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JAMES BERNARD/TERENCE FISCHER-
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Goldsmith/Schaffner, followed by Aldrich/DeVol.
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- Philippe Sarde/Pierre Granier Deferre;
- Philippe Sarde/ Roman Polanski;
- Philippe Sarde/Claude Sautet;
- Philippe Sarde/Bertrand Tavernier;
- Philippe Sarde/Georges Lautner;
....
And HERRMANN/HITCHCOCK of course, both of whom being largely responsible for igniting my interest in the subject in the first place.
Many others as well...
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Sidney J. Furie and Michel Legrand.
Their collaboration produced "Sheila Levine Is Dead And Living In New York," and Legrand's poignant music works perfectly, especially in a scene near the end with stars Jeannie Berlin and Roy Scheider. And then in "Lady Sings The Blues" there's another very special moment between stars Diana Ross and Billy Dee Williams made better by a very lovely theme by Legrand. And their "Gable And Lombard" with James Brolin and Jill Clayburgh is quite underrated.
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Posted: |
Jun 9, 2014 - 2:31 AM
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By: |
Ny
(Member)
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lately I've become enamored with the films of Douglas Sirk, in no small part due to his use of music.
As a director I'd compare him to Hitchcock, who used the sugar-coating of thriller narratives to feed a wide audience bitter pills about biting social issues.
Likewise Sirk used the veneer of popular melodrama to package his diagnoses of America in the 1950s, but as far as scoring goes I'd say he went one step further by making very effective use of counterpoint music.
The standout example of this is in Imitation of Life, scored by his regular composer Frank Skinner, where Lana Turner and her daughter retain the expected melodramatic sound, struggling through the spoiled-rotten trials of fame and fortune, while the real drama between Turner's colored maid and her own racially resentful child is scored with a feverishly upbeat jazz sound, despite covering all of the film's truly shocking material - the scene where Susan Kohner's boyfriend beats her up in an alley and leaves her lying bloodied in a puddle, purely for hiding the fact that she has a black mother, is certainly the most topical use of counterpoint music I've seen, and considering it was done in 1959 it marks quite the achievement, for both composer and director.
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¶ Hitchcock/Herrmann
¶ Schaffner/Goldsmith
¶ Siegel/Schifrin
¶ Peckinpah/Fielding
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I have also enjoyed the collaborations between John G Avildsen and Bill Conti over the years and own most of the CD's between them.
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Pretty much any composer with Brian De Palma, but have to go with Donaggio/De Palma.
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...StarShip Troopers, which I think of as one of the most perfect scores ever written -- it serves the double or rather triple layers in the film so darn well.
Exactly! I remain in awe of what a perfect score Poledouris wrote for a film as tricky as Starship Troopers. Too heavy on the satire or too heavy on the gravitas and the music might have made a farce of what Starship Troopers was aiming to be. Somehow, Poledouris managed to strike just the perfect note.
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