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Telefon/Hide in Plain Sight (1977/1980)
Music by Leonard Rosenman, Lalo Schifrin
Telefon/Hide in Plain Sight Telefon/Hide in Plain Sight Telefon/Hide in Plain Sight
Click to enlarge images.
Price: $19.95
Limited #: 2000
View CD Page at SAE Store
Line: Silver Age
CD Release: March 2011
Catalog #: Vol. 14, No. 4
# of Discs: 1

This Film Score Monthly release premieres two Silver Age scores for films which take very different approaches to their respective stories. Telefon is a taut cold war thriller which plays out on an international stage; Hide in Plain Sight is a moving personal drama which focuses on family. To some extent, these differences are reflected in the music for each film.

Telefon (1977) features Charles Bronson as a KGB agent charged with heading off an international crisis by finding and killing a rogue Stalinist who is activating sleeper agents planted in the United States during the 1950s. Lee Remick co-stars as his helpmate (actually a double agent). The brooding and atmospheric score by Lalo Schifrin contributes greatly to the film’s tension. Apart from a deceptively peaceful folk-like melody for the rogue Russian agent and a would-be “love theme” (not developed until the end credits), the score is essentially devoid of expansive melodies.
 
Schifrin’s music relies instead on carefully inflicted motives (à la Bernard Herrmann) and a vaguely Russian harmonic and melodic basis—reinforced by prominent use of a cimbalom in the orchestration—to provide atmosphere and a sense of menace where appropriate. The original multi-track recordings of Telefon do not survive, but FSM has created a convincing stereo image from a ½" three-track monaural mix preserved by the studio.
 
Hide in Plain Sight (1980) is based on the true story of a New Jersey factory worker whose children are whisked away by the Federal Witness Protection program when his ex-wife’s mobster husband turns state’s evidence against his former associates. James Caan—who also directed the film—plays Thomas Hacklin, a man who takes on powerful governmental forces in an attempt to find and re-unite with his kids.
 
Leonard Rosenman composed a relatively brief score for the film, of which Caan ultimately used only four cues (two of which are source music), retaining Rosenman’s soaring, lyrical theme for Hacklin’s relationship with his children (including the touching finale), while eliminating the more dramatic, suspense oriented material. This FSM CD reveals for the first time the much broader range of Rosenman’s effort since it includes all the music the composer recorded for the picture, newly remixed from ½” three-track stereo masters.
 
The accompanying 20-page booklet includes essays on both titles by film historian Scott Bettencourt, FSM’s customary track-by-track analyses, film stills and promotional materials. Longer, more detailed versions of Bettencourt's essays are available here, along with FSM's other free online notes.
Leonard Rosenman Scores on FSM
About the Composer

Leonard Rosenman (1924-2008) was an accomplished 20th century American composer with a major career in film and television. He was an up-and-coming New York concert composer when his friendship with James Dean lead to his groundbreaking 1955 scores for East of Eden and Rebel Without a Cause; his score for The Cobweb that same year is acknowledged as the first to be based on twelve-tone music. His other film projects include Fantastic Voyage, the 1978 Lord of the Rings, Cross Creek and Star Trek IV; his television work includes Combat, Marcus Welby, M.D. and Sybil. Rosenman made no apologies for his modernist style and was outspoken about using his film projects as testing grounds for concert works. IMDB

Lalo Schifrin Scores on FSM
About the Composer

Lalo Schifrin (b. 1932) is an Argentinean-born composer, conductor, arranger and pianist who has made a major impact on film, TV, the concert hall and jazz stage. He parlayed an early career as a pianist and arranger for Dizzy Gillespie into a run as one of the hottest film and TV composers of the 1960s and '70s, with projects such as Mission: Impossible, Bullitt, Dirty Harry, Cool Hand Luke, Enter the Dragon and more. His more recent films include the popular Rush Hour series. He is beloved for his Latin jazz but is also an accomplished classical composer and conductor with ongoing recording, composing and performing projects.IMDB

Comments (24):Log in or register to post your own comments
http://www.screenarchives.com/title_detail.cfm/ID/14997/TELEFON-HIDE-IN-PLAIN-SIGHT/

The finale reminds me a lot of Leonards great score to Making Love also made around that time in 1982.

The finale reminds me a lot of Leonards great score to Making Love also made around that time in 1982.[/endquote]

Interesting ;) The first few notes remind me a lot of the song from Star Trek V :)

This is the kind of release where I would love to be able to buy only the tracks I wanted, namely the Rosenman music, and skip the Schifrin. The samples of the Rosenman music sound great.

thanks for information ordered!!!

