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Grecchus:
Well, "The Fan" is a great thriller with a terrific instrumental soundtrack by Pino Donoggio (with a couple of Broadway-like songs by others). A very young Michael Biehn is the obsessed fan of big star Lauren Bacall, about to open on Broadway, and I was elated when the DVD came out and, like others, would love to have the soundtrack, preferably WITH the typewriter and Biehn's narration! That's why I need to re-hook up my Sony CD recorder so I can transfer some of that to CD!
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joan hue: Re: "Tastes are extremely VARIED on this board."
You are sooooooooooooooooo right! But at least it looks like someone here is willing to take it off my hands, preferably for a trade. We'll see. And I don't want to seem to be bashing Intrada, because I usually love their soundtracks -- just yesterday I bought, at inflated costs, their "Masada," on eBAY, because I was blithely unaware of this site and these labels back when it was released. At least with "Masada" I already love Goldsmith's music for it! And joan, it's probably good that I've NOT been here for the past 14 years like you -- I probably would have retired this past March broke (I have spent SO much on CDs and Blu-rays and upgraded stereo speakers and other equipment since discovering FSM!!!).
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Doug: Re: "This is probably a salutary lesson to those who buy soundtracks without any knowledge of the music and especially the film it was composed for. If Ron had been familiar with the film he might well have been able to appreciate the music more. At the very least he would have a better understanding of how the music worked within the film. Context is important and I don’t believe film music can or should be totally divorced from the film it was intended for. All soundtrack CDs are better appreciated if one has the film as a knowledge reference point."
Perhaps, but, knowing Ron as well as I think I do, I doubt that that would have helped much. But you are right: Knowing the movie it was created for, we can sometimes overlook things that might otherwise be a hindrance to our appreciation of its soundtrack.
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Posted: |
Jan 11, 2014 - 4:52 PM
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By: |
jkirkfsm
(Member)
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Everyone's tastes are different, and music seems something especially personal. I enjoy most of Goldsmith's music very, very much, but he has produced a few real dogs, to my ear anyway. The only way I can listen to The Prize is having ripped it, leaving out the unfortunate "slapstick" cuts. Much of his 90s work seems very tired to me. ST Insurrection has to be one of the low points of his career, not that there's anything intrinsically bad about it, it's just as tired and dull as the movie. Even in his glory days, he had to work with what he had, and while I really like Poltergeist II, there is one long (and great for a while) action cue that runs out of steam so long before its done that I can imagine how it's a reflection of an action sequence in the film that just goes on two or three times as long as it should have, and that Goldsmith at a loss as to how to write anything for it. And I'm fascinated by his Inchon score. We're talking one of the worst movies ever made. Ever. It's one of his most professional and accomplished scores, yet every time I listen to it it seems to me that he has written music that caricatures the anti-Japanese propaganda movies of the 40s and 50s. I don't know whether he was trying to deliberately mock the movie or if it was something unconscious.
Anyway, all to say, everyone's tastes are different. Someone might actually like the Sebastian music. More likely it was produced for people who collect every title from a label or every title from a composer and who will probably never listen to it anyway. As for the hype, I remember way back in the days of actual film critics reading a movie review that shredded a film and contained a very ironic conclusion like " not exactly the most brilliant film ever made", and then seeing a movie ad with the critic's name under the word "Brilliant!".
Especially with music, never trust anyone else unless you really know them.
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jkirkfsm and Chris:
Well, the point has been made to me quite clearly today that there ARE a lot of people who like (and even love) this score and didn't buy it just because they wanted every single Jerry Goldsmith score. Which is good news, because it means that I'm not going to be stuck with this and have no intention of even putting it in my iTunes -- why waste the space? But we're definitely back to the old cliché of different strokes for different folks.
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dp
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Sebastian is, IMO, a fabulous score and for me one of the best releases of last year.
However, it is easy to get swept away by the wave of enthusiasm for particular scores on this board. It's always important to listen to samples and go to youtube before buying scores with which you're unfamiliar.
We all have different tastes!!
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Whatever one thinks of the score outside the film, the score IN the film works perfectly and that is all that counts, I'm afraid, because that's what this music was created for. I'm not sure where this "no melody" comes from - like the melody or not, there most certainly is melody galore.
I loved the movie back in the day, don't love it so much now, but in terms of how music and film work together, Mr. Goldsmith scored the film he was given and did so expertly. Whether that pleases people divorced from the film is another matter entirely and not all that interesting.
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I'll echo the others: check the samples. It's what they're there for, and it's already bad enough you can't sample every track. If you could, I'd probably take a chance on a lot more.
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