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its in stereo and it has that dragggggggggning and draggggggggging and draggggggggging , just like THE LONG HOT SUMMER AND BELOVED INFIDEL. and the stereo enables to hear the dragggggggggging much more clearly !
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More 'mag wow,' you mean?
Beloved Infidel is very affected by this syndrome in places.
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More 'mag wow,' you mean?
Beloved Infidel is very affected by this syndrome in places.......yes , thats it!
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That's very disappointing to hear...
I've got Virgin Queen coming to me on the slow UPS truck from Van Nuys and I pray that it doesn't sound any worse than Beloved Infidel. I guess Fox decided that Waxman scores were going to be at the bottom of the preservation list. I probably should be thankful that we got Prince Valiant with such fantastic sound.
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That's very disappointing to hear...
I've got Virgin Queen coming to me on the slow UPS truck from Van Nuys and I pray that it doesn't sound any worse than Beloved Infidel. I guess Fox decided that Waxman scores were going to be at the bottom of the preservation list. I probably should be thankful that we got Prince Valiant with such fantastic sound.......dont worry , THE VIRGIN QUEEN is one of the best ones , sound wise.
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The movie is so earnest, it's deadening. In a dramatic choice similar to the previous DAVID AND BATHSHEBA, Norman Corwin's script goes for the religious over the romantic. It makes for a theologically interesting set of ideas, but it's not very involving. Elana Eden in the title role does what she can, but her inexperience shows, and, given the script limitations, she ultimately seems wooden. The two men in her life, first Tom Tryon then Stuart Whitman, are stalwart, and show nice legs from out of their cocktail-dress tunics, but all they can do is groan and grunt, respectively. Again, the script impedes the romance, by making temple priestess Eden's moonlight rendezvous with Jewish jeweler Tryon focus on theological discussion!
The only real alleviation comes from the supporting cast, most notably Viveca Lindfors, as a silky, strutting senior priestess, and, especially, Peggy Wood, in one of her rare screen roles, as Ruth's mother-in-law, Naomi. Wood transcends the material with a solid emotional core that makes everyone else, by comparison, look as if they're showing off in a school play.
The accompanying notes with the CD give a fascinating account of the evolution of the film's script. (One wonders what the Maxwell Anderson version was like!)
I wanted to see the movie for years. It came out in the summer of 1960, when I was away at camp. I read the Dell movie tie-in comic book of it (Curiously enough, the cover of the comic utilized the same color photo which also appears on the back of the current CD release!), and I really wanted to see it, but, by the time I returned home, it had, predictably enough, disappeared from view. Years later, I finally caught up with it on TV, and, some time after that, finally made a reel-to-reel tape of just the music segments, which was the only way in those days to hear this music.
I confess to not actually liking the music when I first heard it. But the score grows on you. And, since I'm not as much of a sound afficionado as my above contemporaries, I think the sound on the CD is just great. It's certainly better than the previous bootleg I had for some years. From an altogether flop movie, the score, which has become something of a cult favorite over the years, is undeniably now in the best released form you're ever likely to see.
I hope all of you realize just what a Golden Age of soundtrack releases we are currently living in. The day will come when all of these will be highly prized collector's items.
Enjoy.
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Posted: |
Aug 28, 2003 - 4:06 AM
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By: |
Essankay
(Member)
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The music does grow on you. Much of it is traditonal Waxman and a third is what I call Wacko Waxman, like some of the stranger parts of Silver Chalice.
Wacko Waxman - that's pretty funny, Joe! Granted, it does have some peculiar moments, but nothing that strikes me as out of place for an ancient world score. I happen to like it very much; it's richly exotic, with much that is lovely as well. It also makes use of some fairly rare and unique-sounding instruments - the serpent, the taragato, and the sarrusophone. (Bernard Herrmann would approve.)
I'm thrilled to have this score available finally in a complete and legit release. Now hopefully on to THE SILVER CHALICE, a greater and more unified score by several degrees!
But has no one else noticed that another of the latest batch of Varese Club releases also suffers from some wow? I hear it in JUSTINE - not quite as evident as on RUTH, but still audible, at least to my ears.
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The only track on Justine where I notice any major problem is 13... As soon as that track comes on I know exactly what track I'm listening to from the poor sound quality.
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