Great release, seems like a lot of classic Bronson films get their releases :-)

Great price for both scores. :-)

Out of interest, on TELEFON, why did you choose to create "a convincing stereo image from a ½" three-track monaural mix" on this occasion rather than leave the mono mix? And is this something that you consider for all mono sources you get?

Out of interest, on TELEFON, why did you choose to create "a convincing stereo image from a ½" three-track monaural mix" on this occasion rather than leave the mono mix? And is this something that you consider for all mono sources you get?[/endquote]

To be specific, what we had was a three-track mix made for a mono movie so it is not panned like you would expect an orchestra to sound naturally. You have all the strings in channel one, all the winds and percussion in channel two, and all the brass in channel three, for example. We use various tricks to try and make it sound like a live orchestra, like splitting the strings left and right based on the frequency.

Lukas

Any movie soundtrack for sale starring Charles Bronson is ORDERED.

Mild.

Definitely ordered. Thanks, Lukas--and all at FSM!

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Track List
Instruments/Musicians
Click on each musician name for more credits
For more specific musician lists for the scores on this album, go here:
Hide In Plain Sight
Telefon

Leader (Conductor):
Leonard Rosenman, Lalo Schifrin

Violin:
Murray Adler, Leonard Atkins, Israel Baker, Arnold Belnick, Doris Y. Carr, Norman Carr, Herman Clebanoff, Shirley A. Cornell, Glenn Dicterow, Bonnie J. Douglas (Shure), Assa Drori, Jack M. Gootkin, Michelle Grab, Debbie Sue Grossman, Vincent D. Houser, Lou Klass, Ezra Kliger, Murray Korda, Jacob Krachmalnick, Bernard Kundell, Mary Debra Lundquist, Gordon H. Marron, Irma W. Neumann, Stanley Plummer, Christopher Reutinger, Carol Rydall, Sheldon Sanov, Lisa Shulman, Paul C. Shure, Marshall Sosson, Spiro Stamos, Lya Stern

Viola:
Myer Bello, Pamela Goldsmith, Jan Hlinka, Louis Kievman, Mark Gabor Kovacs, Virginia Majewski, Robert Ostrowsky, David Schwartz, Milton Thomas

Cello:
Douglas L. Davis, Selene Depuy-Hurford, Christine Ermacoff, Armand Kaproff, Raphael "Ray" Kramer, Nino Rosso, Frederick R. Seykora, Peter Shulman, Gloria Strassner, Mary Louise Zeyen

Bass:
Raymond M. "Ray" Brown, Arni Egilsson, Milton Kestenbaum, Ed Meares, Buell Neidlinger

Woodwinds:
Dominick Fera, Susan G. Greenberg, Norman H. Herzberg, Ronald Langinger (aka Ronny Lang), Jack Marsh, John Neufeld, C. E. "Bud" Shank, David J. Shostac, Julian Spear, Sheridon W. Stokes, David E. Weiss

French Horn:
William Alsup, James A. Decker, David A. Duke, George W. Hyde, Arthur Maebe, Jr., Richard E. Perissi, Gale H. Robinson

Trumpet:
Chase E. Craig, Mario F. Guarneri, Malcolm Boyd McNab, Anthony "Tony" Terran, George Werth

Trombone:
Richard "Dick" Nash, Richard Noel, Herbert A. Rankin, George M. Roberts, Thomas Shepard, Phillip A. Teele

Keyboards:
Michael A. Lang, Lincoln Mayorga, Clark Spangler, David Wheatley

Guitar:
Robert F. Bain, John H. Bilezikjian, Stuart Brotman, Dennis Budimir, Joe DiBlasi, Daniel Ferguson, Vicente Gomez, Alton R. "Al" Hendrickson, Trefoni "Tony" Rizzi, Thomas "Tommy" Tedesco

Harp:
Catherine Gotthoffer (Johnk), Lou Ann Neill

Accordion:
Frank T. Messina, Stephen Paietta

Drums:
Joe Porcaro

Percussion:
Larry Bunker, Peter Limonick, Emil Radocchia (Richards), Tommy Vig, Kenneth E. Watson

Orchestrator:
Ralph Ferraro, Richard P. Hazard, Lalo Schifrin

Orchestra Manager:
Harry W. Lojewski

Supervising Copyist:
Harry W. Lojewski

Copyist:
Willard W. Jones, Harry W. Lojewski, Ray Mace, Donald J. Midgley

© 2014 Film Score Monthly. All Rights Reserved.