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Good analysis as usual, but I must correct you on one thing.
You suggest Barry "resigned" from Bond after The Living Daylights. Not quite. He was slated to score LICENCE TO KILL and the producers held out to the last minute before hiring Kamen. (Barry was famously hospitalized after nearly dying.)
It was at GOLDENEYE that he suggested the Broccoli's go with someone new. However, after the failure of that film's score, he was back in talks to score TOMORROW NEVER DIES and, apparently, nearly did — but for various reasons allegedly including fee and, more importantly, involvement in the song, it fell through.
It was only at that point that Barry was completely out of the picture.
Cheers
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My favorite Bond score (and film).
YOR's too!
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Posted: |
Jun 18, 2013 - 10:26 PM
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By: |
Zoragoth
(Member)
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Good analysis as usual, but I must correct you on one thing.
You suggest Barry "resigned" from Bond after The Living Daylights. Not quite. He was slated to score LICENCE TO KILL and the producers held out to the last minute before hiring Kamen. (Barry was famously hospitalized after nearly dying.)
It was at GOLDENEYE that he suggested the Broccoli's go with someone new. However, after the failure of that film's score, he was back in talks to score TOMORROW NEVER DIES and, apparently, nearly did — but for various reasons allegedly including fee and, more importantly, involvement in the song, it fell through.
It was only at that point that Barry was completely out of the picture.
Cheers
As much I would treasure another Barry Bond score (and another Barry score period) it's hard to imagine what he would have done with the soulless enterprise that was TOMORROW NEVER DIES, with all that meaningless action that goes on and on to the point that it has zero impact.
I think Barry would have been pretty bored by it all....
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I think John Barry was remarkable with his Bond scores in that I don't think there was a single Barry/Bond score that fell below the "this is good" line. And as Goldsmith once said, the fact he created new themes every time rather than just re-using old ones, was remarkable.
That said, I think most people would agree that Octopussy and A View To A Kill showed some tiredness relative to the vitality of the early Bond scores.
What he did with The Living Daylights is he pulled "an OHMSS" on us: he was writing good Bond stuff anyway, but even so, it's like he decided to push it up a notch, much like he did with OHMSS.
And to have no less than three songs/themes to work with ... well there was a gold mine of great material to expand on there.
I honestly don't think Barry had "planned" this to be his final Bond score, it just turned out to be. But I'm glad he went out with a blast and not a whimper.
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Posted: |
Jun 19, 2013 - 3:58 PM
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By: |
Zoragoth
(Member)
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That said, I think most people would agree that Octopussy and A View To A Kill showed some tiredness relative to the vitality of the early Bond scores. ...
What he did with The Living Daylights is he pulled "an OHMSS" on us: he was writing good Bond stuff anyway, but even so, it's like he decided to push it up a notch, much like he did with OHMSS.
And to have no less than three songs/themes to work with ... well there was a gold mine of great material to expand on there.
I honestly don't think Barry had "planned" this to be his final Bond score, it just turned out to be. But I'm glad he went out with a blast and not a whimper.
Maybe it's not creatively as innovative, but OCTOPUSSY is one of my favorite Bond scores, as well as my favorite Moore Bond film. Lush, beautiful, exotic, with a splendid subtext suggesting the Octopussy character's loneliness and isolation, a theme otherwise only marginally hinted at in the film itself.
As much as I enjoy all the Moore films (though having watched SPY WHO LOVED ME on blu-ray a month ago I remain as puzzled as always at its popularity), the series found new energy with Dalton's first outing as a more intense and edgy 007. Barry may have been dubious about the casting choice (ironically, Dalton not too many years ago hosted a Barry/LION IN WINTER tribute with the composer present), but he seemed to respond to the film's refreshed tone, and as Mr Woolston observes, pushed it up a notch .. and then some!
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yet again ,
another well done piece I thank you ,
i remember see this when it came out as i did with most of the bond movies ,
it was the score for sure that make this feel so bond even with the synth work and some of the standout pieces such as The Harrier takes off i could not wait to get the LP home to play it as i bought it at the cinema as you could then ,
soon after I bought the cd always wanted more of the score and of course it did come many years later well worth the wait
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