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 Posted:   Jun 3, 2001 - 12:30 AM   
 By:   WesllDeckers   (Member)

The last cue from the OST album from Goldsmith's Leviathan (track 11 "A Lot Better") reminds us why film music can be such fun!

 
 
 Posted:   Jun 3, 2001 - 12:40 AM   
 By:   Graham Watt   (Member)

Wes, I LOVE that track! I played it through the phone to my brother when I first got it, and he was sweating with emotion! I also heard it played in a shopping arcade here in Spain once, and I thought "Brilliant, but who decided THAT?"

Like John Williams adrenalin-bustin' Main Title for The Towering Inferno, Goldsmith's End Titles for Leviathan are WOW!

 
 
 Posted:   Jun 3, 2001 - 1:00 AM   
 By:   HAL 2000   (Member)

I love the End Titles too even though I've always felt that there was something kind of westerny about it. Still, it's a gas baby, as is Escape Bubbles from the same score.

 
 
 Posted:   Jun 4, 2001 - 7:59 AM   
 By:   D.E   (Member)

I'm with you guys on this, that end title is simply superb,as is the whole score.Those synthesized Whale calling effects in the opening UNDERWATER CAMP really add something quite wonderful to the piece.It's a pitty that Jerry doesn't write many end title pieces these days, but still,Brilliant score!

Dean.

 
 
 Posted:   Jun 4, 2001 - 8:03 AM   
 By:   David Newman Rules   (Member)

Unfortunately not too many people seem to like this score.
I also love it.
It`s one of Godsmith`s best syntheziser/orchestra
combinations.
As so many times with his great scores, it`s
for such a lousy movie.

 
 
 Posted:   Jun 4, 2001 - 8:36 AM   
 By:   OHMSS76   (Member)

I like this one too, and played the holy hell out of the cassette back in '89....makes a nice companion to another underrated,underwater score, Harry Manfredini's DEEP STAR SIX.

Doesn't anyone else like that one?
Sean

 
 
 Posted:   Jun 4, 2001 - 9:00 AM   
 By:   Brad Wills   (Member)

Yes, OHMSS I like DEEPSTAR SIX, too. You and I are the only people who do, apparently. Great main title! To stay on topic, LEVIATHAN contains some eerily beautiful passages but some terrific cues went unreleased on the CD and it's too horrifying to have to actually sit through the movie (which I paid to see in the theater...can I have that six bucks back?) to hear them. Besides, you really can't hear them because the music is mixed way too low. Big mistake.

[This message has been edited by Brad Wills (edited 04 June 2001).]

 
 
 Posted:   Jun 4, 2001 - 9:04 AM   
 By:   OHMSS76   (Member)

Cool! Kudos Brad! I've always had a soft spot for Harry's scores....there are some great things in DS6, like those rushing celli' in 'The Rescue', and of course the nautical main theme.

And I guess I'm the only one who can tolerate the film, LEVIATHAN, since I watched the awful full frame pan and scan from hell tape quite often in '89.

Sean

 
 Posted:   Jun 4, 2001 - 9:32 AM   
 By:   WesllDeckers   (Member)

Leviathan's score is underrated by most people. That's unfair. It is actually very much of the same calibre as High Velocity, Breakout, The Haunting,Rent-A-Cop, and some of Goldsmith's western scores. It isn't a high profile score (as the film itself), and it should be treated likewise.

I find Leviathan growing on me everytime I listen to it, still discovering new things when I focus my attention to a certain layer or instrument. And those pre-Total Recall rhythms! One word: adrenaline-rush!
[This message has been edited by WesllDeckers (edited 04 June 2001).]

 
 
 Posted:   Jun 3, 2001 - 10:21 PM   
 By:   Bill R. Myers   (Member)

I also like DeepStar Six. Marvelously detailed orchestral writing which indeed bears a Goldsmith influence; compare Shock Wave to Breakaway from Alien. Leviathan is quite a good score too, although the use of stock monster motifs puts it on the lower rungs of the Goldsmith ladder.


NP: Tristan and Isolde (Karl Bohm cond.)

 
 
 Posted:   Jun 4, 2001 - 12:15 AM   
 By:   Justin Doring   (Member)

I'm glad to see I'm not the only one who loves Leviathan. While it may not be an absolutely stunning score from beginning to end, there are a few truly great tracks. I'd definately put it in Goldsmith's top 25. The opening track is pure genius with the electronic samples (listen and you'll hear Horner's Titanic!), whale calls, and the slow building of the main theme. "One of Us" is a gorgeous cue with the piano, and the end credits are superb with that great main theme finally appearing in full force. It's really one of his most enjoyable score, and I fail to see why it gets called "mediocre" by a lot of people, even Goldsmith fans.

