Does anyone besides me think that the two bonus tracks on this release may be "test balloons" like that great Conan the Destroyer cue was when it was included on the Barbarian recording? Perhaps Luc is wisely testing the waters on these two to see if people get more enthusiastic about them based on fresh new recordings in great sound?
Nope. Don't think that "Conan the Destroyer" cue was anything other than a bonus, and I think the same for these.
I honestly don't get this idea of soundtrack producers "testing the waters," as comes up here from time to time. It doesn't make a lick of sense. How in the world would anybody gauge enthusiasm? From us? Boy, I hope not. And by the way, if you go back and read the threads here about the Tadlow "Conan the Barbarian" release, the "Destroyer" cue was roundly criticized as being too slow and lifeless. Those waters were cold. The success of the "Barbarian" CD, however, allowed them to do the obvious follow-up, which they were hoping to do anyway.
...and of course I eagerly await the premiere of the music for Franco Nero's infamous slo-mo jock strap fight scene...
Why wait?
Paul Smith is a joke in this film. He has only one squinty-eyed sideways look through the whole film. This is case where his acting runs the gamut from A to A.
The worst thing about this film is that it's BORING. Takes a all-star cast and drains the life out of them.
I remember Sybill Danning being a big deal back in the early 80s. I think she desperately wanted to be a Bond Girl but thankfully never got the chance. She's terrible in this too.
The film only has any spark when Goldsmith's score comes in and then it's mixed so poorly you can't enjoy it.
...and of course I eagerly await the premiere of the music for Franco Nero's infamous slo-mo jock strap fight scene...
Why wait?
Paul Smith is a joke in this film. He has only one squinty-eyed sideways look through the whole film. This is case where his acting runs the gamut from A to A.
The worst thing about this film is that it's BORING. Takes a all-star cast and drains the life out of them.
I remember Sybill Danning being a big deal back in the early 80s. I think she desperately wanted to be a Bond Girl but thankfully never got the chance. She's terrible in this too.
The film only has any spark when Goldsmith's score comes in and then it's mixed so poorly you can't enjoy it.
James
I can only imagine what Jerry Goldsmith must have thought having to repeatedly watch this fight scene when composing the music as well as when recording it with the orchestra! Constantly watching one hairy man wearing only a jock strap getting tossed by a burly, hairier man had to be somewhat awkward, right?
And only Jerry could supply such an odd scene with such orchestral ferocity. That time of movie scores will never come again.
Really enjoyed the score, and there were the occasional odd few seconds that reminded me of The Challenge.
The love theme from THE SALAMANDER and that from THE CHALLENGE have the same feeling and yet melodically they are different. It's a structure and build that Goldsmith employs that is sheer brilliance. I totally hear it in both themes which are superb.
He gently plays the theme at first as delicate as possible and then builds and builds and builds until it just explodes with a grand passion that is his alone.
There's a cue of his in CABOBLANCO which also does this. Love Theme played ever so delicate and then builds to awesomeness.
And all 3 of these scores are ethnically diverse and yet the feeling is universally the same. Anyone hear what I'm hearing?
In the CABOBLANCO cue "Boat Attack / Jungle Run" played in the following Suite starting at 3:40, Love Theme quoted ever so delicately and then the glorious build.
Other composers did it in different ways, but no one could do it like Jerry Goldsmith. For me that is. Those "Goldsmith Moments" in a score would truly shiver my timbers.
The disc is worth buying just to listen to the second track. Wonderfully emotional music with a religious tone remiscent of Goldsmith's Final Conflict score (specifically, the track Second Coming), scored the same year, I believe.
This is a wonderful score and I, too, highly recommend it!!
The disc is worth buying just to listen to the second track. Wonderfully emotional music with a religious tone remiscent of Goldsmith's Final Conflict score (specifically, the track Second Coming), scored the same year, I believe.
This is a wonderful score and I, too, highly recommend it!!
