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Posted: |
Apr 26, 2014 - 1:25 AM
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By: |
DavidCorkum
(Member)
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I, too, like Criminal Law quite a bit. It has a very effective modern film noir sound, very atmospheric. There are Goldsmith scores I don't like much, ones I find kind of drab, but even so I find it hard to criticize them as functional scores - they fit the flavor and dramatic requirements of their films just as fine as any of Goldsmith's efforts. The man could write in so many styles - americana, jazz, asian, south american, atonal, electronic, military, symphonic, chamber music - that it's just normal to not find them all equally to one's taste. But an appreciation lies in hearing his voice coming from so many different directions, and in the diversity of his imagination.
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Posted: |
Apr 26, 2014 - 2:02 AM
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By: |
Heath
(Member)
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OK, Let's forget for the rest of this thread how the score sounds on CD APART from film it was composed for.
What score of Mr. Goldsmith's do you THINK didn't work in the film it was written for instead.
I will flat out say that the scores to CRIMINAL LAW and MR. BASEBALL work great for the these films and add much to them (I know I saw both of them).
If you want to go on how you hate the Synth scores he did in the late 80's and 90's, go ahead.
But can any of you point to a score that he did that just didn't work in the film it was commissioned for?
Ford A. Thaxton
I've written this before. I think Link and The Last Run didn't really work. Both contain some nice moments in purely musical terms, but the scores don't strike the right tone within the contexts of the films.
In Link, the music is mostly serio-comic and goofy when perhaps a more consistently serious atmosphere might have helped... and that movie needed a lot of help.
The Last Run score is at odds with the sombre nature of the film and the texture of Sven Nykvist's great cinematography. Jerry went for a spy/cop/Euro-pudding kind of sound that, listening today, verges on parody. It's certainly hasn't dated well. But again, the movie itself is not very good.
Look, there many reasons a composer takes an approach. Sometimes it's just a straight instruction by the director/producer. Goldsmith's track record is otherwise pretty damn flawless. He was the master of dramatic/musical judgement. Two missteps out of two hundred scores. In other words that's 99% success. That ain't exactly a bad batting average, and no other composer has done better.
This is for absolute sure: Goldsmith often gave a bad movie a better score than it deserved, and he NEVER mis-scored a good movie. Ever.
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I really can't believe all the hate for CRIMINAL LAW. I think it's Goldsmith's best all-synth score, definitely more listenable than RUNAWAY, parts of which I like very much. CL is written very orchestrally with parts for piano, synth strings, brass, percussion and other looped samples such as the sound Peter Gabriel used in one of his songs (as previously mentioned on this thread). It's also very effective in the film...I recommend those that dislike the score on disc to watch the film and you may warm up to what Goldsmith was creating musically.
I don't even know what CRIMINAL LAW is, let alone its score. Never heard of it. Guess I need to go to imdb.
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Hahahahaha, Jeff Bond.
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I only judge a film score based on its impact on the film. My comment about THE CASSANDRA CROSSING is from watching THE CASSANDRA CROSSING, not listening to a record. Judging a score sans film, is stupid.
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