 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Part 2 of my Kevin Costner double feature this past weekend was revisiting Field of Dreams (1989) which I've not seen in a long time. It was quick and easy to reinforce what a unique, timeless and perfect film it is, as is the score. There may be plenty of films about second chances and following dreams, but there isn't another IMO that does it like this one.
The script and the dialogue is just beautiful and I'm compelled to read Kinsella's Shoeless Joe book now. The performances are spot on, particularly by James Earl Jones who was robbed by not even receiving the courtesy of an Oscar nomination. When James Earl leaves us, his final shot in this movie is how I will remember him, laughing like a schoolboy as he heads into the corn fields. And then there's Burt Lancaster as Doc Graham in a moving performance that endures. What a perfect way for Mr. Lancaster to depart his craft...
The cinematography...breathtaking, ain't it? Fewer process shots than one would think, and a lot of luck and good timing to get some of those sunsets just right. Gorgeous-looking film.
James Horner's score is incredible for a variety of reasons, the main one being that the combination of the music's beauty with the emotional power of what's happening on screen makes even the Incredible Hulk well up with tears. The special features on the DVD frequently mention how this film is a favorite of many baseball legends who aren't afraid to admit this is one of the movies that makes 'em cry. Horner's work is integral in providing that result. I've always had a fondness for the two upbeat tracks of the score that accompany building the field and going to the library. They are two of Horner's most catchy and unique themes (one of them even includes lively tambourines!).
Now that 20 years has passed, I'm reminded how strong the film still resonates and how it will no doubt continue to do so for decades to come. Another perfect film and a perfect score from a bygone era, not so long ago, yet seemingly centuries ago.
And my favorite line:
"You lied to me!"
"Well you were kidnaping me at the time, ya big jerk!"
|
|
|
|
|
|
|
It's really a shame that Phil Alden Robinson didn't work more.
Just thinking about "The Place Where Dreams Come True" makes me want to just start crying all over the keyboard.
The "Moonlight" Graham subplot is my favorite, and recently it's been reminding me of our friend Howard L. I don't know why, but I'm now forever associating Howard with movies and television shows that deal with similar themes as Field Of Dreams and the "Walking Distance" style Twilight Zone episodes.
Some of Horner's best use of synths in this score, as well. "Night Mists" is a keeper.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Ugh, thanks JJ.
There's a difference between what he does on the Field Of Dreams documentary (remember when retrospective documentaries were this comprehensive?) and the already talked about Star Trek II flub. I'm not faulting Horner for having to think a minute before playing his themes. The Trek II thing was funny to me because the music he sings is clearly from Aliens and not from Star Trek II. The Aliens music was spun out of his Trek II Khan music (which was then spun into his Trek III Klingon music), and the humor in it comes from the fact that Horner himself has claimed, by way of defending his constant recycling, that he immediately forgets the scores once he's done with them.
I feel that it's important for me to note that Horner was once my favorite composer (before I really went all-out with Goldsmith), so I'm not one of those who's hated him since the beginning. The self-lifts and obvious steals were always annoying, but his music had such heart and feeling in it that I looked past it. It's my opinion that his music from the past 10 years or so has sounded like he hasn't given a shit at all and is just going through the motions.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Enjoy the film, the score and performances, particularly a graceful turn by Burt Lancaster, which no one ever mentions.
Well I mentioned it! 
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jul 6, 2009 - 2:28 PM
|
|
|
|
By: |
Matt B
(Member)
|
Enjoy the film, the score and performances, particularly a graceful turn by Burt Lancaster, which no one ever mentions. Regarding James Earl Jones, who is fine, I was always confused by his character. Why would a black man of his age be all moony about how great and meaninful pro baseball was way back when ... blacks were excluded!?!
It might help to mention that, in the novel, I believe Jones' character is actually J.D. Salinger. Salinger did not approve of using his name / likeness in the movie, and so the character was changed to the fictitious Terence Mann.
Also have to add my thumbs up for the whole "starting with synths and building to the orchestral payoff" approach Horner took with this score. It really works wonders, and "The Place That Dreams Come True" never fails to make me bawl like a baby... especially the swell on the classic "Hey dad..." quote.
|
|
|
|
|
|
Regarding James Earl Jones, who is fine, I was always confused by his character. Why would a black man of his age be all moony about how great and meaninful pro baseball was way back when ... blacks were excluded!?!
I think it works because baseball ended up being one of the first public arenas in which the "race barrier" was broken.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
