8 for Colombier. That's not too shabby, I think, considering the general preferences of the membership.
Incidentally, it was this score that made me seek out more stuff by the late Colombier. I thought he was mostly into synth scores of this kind (with funk elements), but then quickly discovered he was part of the Legrand/Delerue generation and was working in many of the same type of films from the 60's onwards. Lots of jazz, some symphonic, a great melodic sense and a good insight into 'current' sounds in pop music. He was really quite versatile.
8 for Colombier. That's not too shabby, I think, considering the general preferences of the membership.
Incidentally, it was this score that made me seek out more stuff by the late Colombier. I thought he was mostly into synth scores of this kind (with funk elements), but then quickly discovered he was part of the Legrand/Delerue generation and was working in many of the same type of films from the 60's onwards. Lots of jazz, some symphonic, a great melodic sense and a good insight into 'current' sounds in pop music. He was really quite versatile.
And this is a prime example that sadly went under most people's radar:
Yes, that's a gorgeous score/musical by Colombier -- I completely agree with OnlyGoodMusic's assessment; Colombier was definitely slumming it with this score. There are a few brief moments of real beauty (ie. when his love theme gets orchestral treatment) and the rest I have no urge to listen to again, even if it might suit the film better than Barry's score (I've never seen it).
It suprises me how many people dislike the Barry score. I think it's a really strong, engaging effort -- certainly not boring at all! My wife, who gets bored by a lot of Barry scores actually really LOVES this one and when I first played it for her she wanted to hear the whole thing over again! This has really only happened with Shakespeare in Love and Conan the Barbarian before (and in the case of the latter it wasn't the first play that did it but the third). Based on her liking The Golden Child I tried some of Barry's 80s Bond scores on her and she didn't really take to them much, not even The Living Daylights. The Golden Child actually had much more of a timeless quality for her.
Oh, and she HATED the Colombier score even though she loves Un Chambre En Ville (people should take a chance on that lovely work)!
Barry's score is more old fashioned and timeless, which gives me the impression that it was written for a fantasy adventure movie that happens to have Eddie Murphy as the lead.
Colombier's more dated score really gave me a good idea of what kind of movie TGC was (which I have a seen before many times) and that's an 80s Eddie Murphy Comedy with fantasy elements thrown in.
Barry's score focuses more on plot and story than the comedic elements on screen, while Colombier is actually scoring what the film ended up being in the end.
Both scores hit different spots for me and that's why I enjoy 'em both.
