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Michael Gore, DEFENDING YOUR LIFE.
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I am surprised that no one has mentioned the astonishing one-two punch of Elmer Bernstein's final cues in "To Kill A Mockingbird." The reveal of Boo Radley is scored so perfectly, as is the final recapitulation of the main theme, that I don't see how anyone can not be moved by it.
For me, anyway, the final ten minutes of "East of Eden" is made immeasurably more potent by Leonard Rosenman's subtly building, anguished, glorious music. That cue - alongside "Mockingbird," and Herrmann's "The Road/End" from "Fahrenheit 451" - ranks as perhaps my favorite finale to any score.
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I am surprised that no one has mentioned the astonishing one-two punch of Elmer Bernstein's final cues in "To Kill A Mockingbird." The reveal of Boo Radley is scored so perfectly, as is the final recapitulation of the main theme, that I don't see how anyone can not be moved by it.
For me, anyway, the final ten minutes of "East of Eden" is made immeasurably more potent by Leonard Rosenman's subtly building, anguished, glorious music. That cue, alongside "Mockingbird," and Herrmann's "The Road/End" from "Fahrenheit 451" rank as perhaps my favorite finales to any score.
Ahh...you beat me to it! I went to a theatrical revival screening of T.K.A.M. some time ago before DVDs were around and as we all left the theatre there wasn't a dry eye to be found. It was that gorgeous Bernstein score! Love your other choices as well.
Related is a post on the other "non film music" board if you care to have a look
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This is the finale of 'The Asphalt Jungle'. Notice how the police chief describes the criminal we see in the subsequent scene. The music is by Miklos Rozsa (available on the FSM boxset). This is the first time any music appears since the film's very opening. The emotion Rozsa delivers through his score is so powerful, it seems he was waiting all that time to let it build to this crescendo. I hope, Joan, this is an apt example of what you were looking for.
https://vimeo.com/88568846
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Posted: |
Mar 1, 2014 - 3:35 AM
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By: |
barryfan1
(Member)
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I agree with a lot of the scores already mentioned, especially the Barry and Mancini scores, and would like to add my own choices (spoiler alert for those who haven't seen the films):
Hanover Street - The Finale and goodbye at the Hospital ("Think of me when you drink tea")
Barry's music provides an epic, grandly romantic conclusion. If the movie itself had been better this would have been recognised at the time as a classic.
Meet Joe Black - Thomas Newman's score for the final scenes with Anthony Hopkins and Brad Pitt departing, and then for Claire Forlani and Brad Pitt with the fireworks in the background, is just wonderfully satisfying.
LadyHawke - Navarre lifts Isabeau up at the end in a wonderful spinning shot, as the spell is broken, and Andrew Powell's music swells. Again a very satisfying resolution.
Field of Dreams - James Horner's emotional score rounds out the film ending, on two sustained chords as the cars start to arrive and as the camera pulls back and up you can see the headlights going back and back into the distance. A delicate but powerful score with a huge emotional kick.
Dances With Wolves - John Barry knocks it out of the park again with an almost continuous musical accompaniment for the last few sequences in the film, from Dunbar's rescue, to finding the Journal, to his re-union with Stands With A Fist, and then the Farewell. Just superb.
Others I particularly enjoy:
Blow Out - Sally's Death (more fireworks), Contact - Seeing David Morse again, and Leaving the Court House.
Mike
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