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Posted: |
Apr 7, 2014 - 7:46 AM
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By: |
pp312
(Member)
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"The music almost ruined the film."
Bit like the music almost ruined "Spartacus", I guess. And yes, that score too has come in for its share of flack as too much, too loud, too over the top.
For me the "Waterfront" score gives the film a dimension it would otherwise have lacked, surely the true function of film music. If you feel the sadness of life in a wasteland of glass and concrete, with only a pidgeon loft to remind you of the natural world, it must surely be partly due to Bernstein's soaring trumpet lament as the camera pans over the smoky skyline. If you feel uplifted by the last scene, even to the fadeout to the Columbia torchbearer, it has to be largely due to Bernstein's triumphant orchestral paean to the triumph of decency against overwhelming odds.
Sorry to get poetic, but I just think this score is utterly fitting and brilliant in its own right, and I'm surprised at the negativity it sometimes engenders.
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He was sought to score "In Cold Blood" (one of the people at the studio didnm't want Jones scoring it and set about for another composer). I don't know if he was ever formally asked and accepted.
"Brother Son, Sister Moon" he was also scoring (As well as doing songs with Leonard Cohen), this film; Cohen doesn't go into full details in his book, merely saying the film opened with music by Donovan.
He was hired to score "Tucker: A Man and His Dream" and flew out to work with the director but only ended up completing a song before what ever events transpired in the change in composer. He was worried, it turns out some what rightfully so, about an "Apocolypse Now" situation. That was, reportedly, after they had tried to get John Williams.
He was also sought to do music for a film adaption/musical, "Aida" (Zeffirelli), but I don't know what came of that. Jack Gottlieb's book very breifly mentions this. He worked some with the composer.
He's also listed for a 1957 Hallmark Hall of Fame episode, "The Lark", and this is also mentioned along with the 1955 stage musical by the same name, in Bernstein's book which features information and personal letters. But no souce that I saw, says whether they tracked music or he created new arrangements.
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"The music almost ruined the film."
Bit like the music almost ruined "Spartacus", I guess. And yes, that score too has come in for its share of flack as too much, too loud, too over the top.
For me the "Waterfront" score gives the film a dimension it would otherwise have lacked, surely the true function of film music. If you feel the sadness of life in a wasteland of glass and concrete, with only a pidgeon loft to remind you of the natural world, it must surely be partly due to Bernstein's soaring trumpet lament as the camera pans over the smoky skyline. If you feel uplifted by the last scene, even to the fadeout to the Columbia torchbearer, it has to be largely due to Bernstein's triumphant orchestral paean to the triumph of decency against overwhelming odds.
Sorry to get poetic, but I just think this score is utterly fitting and brilliant in its own right, and I'm surprised at the negativity it sometimes engenders.
Don't apologize. You've admirably expressed your appreciation quite eloquently. Many reading this agree with your statements including myself.
I think for some, especially nowadays, hearing ANY music is too much.
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