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Some of Page Cook’s opinions on the scores from 1974: THE GODFATHER PART II (Nino Rota) – “plodding, lugubrious pasta that [Rota] over-boiled” McQ / GOLD (Elmer Bernstein) – “cannot be called polished scores no matter what rationalizations [Bernstein’s] admirers proffer” THE ISLAND AT THE TOP OF THE WORLD (Maurice Jarre) – “inoffensive, which is enough from this ‘composer’” ...... The more I read of him, the more he sounds like a radio shock jock: wanting to rile up people to maintain his profile.
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it Would interesting to see what his choices were for the Best of 1974. Ford A. Thaxton You can find his entire three-decade history of top score picks earlier in this thread. Courtesy of the Master List Maker!
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I recall the fictional compilation album. I don't recall most of the contents, but I think Story of Ruth might have been one of the suites. The one thing I always looked for with Cook was his ability to suddenly praise a score by a composer that he had previously, and would again, blast. Ron mentioned his Jarre rants, yet Cook praised Pope Joan and listed it as the second best score of that year. Barry, also not a favorite, was given credit--as well as criticism--for The Last Valley. Sometimes Cook could pretty much knock a score--Barry's The Whisperers--and then later on The Whisperers shows up as fifth best score of the year.
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I had corresponded a lot with Page when I was a teen. I was coming to New york and He invited me to stay at his place for a day or two to Listen to tons of rare film music tapes. we not only did that but he made me copies of everything we listened to. During this long session, he called Ken Darby on the phone and he introduced me to him via long distance. This eventually led to my being invited to kens houe in Los Angeles and attending some of Alfred Newmans sessions for his Camelot score. Page was very kind and generous but disgusted with the current state of film music. Imagine how he would have felt today with this crop of composers and "sound wall" scores.... SCOTT
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