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There are two tracks on John Barry's "From Russia With Love" soundtrack that are not heard in the film ("The Golden Horn" and "Guitar Lament"), but I'm convinced that Barry did write them for the film, but they were dropped in the final film mix.
"The Golden Horn" was meant to be heard at the start of the scene where Bond and Tatiana board the ferry (at 59:56 on the old Special Edition DVD), and Bond interrogates Tatiana by way of his camera/tape recorder. The music ends when the scene dissolves into M’s London office and the tape is being replayed, just before Tatiana interrupts her technical Lektor information and exclaims “Oh James! Oh James!…” (1:02:23).
The “Guitar Lament” was to appear earlier in the film, at the end of the gypsy camp fight as Bond tends to Kerim Bey’s arm wound (from 46:34 to 47:44) so that the piece is sandwiched directly between the musical cues “007” and “Gypsy Camp” (“Girl Trouble,” “007,” “Guitar Lament,” and “Gypsy Camp” were to form one continuous musical sequence).
If you take the “Gunbarrel” music from the DVD and add it to the CD, here is the proper sequencing:
1. Gunbarrel 0:21
2. Stalking 2:03
3. From Russia With Love – Main Title 2:30
4. SPECTRE Island 1:15
5. Tatiana Meets Klebb 1:29
6. James Bond With Bongos 2:33
7. Kerim Bey’s Close Call 1:01 (The first part of “Death of Grant” on the album)
8. Leila Dances 1:55
9. Girl Trouble 2:22
10. 007 2:43
11. Guitar Lament 1:08
12. Gypsy Camp 1:13
13. Bond Meets Tania 1:17
14. Meeting In St. Sophia 1:09
15. The Golden Horn 2:27
16. 007 Takes The Lektor 3:03
17. Death Of Kerim 2:30
18. The Zagreb Express 0:57 (From the Silva Prague recording)
19. Death Of Grant 0:59 (The second part of “Death of Grant” on the album)
20. Man Overboard 0:41
21. Death Of Kronsteen 1:37 (The second part of “Man Overboard” on the album)
22. From Russia With Love Sung by Matt Monro 2:35
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"Golden Horn" is the translated name of the body of water that the ferry is crossing, an estuary that divides the city of Istanbul. It could be the name of the ferry too, I suppose.
Quite true.
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Posted: |
Nov 17, 2006 - 2:13 PM
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By: |
stevieD
(Member)
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hi George, your track 10, 007, I think goes after Man Overboard, I think was for the boat chase sequence, there's even a nautical reference in the track. I played the track over the sequence once, works nicely
Also if you have an afternoon(or year!) free, & a mini-disc or similar editing facility with pitch control dig out 007 Takes the Lektor track on cd, isolate the drumbeats between 48 & 49 secs, loop it 10 times then edit with back the track itself, but further along at the 2mins 7sec point of the track, and hey presto you have the Gypsy Camp Attack music, already tried it and it exactly matches the film version. If your a perfectionist do a gentle fade prior to the sting at the end as well.
Spent 6 hours removing the gunshot from the M&E track of FRWL as well, by removing the guitar twangs with the gunshot and replacing them with twangs further on in the gunbarrel music, it was a real "son-of-a-bitch" to match it but it eventually worked.
I will be publishing a book called "How To Make More James Bond Music From What You Already Have" (I am of course kidding),
I need counselling!!!!!
Steve J
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I will be publishing a book called "How To Make More James Bond Music From What You Already Have" (I am of course kidding),
I need counselling!!!!!
Steve J
No, I think you're cool! Society might say that we Classic-Bond-score nuts have a "music problem," but I say keep binging and never purge.
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Spent 6 hours removing the gunshot from the M&E track of FRWL as well, by removing the guitar twangs with the gunshot and replacing them with twangs further on in the gunbarrel music, it was a real "son-of-a-bitch" to match it but it eventually worked.
Actually, I did remove the "gunshot" by copying a bar-and-a-half of the guitar riff (starting at its repeat) and pasting it over the first bar-and-a-half that contained the gunblast. But it took me no more than about 5 minutes.
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Posted: |
Nov 18, 2006 - 1:27 AM
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By: |
stevieD
(Member)
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5 mins ,well, you are obviously an extremely talented individual(and quick), I salute you sir!
perhaps I should have elaborated, one tends to get "shot down in flames" here, I actually did loads of different versions from various sources, dvd, laserdisc M&E, Sony Digi-Beta, till I got a version I was happy with. Other time was spent tinkering with the treble, bass etc so it matched the rest of the music on the cd. Also some of that time was spent mixing a version of it in with the Stalking track.
Steve J
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Quite true.
Damn! All these years and I never knew this!
Thanks!
brm
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Insult away!
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So, while the argument for The Golden Horn placement (after "Meeting in St Sophia") is perfectly reasonable - I've even tried matching it up to the film and it seems to fit - someone at JWFAN (a few years back) said this:
Well - it's quite a long story - the cue was written for a scene where Kerim shoots that guy (who Grant kills in the Mosque) - but then they (the filmmakers) found out that that character died twice, so they got rid of the quick-on-the-draw contest, which would have gone before the meeting in St. Sophia Mosque. The cue was going to be used as source music for that scene.
http://www.jwfan.com/forums/index.php?showtopic=3429&p=202081
Who is right? 
Well, it's hard to decide about a scene that has never seen the light of day, but "The Golden Horn" cue is a little bit too upbeat for a shooting. Compare with the suspenseful music for the night-time scene where Kerim shoots Krilencu as the latter escapes by rope out through a trap door in a poster of Bob Hope and Anita Ekberg in Saltzman & Broccoli's "CALL ME BWANA" (a harbinger of the blatant promotion that would infiltrate Bond in later years -- "She has a lovely mouth, that Anita.").
"The Golden Horn" cue is playful travelogue music. The ferry scene itself is playful, highlighted by Tania speaking into Bond's recorder. It ends playfully as well:
TANIA'S VOICE
There are twenty-four symbols, sixteen code keys. It is inserted in a slot. And the message comes out on a paper roll from another slot on the other side. And the mechanism is... oh, James... James... will you make love to me all the time in England?
BOND'S VOICE
Day and night. Go on about the mechanism.
TANIA'S VOICE
Oh, yes, the mechanism. Once when it was being repaired I saw the inside. There were many perforated discs made, I think, of copper, with a small light...
ANGLE ON 'M' AND MISS MONEYPENNY
TANIA'S VOICE
Dooshka, tell me the truth. Am I as exciting as all those Western girls?
Miss Moneypenny blinks, then breaks into a cryptic grin.
BOND'S VOICE
Oh, once when I was with 'M' in Tokyo, we had an interesting experience.
'M' shuts off the machine.
'M'
Thank you, Miss Moneypenny. That's all, that's all.
... and that's where Barry's music ends!
Here's the script:
http://www.dailyscript.com/scripts/FROM.doc
It contains the Death-of-Hassan scene that appears in the St. Sophia Mosque.
Why would the producers film a previous Death-of-Hassan scene before the script was finalized?
And, since the music is one of those things that are done in post-production, why would Barry score a scene that wasn't in the final script?
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