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Posted: |
Oct 10, 2007 - 6:05 AM
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By: |
Heath
(Member)
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probably because he thinks a great deal of himself.
He's got company. He's arguably one of the top five most influential film composers - influential, not because others have copied his style, but because of the way he demonstrated that dissonance, sometimes strong dissonance, can work in straight drama and not just horror movies. Sadly, and boringly, that lesson has been lost in recent times.
I like the Robo 2 score. I remember at the time saying aloud "Wow, real film music!" because even then that kind of involved, close-context scoring was fast disappearing.
The only let down in the score, for me, is the absence of the Rosenman Pyramid.  Me loves those stacked fifths! 
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Unsure if a Starlog issue was the source of this, but an interview done at the time of the film's release had Rosenman blasting Poledouris's first score as being ineffective. 
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double post
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I think that the final 20 minutes or so of this film are among the greatest things I've ever seen in a film. I'm not a Robocop fan. Didn't care for the first film,haven't bothered with the 3rd film or the tv series.And have no plans ever to do so. I took an interest in ROBOCOP 2 because:
[1]Irvin Kershner directed it
[2] Leonard Rosenman scored it
[3] And because of the cool hulking Robocop 2 monster.
I have the dvd of this film and check it out quite a bit. Kershner not surprisingly managed to equal and even surpass the great duel between Luke Skywalker and Darth Vader in THE EMPIRE STRIKES BACK with this new Darth Vader like monster he transformed Tom Noonan into.
It just mystifies me that this film is so hated when one like myself while watching it is completly awestruck,exhilarated, and flat out blown away. Oh well. It's their loss.
And I seriously think Rosenman's score is way better than Pouledourus' previous score. It's grimmer,grittier..and spookier i.e. the music accompanying the Frankensteinian transformation of Noonan into the monster. Kind of like his one Twilight Zone score AND WHEN THE SKY OPENED.
I love the overture that appears during the end credits.The mixture of solemn classical baroque mixed with a heavy,brassy,boldness and metalic clanging is just incredible.
I too could've done without the two singers singing 'Robooo-cop!'but the surrounding music is so good that I find myself ignoring the singing. The overture is a fitting close to what is an underrated film in my [and other peoples] book.
Kershner should be proud of this film. He did a fine job on it. Same goes for Rosenman.
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I can't take the score seriously when the voices start coming in. It's a guilty pleasure at best, but I'd rather admit to owning gay porn then owning that CD.
As for the film, it's meanspirited rubbish, that totally misunderstood what the appeal was of Verhoeven's brilliant original.
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Despite the composer's longstanding friendship with director Kershner, it does indeed seem strange to have a distinguished practitioner of the old school, such as Rosenman, associated with a piece of trashy comic book nihilism like Robocop 2. (Then again, he had scored plenty of shclocky films previously: The Car, Race with the Devil, Prophecy.) From what I understand, various circumstances prevented the two from working together on previous films.
I like the score a lot. I thought the weird Rosenman traits were a perfect match for the scifi stuff and violent action, and I actually like his theme as much as Poledouris's, chanting sopranos and all. (Poledouris's theme also had a tongue-in-cheek edge, but I can understand why some people got annoyed when Rosenman upped the camp factor in such a way.) There is a greater feeling of potency and grandeur in Poledouris's music, but there's always plenty of interest in a Rosenman score.
The film was quite a dour and dire affair. While the first film stretched violence to horrifying, memorably absurd lengths, Robocop 2 just piles on gratuitous, unimaginative brutality and nastiness; I did like that there was an attempt to retain the satire and the wacky commercials, but it was mostly forced and lame. I did love Phil Tippet's stop-motion work, which must have been some of the last of its kind. I miss stop-motion.
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Posted: |
Oct 10, 2007 - 2:56 PM
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By: |
Jon A. Bell
(Member)
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Unsure if a Starlog issue was the source of this, but an interview done at the time of the film's release had Rosenman blasting Poledouris's first score as being ineffective.
Variety called Rosenmann's Robo II score "weak and ineffective."
Years ago, when Rosenmann commented on the first film's score to Doug Fake at Intrada, Rosenmann said, "they got a score by some Greek guy!" He didn't even know who Basil Poledouris was.
Later, though, when the Intrada gang mentioned Rosenmann's comments (somewhat edited) to Basil, we concluded that, "well, then we saw who the producers chose for the 3rd film, so..."
Basil's response?
"Yeah... like I was worried!" (With a wink.) We all started laughing.
As for Robo II, it's one of the most needlessly sadistic and unpleasant films I've ever seen.
-- Jon
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