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I like it- it's got a real pretty little theme in it, much in the vein of "Summer Place" and if you refer to "The Mant", yes, there is "score within a score" music in it- it's a fairly satisfying little listen.
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I love this score, my favorite tracks are 1 and 10, track 10 is like 7 minutes long and is just pure Goldsmith. I think it does capture the feel/mode of the 50's very well.
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Some of the vintage music in Matinee is by Herman Stein I believe. The Atomo Vision logo music is right out of This Island Earth. I love Jerry's score to Matinee.
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Posted: |
Sep 28, 2006 - 1:48 AM
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By: |
Howard L
(Member)
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Well, I found something in d'udder place that expands upon my infatuation. This was written like 6 years ago:
...the cue is entitled "Halfway Home" and begins with what I'm sure was an intended parody of the "Alfred Hitchcock Presents" TV theme. After this part comes the music/scene I alluded to with Jerry.
You may recall Mr. G stating that with Patton he felt he "captured the essence of the character." Hearing him specifically use that phrase "capture" gave me tremendous satisfaction. If he had the time, I would have liked to discuss the old capture vs. create thing by comparing his approaches to "Halfway Home" and Poltergeist's "The Light." The reason is that both scenes depict a grown-up mentoring a youngster; again, with Matineee it was the John Goodman character walking down Main St. and explaining the magic of making movies to the awestruck young man. I love the scene so much because Woolsey/Goodman doesn't patronize one bit and Jerry "created" a beautiful mood of melancholy to the whole thing. At one point, though, the music turns ominous, menacing and this is where Jerry "captured" the boy's feelings as he views an imaginary animated prehistoric beast in-tandem with Woolsey's voice-over. But then it goes back to that beautiful music as the camera swings forward into the theatre and makes its way past the ticket counter, popcorn machine & into the auditorium. It is a powerfully directed scene.
With Poltergeist it was when the Beatrice Straight character explained to the little boy the story behind the lost souls and their loneliness, "oh, they're so lonely." The music of "The Light" perfectly captured both her's and the boy's fascination, awe and wonder. You see this in their faces. It's a magnificent moment.
My question to Jerry would be "2 similar scenes, 2 different approaches; was this a deliberate act or was it more an instinctive thing on your part?" Could be a neat discussion. I've tried playing "Halfway Home" while envisioning the Poltergeist scene in my mind, and it's somewhat of a fit, but a tough one. "The Light", however, together with the Matinee scene is a no-go. One reason, perhaps, is that even though there are some moments of comic relief in what is essentially a horror film with Poltergeist, the opposite holds true for Matinee, a film that is basically a comic romp with moments of sublime drama.
What a neat way to pick apart J's composing mind. Ah, the stuff of dreams.
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Doesn't Ruth Corday (Cathy Moriarty) have a jazzy piano theme too? It's played more than once I think.
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