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aka CRIES IN THE NIGHT.
This was the last film Jerry Fielding worked on before his untimely death.
I've read quite a few comments about how it was 'not worthy of his talents' or 'beneath him', but I wonder if many here have seen the film or heard the score?
What is it like?
Would it be wanted much as a future Fielding release?
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I agree with Goblinscore. This is neither a bad movie nor a bad score. I think the original comments on the quality of the film were made by Nick Redman in the liner notes to one of the Cds but I'll have to check that. (Or someone else can correct me).
My take on the comments were that this was not an A-list feature and the writer was lamenting that Jerry was not working on more high profile pictures at that stage in his career.
When I finally saw the film it was not as bad as the writer would have you believe. Make no mistake, this is a low budget, who-dun-it, slasher, but it's not as bad a some I've seen. And Goldsmith and Morricone have scored their share of duds too so perhaps it's not bad company to keep. All depends on where you put your benchmarks I guess.
Wanna know who the killer is?
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Posted: |
Sep 14, 2010 - 8:35 PM
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By: |
ToneRow
(Member)
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I actually bought the DVD of this film, because I wanted to confirm that Fielding had cribbed from Lutoslawski as I thought I had heard while watching a snippet of the film on TV some time before.
(Yes, he did ... see http://www3.telus.net/~mjq/fielding/)
Both the film and score are forgettable.
I have purchased many films on DVD just to have its music score within my possession in those cases where the soundtrack does not exist.
However, I never bought a movie on home video just to confirm that its composer had lifted musical passages from concert works.
True enough, I've heard portions of absolute music surface as musical quotations (uncredited) within film scores, such as a musical flourish contained in Karol Szymanowski's "King Roger" opera showing up ever so briefly in Loek Dikker's score for "The Fourth Man", for instance.
But I don't think that a bit of 'cribbing' invalidates an entire film score; after all, what's the percentage of the people viewing "The Fourth Man" also owning all of Karol Szymanowski's compositions on disc?
I would rather like to think that a composer writing music for film wishes to share his love for certain concert composers and their works (which are not readily recognizable except to those few of us who are connoisseurs) and pays hommage to them by incorporating allusions into his film scores that would only be detected by those in the audience whom are sufficiently well informed enough to grasp these quotations.
I'm not a composer, but, if I were, I'd love an opportunity to present some of the music from my most favorite composers (like Charles Koechlin and Andre Jolivet) into the overall musical fabric of my imaginary film score.
Nevertheless, I appreciate the effort one has made to catalogue the musical sources that Jerry Fielding called upon in his film scores, and welcome any such further documentation to aid me in my future endeavors to procure yet more stimulating compositions whose existence I may not have been aware of, or content I was never familiar with...
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Posted: |
Jul 12, 2011 - 1:56 AM
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By: |
Loren
(Member)
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Great and very interesting news from Roger Feigelson (Jul 11, 2011 Intrada board):
"I don't usually talk about upcoming projects, but we hit an interesting situation with this title and I wanted to let you know what we're doing so there is no shock and awe when it's released. As many of you know, the AFM makes available a very generous historic discount rate on new-use fees which has enabled us and other labels to release many of some of our most wanted scores. Without it, you wouldn't have Back to the Future or Goonies or Predator.
Funeral Home was recorded in Canada and unfortunately, the Canadian musicians union can do its own thing. As in the case here -- they will not honor the US historic rate. The AFM really tried to make a case to them, but they were steadfast in not changing their position. Therefore, in order to do this project, we have to pay a significantly higher new use rate. My first reaction was, that kills this project. Which is a shame.
We had already transferred the 2" 24-track elements. The music sounds spectacular. It's important because it's Fielding's last score and it's a horror score. He didn't have many (any) of those and it's actually a very strong score.
But I figured out a way we can do it. We may only break even, but we could do it if we sell 1200 units at $29.99. I'm passionate about making this project happen because I really like the score. I just don't want folks to scream bloody murder when they see the price tag. Now you know why. Roger"
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This is wonderful news. I could care less if it is $10 more - I'm definitely ordering this! There are simply not enough horror soundtracks being released on CD these days, so I will always be supportive on the rare occasion one is.
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Posted: |
Jul 12, 2011 - 12:51 PM
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By: |
Heath
(Member)
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I just took the time to watch this movie on youtube (yup, it's there, lousy quality, but there). The movie is... what it is. Fielding's score, however, is something else. I think it's a fine score, and elevates the film as much as it possibly can be elevated. Although there's quite a bit of music that will be familiar to Fielding admirers, there's a fair amount of material that's new to my ears. Love it. In a way, it's almost, though not entirely, a return to the more ethereal sound he achieved using UK orchestras and engineers in the early 70s. I never thought that his music benefited much from the dry/close LA scoring sound of the period. For Funeral Home, he apparently used Canadian musicians and engineers with pleasing (to me) results.
Roger called it a strong score. It is. I'd go further and say it might be one of his best since Demon Seed. That's quite a feat in light of his very poor health at the time. So a CD is well worth a release for its own sake, and especially worthy because the score was his very last.
I'm looking forward to the CD (I'll buy two if it'll help the books  ), and reading, in what will no doubt be excellent liner notes, about the score's background history. I'm sure it will be more than a little tinged with poignancy considering the sad circumstances.
One thing, if no other, that the Funeral Home score proves: Fielding was an ARTIST from first to last.
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I'm buying it when it come out, no question about it.
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Count me in for this one too.
After reading somewhere that the master tapes apparently went missing I never thought this one would ever appear on cd.
And I don't mind the higher price. Rather pay a little more than never see the score released.
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