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Posted: |
Mar 26, 2010 - 7:26 PM
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By: |
ToneRow
(Member)
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While Toshiro Mayuzumi's music for 2 English language films ("The Bible" and "Reflections In A Golden Eye") seems to be quite infrequently discussed and deserves more evaluation and acclaim (not to mention expanded releases on CD), his hundred scores within the Japanese film industry from 1951 through 1984 receive hardly any recognition, except for "Tokyo Olympiad", which has had album incarnations.
While Mayuzumi's work on the couple of John Huston films begs for more attention, Mazyuzumi's collaborations with many Japanese film directors should likewise get equal consideration.
Here are a few Mayuzumi-scored Japanese films whose directors are more well-known internationally:
1953 Mr. Pu (Kon Ichikawa)
1954 Woman In The Rumor (Kenji Mizoguchi)
1956 Street Of Shame (Kenji Mizoguchi)
1958 Enjo (Kon Ichikawa)
1959 Good Morning (Yasujiro Ozu)
1960 When A Woman Ascends The Stairs (Mikio Naruse)
1961 End Of Summer (Yasujiro Ozu)
His most prolific collaboration is likely with director Shohei Imamura, with whom Mayuzumi scored 8 films during a ten-year period from 1958 to 1968 - some of which include:
1961 Pigs And Battleships
1963 The Insect Woman
1964 Murderous Insects
1966 The Pornographers
Though Mayuzumi continued to write some film scores in the late '70s/early '80s, he was not attached to the later Imamura films, such as "Vengeance Is Mine" ('79), "Ballad Of Narayama"('83), or "The Eel"('97), all scored by Shinichiro Ikebe. Perhaps the topic for another thread?
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I've seen yesterday Reflections in a Golden eye (which unlike somewhere that i read that his score doesn't work in the film , I found it quite effective) and of course I know his work in the Bible too.
My question is why this great composer didn't get more jobs in Hollywood?
It was his own choice maybe or Hollywood wasn't interested?
After all, he was nominated for an oscar, and I thought he could be assigned more jobs after this..
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Not sure how interested he might have been in Hollywood. Interesting that forward thinking Hollywood and Britich film makers were faily quick to reach out to European composers like Delerue, Legrand, Nascimbene, and Morricone, not to mention the Greeks Miklis and Manos, who were hot for a while.
Did Ifukube and Satoh ever receive any overtures at least, or was the cultural bridge just too strong? Easier I suppose to have Jerry do that Asian-thing he did, which was fine for my Western ears but I imagine Eastern audiences might have found insufferable.
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