 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Peter Cushing absolutely HATED that film. As Grecchus says, he did indeed take every project very seriously, but he's VERY uncomfortable in this role. Too "realistically nasty" for the gentlest of gentlemen. And dan, I don't think they did speed up the film... Peter Cushing could actually run pretty fast! Very energetic in many roles. I love the way how, in fight scenes, he rolls over tables backwards, jerks his head from side to side, gets all floppy-haired, and then smooths the hair back over his ears, dabs his lips with a clean silk handkerchief, and goes back to being charming and dignified again.
Regarding Bill McGuffie's music score in that clip, well, I don't think it would work if it were even a porn film. But what if I told you that in the original script, Peter Cushing played the part of a frustrated jazz musician who failed the audition as principal soloist at a Ronnie Scott gig, only to have his concert replaced by young girls in mini-skirts doing backing vocals to someone else. Context and subtext is of fundamental importance here. Would the scene and score work now? Even a tiny bit?
Or is the score just completely wrong on every level? I suppose there must be a "totally wrong" way of scoring a film... Or can we justify absolutely all approaches as valid "in their way"?
And going back to that old "British/ American Sound" thread, does the jazz on the soundtrack strike anyone as being "not from the USA"?
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
