtrack suffices in capturing the full flavor of John’s musical foundation for the film, all in all providing a pleasing book-end for his two-movie partnership
with one of the true titans and indisputable masters of contemporary mo’om pitchers …
Of "A Killing Affair" a.k.a. "My Sister's Keeper" a.k.a. "Monday, Tuesday, Wednesday", a sh*t film that went straight to video in the UK ...
The comment ...
it apparently has what’s been described as “an appropriate thematic score electronically organized by John Barry”
... doesn't make sense.
There is an electronic cue called "Flash Back" but apart from that it's a typically all-Barry, orchestral score emphasising simple piano and harmonica themes interplaying one another against a typically Barry 'angular' string backing. It sounds kinda like what Jagged Edge might have sound like if it was flourished out for a full orchestra. At times, the score is somewhat Psycho-esque. There are some quite hypnotic cues in that score, some interesting themes and a very pleasing, beating 'chase' theme.
I like this score.
Okay, it's not a top drawer score. It's no Out Of Africa. It's no Body Heat. But for someone who has acquired the Barry taste, there's merit in it.
The story I heard [unconfirmed, I must add] is that Silva Screen were going to do this score at the time of its release and even had the tapes to do so, but the album deal did not complete.
Some people have told me the tapes are now lost, but I'm not so sure of that.
Like I said, it's not top Barry but I do think this score is under-rated and at least as deserving of a release as Mike's Murder. Those who have bypassed it on reports it's not very interesting might be pleasantly surprised. I think it is a quite interesting score.
As for Peggy Sue Got Married, here's one thing I never understood. The first few bars of Barry track 3 on the Varese CD are missing (and it sounds like the beginning of the track is damaged.) However, the TER LP release in the UK had no such problem - all opening bars are there and it's clear sounding. (I can't comment on the Varese LP, as I didn't have that, I had/have the TER one.)
Peggy Sue definitely deserves an expanded release. Barry's complete score might be as little as 30 minutes but that's still twice as much as was released and there are some VERY nice unreleased cues.
The late 80s does - apart from the remarkable Living Daylights - seem to be an era where Barry's music was in decline compared to the first half of the decade. But the stuff was still good.
Providing Important Pieces of the Overall Puzzle Department:
[I like this score … Okay, it's not a top drawer score. It's no Out Of Africa. It's no Body Heat. But for someone who has acquired the Barry taste, there's merit in it - it's not top Barry … but I do think this score is under-rated and at least as deserving of a release as Mike's Murder. Those who have bypassed it on reports it's not very interesting might be pleasantly surprised. I think it is a quite interesting score.]
And on your royal recommendation, we’ll now ferret the film out to sample its substance for ourselves – so many thanks, amigo.
Peggy Sue definitely deserves an expanded release.
We’re definitely allied in hopeful alliance with you on that aspect.
By the bye, Stephen, it’s Cheer(s) -fully informatively insightful comments like yours that makes this all worthwhile …
This was John’s final collaboration with Mr. Marquand (who died a few years after the film’s release). It wasn’t exactly greeted with euphoric hosannas in its original release and we’ll haveta leave it to those hardy souls who’ve actually seen the film to share any comments they have about it.
There was a soundtrack initially released but without any Barry cuts at all.
Now We’re Gonna Turn Time Ahead Department:
1988.
99.
Director: Bob Swain.
This is the final project John worked on prior to his almost-fatal health-food medical illness that was to seriously sideline him for well over a year or so.
We’ve yet to catch (or hear it) so, once again, those ahead of us in each area are more than welcome to offer the evidence of their own experience where the movie’s concerned.
Of most recent import was the belated arrival of the soundtrack from those industrious souls at Prometheus, which we imagine caused no small amount of joyful glee from Barryophiles everywhere.
NOW, HOLD ONNNNNN - BEFORE THERE’S AN ONSLAUGHT (okay, mebbe one or two) OF OUTRAGED RESPONSES Department:
Yes, we kin kount und we’re well aware we left out the highlight of 1987 – purposely so, as we figured what better way to end the decade than by saving one of the most dynamic (and best) for last? To paraphrase an EON trademark:
JOHN BARRY WILL RETURN (alas and alack, for the very last tyme) …
Neo, that's the cover of the BOOT, not the Prometheus release!! (New readers, it's changed now. See Neo's note below.)
