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When I first saw this film I was involved in a choir and we used to sing a lot of gregorian. I remember being immediately taken with North's music and not even noticing the prologue which screened before the movie. I consider this to be North's most captivating score and emotionally relates well what is happening on screen. One of the things which still sticks with me is North's ingenious use of a few bars of the Dies Irae when being gazed upon by the Pope to suggest Michelangelo's feeling at not being allowed to continue his painting. The vision in the clouds, the fall from the ceiling. Everything North composed here is first class and less jazz orientated than the other epics. It remains my favorite North.
It's genuinely amazing as a score. He uses all the tricks and conventions of Renaissance music, but with modern post-impressionistic uses of dissonance, and Romantic dramatic sense. And seamlessly.
The closest to 'jazz' is the warrior pope material where modernistic militaristic music, Praetorius style brass fanfares, Renaissance stuff and war interplay with ease.
There's a genuine religiosity in there too, a sort of yearning.
Perhaps someone can remind me: I always seem to recognise a period fanfare at the end of the 'Warrior Pope' cue. Is it a quote?
I like the Goldsmith, but seriously, why is everyone trying to push that to the heights of Alex's great score? Why does that seem so odd to me?
Goldsmith can describe the painter at work in a decorative sort of way, but North takes it to the big universal and spiritual truths the images are windows to.
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My favourite of Alex North's recordings for which I have his Composed & Conducted AATE soundtrack on Varese Sarabande Deluxe Edition. Played it many times including the film for which its beautifully shot in CinemaScope and has a great cast. Both have a charmed, spiritual appeal for me as I saw the Sistine Chapel back in 1992 so the music is a sort of blue print that enhances the struggle and frustration conflict between Pope and Artist in creating something artistically glorious. Before release the studio T-C-Fox wanted a documentary TMWDNWTP included at the start so hired the services of newer composer Jerry Goldsmith who was contracted at Fox. As Alex and Jerry became life friends during they respective composing duties; an urgent referral by Alex North was made for Jerry's assignment - a fine but all too brief score! All tracks on the Varese are excellent! Jerry Goldsmith's re-recorded this in 1998 with the RSNO but feels too short to add to my collection as new material was unearthed after the fact but this picture was Composed & Conducted by ALEX NORTH - a perfectionist's score in my opinion!
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I saw AATE in its initial roadshow release in New York. I still have the souvenir program, copies of which frequently show up on
E-Bay. I recall it as seeming very Grand, but I loved the score. (The most hackneyed moment is when Michelangelo sees God and Adam in those Technicolor clouds, despite a lovely musical accompaniment.)
I continually mourn the fact that most of you writing about these roadshow films have never been able to see them as they were meant to be seen, on a huge screen with stunning sound in a movie palace. Though AATE was not a great film, it certainly seemed a more momentous one, when seen that way.
I grew up during that era, and saw most of them. I treasure the memories.
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The film has its flaws but is still a hundred times better than whatever wins Best Picture this year.
Also, MICHELANGELO & THE POPE'S CEILING by Ross King is an excellent book.
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