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J-Will's is my favorite of those five Oscar noms.
But it would have also been nice to have seen these scores nominated that year:
BEETLEJUICE - Danny Elfman
A HANDFUL OF DUST - George Fenton
SCHOOL DAZE - Bill Lee
WHO FRAMED ROGER RABBIT - Alan Silvestri
and I wish the Oscars had a category for Coolest Eclectic Collection of Songs - for '88 it could have gone to MARRIED TO THE MOB.
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.....If anyone is interested, there is a five track suite of Grusin's Milagro score on his album MIGRATION. I got one cheap from Amazon. Cheers
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I would vote for Yared's Camile Claudel that year, which is a sublime score!
Also, inexplicable is the absense of Cinema Paradiso.
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Posted: |
Nov 12, 2017 - 4:44 PM
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By: |
Dana Wilcox
(Member)
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I really like ACCIDENTAL TOURIST and a couple of the other choices, but MILAGRO BEANFIELD WAR is not garbage by any stretch of the imagination. I base that upon the suite that was included on one of the Varese multi-disc compilations. (Apparently there was never a formal soundtrack release, even after it won the Oscar, so I guess I'll have to watch the film and see how much I like it as a whole.) Dave Grusin has written a boatload of really fine music for films and tv, and if "lifetime achievement" has anything to do with it (as we sometimes see with the decisions of the Academy), Grusin is/was far more worthy of the gold statue than, say, Gustavo Santaolalla, who won two in a row for his forgettable little guitar strums. Williams is a guy who could arguably deserve an Oscar for just about any score for which he's nominated. He really didn't need another one for what I would call a "B+" score; what he throws in the waste basket is probably better than about 90% of the music playing through theater speakers around the country on any given day, so you have to look with a more critical eye as regards any particular one of his scores.
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I'm biased but Accidental Tourist is one of my all time favourites of Williams. It's got a lovely main theme and he captured the lonliness and pathos of Macon Leary. The climax of the film where we see that tight shot on Williams Hurt's face, finally smiling, with Williams' soaring version of the main theme is for me, the greatest ending of a film I've ever experienced (I saw it on a huge screen in a theatre with great sound in 1988).
None of those other scores have interested me in the least but again, this is a personal fave.
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