Masquerade is a fairly routine thriller with Hitchcockian pretences. The score, which appears to re-work some thematic material from ill-fated The Little Prince musical, is quite nice in my opinion. There are two lovely main themes in it. The secondary theme was recorded by John Scott on Varese's 1987 compilation, Screen Themes.
To be fair, some of the more incidental music between the main themes seems fairly routine, but appropriately suspenseful.
Great sequence of chase cues lead to the dramatic finale. (Reminds me of Tamarind Seed, in that it's the same theme that keeps coming back, but adds real drama in the run up to the conclusion.) Somewhat similar in style to 'Mujahadin and Opium' from The Living Daylights.
But the highlight has to be the love making scene. It's a love making scene, right, yet Barry scores it very darkly, like ... something is very wrong.
A score that is VERY good in parts, fairly routine in others, and therefore good overall.
Neo, are you going to mention the Richard Gere film Barry had started with after Masquerade, before the health disaster took him off line?
The Golden Child ... we quite liked this film though acknowledge it is rather mixed up. The John Barry cue on the album (and, I suppose the main song, too) led me to buy both the vinyl and CD releases ... as well as that rare 45rpm with the extra cue. Now why can't that be on the album instead of one of the redundant pop songs or forgettable underscore by Michel Colombier?
Howard The Duck ... right on the nose (), Neo, wonderful melodic themes but I have to say that the action themes, as included on the album, are some of the least inspired and enjoyable muisc to come from Mr. Barry, IMHO. I did see the film, or part thereof, many years ago ... utter rubbish.
A Killing Affair ... I have two unofficial recordings of this score (basically the same music but compiled differently) and Stephen has it perfectly right. The Silva re-recording has the main theme but there is a lot more to it and an official release would be most welcome. I think it's a far better listen than Mike's Murder.
Peggy Sue Got Married ... I wasn't aware of the missing notes (re: track 3) ... I just know I like the film (despite Mr. Cage's awful accent) and love the music. Charlie, I had the strangest experience is one of my favourite JB cues. I recall humming the melody all the way home from the cinema and longing for the CD (perhaps I should have bought the LP).
Masquerade ... I watched this for the second time only a few weeks ago. It was a lot better than I remembered and there's more to watch for than just Ms. Kim Cattrall's outstanding performance. Knowing the music makes the 90 minutes extra enjoyable. The all-too-brief harp solo is downright gorgeous!
The Living Daylights ... another superb score which fits the visuals like a tailored glove. It is so right, scene after scene, that you're left wondering where does the inspiration - after all these years - come from. I recall completing a short questionnaire before watching the film and gave John Barry's music as one of the reasons we enjoy the JB007 films. Little did we know then just how good that music was and that it would be his last offering. I got the CD on its initial release but had chance for one play only before departing for two weeks' holiday ... and longing for the chance to play it upon our return. The extended CD release is simply a perfect end to the JB007 musical journey I have travelled since buying The Best Of Bond in 1971.
Contrite Public Confession from a Private Non-Catholic Department:
Stephen Young Sun, thanks for saving our bacon instead’a roasting it fer that big (wholly embarrassing and unfortunate) faux pas re the album rendering, since hopefully restored with the proper visual; if it gains us any belated points, we’d instructed our merry munchkins during their research to pay special attention NOT to give unwarranted advertising to the various booters that abound but, evidently, the hazelnut bubblegum caused one of those critters to temporarily lose sight of our insisted-upon mandate (and he’s gonna get nuthin’ but French Vanilla for awhile as punishment! ).
HOWEVER,
since you raised that thoroughly tantalizing subject of the Gere project (which we were previously ignominiously ignorant of, tho we kinda vaguely recall rumblings about it), why don’t you fill the rest of us culturally deprived entities in on whatever whys and wherefores of said enterprise as only you can? …