 
 
 Posted:   Jun 4, 2001 - 12:20 AM   
 By:   OHMSS76   (Member)

Hey, it's the 'Lesser Known, Lesser Loved' Goldsmith thread!

I also enjoy the subtleties of ANGIE, pop-influenced love music of MR BASEBALL, and can't get enough of WARLOCK, although the main theme is 'pokey'. Something about that score brings back memories of old Twilight Zone writing.


NP:Final Analysis(Fenton)Awesome..bring on the boot, since we all have the Varese!

Sean

 
 
 Posted:   Jun 4, 2001 - 7:16 AM   
 By:   jonathan_little   (Member)

I like that last cue from Leviathan, too. It really stands out from the rest of the score, and I'm really glad it was included on the album.

I saw a part of this movie on the SciFi channel. I was flipping through the channels and then I heard Jerry Goldsmith music! Later on I found out it was Leviathan and bought the album. http://www.filmscoremonthly.com/board/smile.gif"> I don't remember much about the movie, though.

 
 
 Posted:   Jun 4, 2001 - 7:21 AM   
 By:   Spacehunter   (Member)

I'm afraid I don't recall the score at all, but I rather enjoyed the film. This was during the post-ABYSS, set-in-underwater-film explosion, correct? If I remember correctly, the creature in LEVIATHAN looked more believable than the one in DEEP STAR SIX, which I recall looking like something from the tank at Red Lobster, on less life-like. http://www.filmscoremonthly.com/board/biggrin.gif">

np CLEAR AND PRESENT DANGER

 
 
 Posted:   Jun 5, 2001 - 9:06 AM   
 By:   alarli   (Member)

The period 1988-1989 was very disappointing for Goldsmith fans. Bad movies, weak scores, but 'Leviathan' is an interesting score, with a nice main theme and strong action cues (reminiscent of 'Final Conflict'). The synthesizers, in this case, worked very well.

 
 Posted:   Jun 5, 2001 - 12:03 AM   
 By:   WesllDeckers   (Member)

I never have seen the film (yet). In the last 8 years none of the Dutch channels have broadcast it. I've read that it was some sort of The Abyss rip-off, altough it could be a case of 'parallel-evolution', just like the two volcano and meteor pictures from a couple of years ago.

One thing that I can tell, no matter how good Silvestri's score for The Abyss was, Goldsmith certainly surpassed him.
Besides the terrific end cue, the action cues are buzzing with rhythms and very detailed. And they're all build on one motif!
I love the alienating whale sounds, and the backwards played 'stinging' effect (I don't know how else to call it) really irritates me, and I love it!
I'm particulary a fan of Goldsmith's weirder or more unusual experiments, and Leviathan reminds me of his Logan's Run score, albeit it is a bit more energetic.

The opening cue evokes (at least to me) the same feeling as the title cues from Alien: a lonely feeling, filled with hope and despair at the same time. A feeling of a journey, of discovery.
Leviathan gets better everytime I listen to it.

 
 
 Posted:   Jun 5, 2001 - 12:28 AM   
 By:   HAL 2000   (Member)

quote:
Originally posted by WesllDeckers:
I never have seen the film (yet). In the last 8 years none of the Dutch channels have broadcast it. I've read that it was some sort of The Abyss rip-off,

It's a horrible movie. And Carlo Rambaldi's much ballyhooed creature effects were cheezy. The more of the monster they showed the less scary it became. The movie has more in common with Alien than The Abyss. Needless to say that it fell miles short of it its inspiration.

Goldsmith performed admirably working with such nonsense.

 
 
 Posted:   Jun 6, 2001 - 2:53 AM   
 By:   David OC   (Member)

I find this thread extremely amusing and I'm staggered Jeff Bond hasn't joined in to laugh in all your faces. Sure, the first and last tracks are decent, but everything in between is strictly second-grade Goldmith, and anyone who believes otherwise simply has no concept of how many actual GREAT scores Goldsmith has written that are streets ahead of something like Leviathan. To say that it's top 25 or compares in part to Total Recall is ludicrous and sadly, sadly uninformed.

 
 
 Posted:   Jun 6, 2001 - 3:07 AM   
 By:   Timmer   (Member)

At last someone says it like it is...quite simply Leviathan STINKS!...film AND score!!

Yes, I'll give a tip of the hat to the above average theme (that end cue is total cheeseville though...ugh!!)...the rest is just pap, this was Goldsmith in scoring by number form.

NP : Rosewood - Williams

 
 Posted:   Jun 7, 2001 - 3:29 AM   
 By:   Hercule Platini   (Member)

I saw the film a few weeks before its UK release, and I enjoyed it for what it was.

I think it's a terrific CD.

NP: FLUBBER (Danny Elfman), which frankly isn't.

 
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