And just think in two months it'll be 46 years ago that I first heard the "Goldfinger" soundtrack album (followed by when the film made its premiere on "The A.B.C. Sunday Movie" more than three years later). Both of these were my introduction to BOTH John Barry and James Bond. Happy belated birthday maestro Barry. I totally agree with Jon Burlingame in his book "The Music Of James Bond" you SHOULD"VE been given a knighthood.
[ If we ever get married, this tune – and one other exquisite JB offering – will hopefully be equally enamoured and sanctioned by our opposite to underscore the nifty nuptials. ]
It's dated Jan. 15, 2012 but my declaration 1st occurred many moons ago in a previous [and lost] thread. Fellow boarder M. Hatfield took up the suggestion, beat me to it and played the Satchmo version at his wedding circa 2002!
So Cuthbert Greenway Is Now Dr. Greenway Department: AHHHHHHH...nt a/k/a Gordon Reeves. Took a while but gotcha.
For those unaware, there has been established a John Barry Scholarship at London's Royal College of Music.
Transcendent thanx to Peter Greenhill for the update.
And, yes, donations major and minor are accepted for providing empowering encouragement to all those future composers for film a'borning and not yet born.
While watching films in his Poppa’s theatre as a pup in York Plus mother’s classical music pedigree for added foundational fork With military service correspondence course enhancing arranging expertise Afterward gathering together his own magnificent ‘Seven’ to pop reprise.
Via the Faith of Adam providing his own pivotal film scoring intro And indispensable framing of a certain theme becoming the Bonded nitro From there his Golden Talent became the series’ definitive DNA The royal Rosetta Stone from then till now and forever’s infinite day.
A consummate career spanning films, theatre and television Rarely lacking his own utterly unique dynamic precision Even Jerry Gold-Standard singled out John’s singular status No greater glory can be attached out of such professional gratis.
Nothing human was alien as his Five Oscars so admirably attest Tho the Academy continues its odious insult re his Bonded Everest An Honorary Award is long overdue for this achievement alone Despicable in its denial – mayhap someday they’ll humbly atone.
His last decade was anti-climactic but not without distinctive acclaim (Forget the Streisand-Redford-and Weinstein disrespective disdain) By then John had nothing to prove to anyone – not even to himself Thus his seeming refusal to acquiesce to the industry’s stealth.
None of this matters one whit where his ultimate triumph lie Influence immortal with many masterpieces that’ll ne’er die We had the profound professionally-personal privilege of art ‘Mozart’ he may not be but, guess what? He’s OUR Mozart.
Very fitting. Does anyone know where I can find that BAFTA Award speech? I've been looking for it for sometime on YouTube to see if it was re-uped. What Barry scores did people listen to mark the day?
Now we come to 1966 with “only” five released accomplishments,
23.
starting with a truly mystifying misfire of confounding proportions called
Just HOW a creative enterprise can boast an artistic pedigree of uber-producer Sam Spiegel, playwright Lillian Hellman, and
Director: Arthur Penn.
- to say nothing of its high-powered cast –
and still come up with such underwhelming results is a mystery up thar with The Sphinx. What isn’t lackluster, tho, is John’s flavorful music, at turns melancholy, moody, jazzy, introspective yet with a ripe attractive energetic main theme that singlehandedly imparts more style and life than most of what transpires (or, to be imperfectly honest, doesn’t) on screen.
It’s not a flick without residual interest and we don’t think you’ll be unduly bored yet, if’n you do catch it, we don't figure (unlike the film) you’ll be as profoundly disappointed by the music …
I just came to this flick for the first time and was drawn in, despite its flaws, for all the reasons cited above. Holy cow, the creative forces and cast alone demand attention. It felt like a natural progression from Giant ten years earlier, with a little b&w Hud action in between, and then even more b&w action with The Last Picture Show a few years down the road.
we don't figure (unlike the film) you’ll be as profoundly disappointed by the music …
Indeed. The track 'And You've Got One' is one of my favourite pieces of music.
But it felt like a picture from the 50s, not 60s. Reality sunk in with the knowledge it was Barry's first American picture, which gave it a poignancy not possible if viewed for the first time in the era of its cinematic release. I must give the soundtrack a listen. He did something with the scenes of sincere love (Redford/Fonda, Brando/Dickinson) that were a harbinger, of sorts, for scores to come.
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