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Not seen movie in long time and do much less remember the score...
How ist it (the musique of course)?
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Happy New Year Christian. I have the LP of THE EMERALD FOREST. The score by Brian Gascoigne and Junior Homrich has a very Brazilian/ Amazonian flavor.
John Boorman wanted a score that reflected the differences between life in the city utilizing source music, and the jungle in its minimalist approach. The score utilizes vocalizations and indigenous instruments.
As an admirer of John Boorman's work, I would strongly recommend reading Michel Ciment's excellent critical tome on this visually stunning, and underrated director.
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Didn't Gascoigne do Saul Bass' PHASE IV? It was an effective mix of acoustic and synth scoring, though mostly electronic.
I used to run across his name on some electronic-flavored library albums back in the late 70's-early 80's, in my A/V production days.
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Yes, he did the score for PHASE IV, but what I remember most about the film was the poster artwork designed by the master himself, Mr. Saul Bass.
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I have a feeling, James, that you're remembering a different poster than the one that was used here in Milwaukee. We got the one portrayed on the tape and laserdisc--the lurid illustration of the hand with ant crawling out of the wound in the palm. I'm sure Bass' original had a Hell of lot more class than that!
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I have a feeling, James, that you're remembering a different poster than the one that was used here in Milwaukee. We got the one portrayed on the tape and laserdisc--the lurid illustration of the hand with ant crawling out of the wound in the palm. I'm sure Bass' original had a Hell of lot more class than that!
It's too easy to say that Saul Bass did the poster in addition to directing and doing the title design, but after doing a little research, I found out that Gil Cohen did the poster of the hand, in the style of Bass. After all, Bass had final say in the overall design concept and look of the film.
By the way, Mayo Simon, the screenwriter, also wrote the novels MAROONED and CYBORG (the basis for THE SIX MILLION DOLLAR MAN).
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I thought Cyborg (IV) was written by Martin Caidin as i have this book and several of the adaptions? Is it the same?
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I thought Cyborg (IV) was written by Martin Caidin as i have this book and several of the adaptions? Is it the same?
It is Martin Caidin. I have both books. I went and checked. Sorry. My sinuses and ears are clogged due to this damn weather in New York after vacationing in Costa Rica for three weeks.
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The score is awesome, and the album is too short.
I remember standing in the checkout line at the Greenwich Village Tower Records in the summer of 1994- the woman behind me said she knew Junior Homrich (which she pronounces 'Yunior'), and that he was a talented and lovely person. Such a random coincidence.
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Interestingly enough, I recently finished reading John Boorman's "The Emerald Forest Diary", in which he recorded his efforts to get the film made.
Boorman strove to make the movie as realistic as possible, doing extensive research, consulting anthropologists and even spending a week or so living with a tribe in the remote Amazon. Many details and anecdotes of the tribal living he witnessed and experienced found its way into the film. (Ironically, The Emerald Forest came-off to me as fanciful and theatrical -- more in the style of a fantasy like Excalibur, rather than the stark verisimilitude of Deliverance.)
In any case, Boorman's desire for realism extended to his insistence on a "realistic" score. Junior Homrich was the film's native musical advisor on-set and Boorman ultimately recruited him to provide the music for the film.
Personally I think the results are mixed. While Homrich's ethnic approach has an authenticity (and Brain Gascoine's theme is etherial and haunting), the score is just too primitive and non-melodic, and there are moments where the drama is in need of the kind of musical support that drums and seed shakers just can't provide.
It certainly doesn't ruin the film, but the movie would have been bolder and more emotionally resonant with a score by someone like John Scott.
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It certainly doesn't ruin the film, but the movie would have been bolder and more emotionally resonant with a score by someone like John Scott.
Make that Sylvester Levay.
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