FILM SCORE FRIDAY 4/9/04
By Scott Bettencourt
has announced that the next CD in their Special Collection series will
be Bruce Broughton's exciting score for Peter Hyams' 1990 remake
of NARROW MARGIN, in which DA Gene Hackman tries to protect murder
witness Anne Archer from killers on a train traveling across the Canadian
wilderness. The album, to be released late next month, will feature over
an hour of music and will include multiple versions of several of the film's
cues, and will be limited to 1500 copies.
On May 18th, Capitol/EMI will release an expanded CD of
Ennio Morricone's classic score to THE GOOD, THE BAD AND THE
UGLY. The disc will be released the same day as MGM Home Video's new
DVD release of the film, and the CD's contents are apparently the same
as GDM's 2001 expanded Italian release.
John Van Tongeren has written the score for VAN
HELSING: THE LONDON ASSIGNMENT, a project from Universal Animation
that will be released on DVD in May to tie in with the studio's release
of the feature Van Helsing.
The website BSO Spirit has a brand new interview
with composer/orchestrator Mark McKenzie.
CDS AVAILABLE THIS WEEK
The Alamo - Carter Burwell - Hollywood
Hellboy - Marco Beltrami - Varese Sarabande
I'm Not Scared - Ezio Bosso - RCA
IN THEATERS TODAY
The Alamo - Carter Burwell - Score CD on Hollywood
Ella Enchanted - Shaun Davey - Song CD on Hollywood
The Girl Next Door - Paul Haslinger - Song CD on Lakeshore with
5 Haslinger cues
I'm Not Scared - Ezio Bosso - Score CD on RCA
Johnson Family Vacation - Richard Gibbs - Song CD on Def Jam
Shade - James Johnzen
The Whole Ten Yards - John Debney
Godsend - Brian Tyler - Varese Sarabande
The Thorn Birds - Henry Mancini - Varese Sarabande
Van Helsing - Alan Silvestri - Decca
Last Tango in Paris - Gato Barbieri - Varese Sarabande
The Lion in Winter - Richard Hartley - Varese Sarabande
The Day After Tomorrow - Harald Kloser - Varese Sarabande
The Good, the Bad and the Ugly - Ennio Morricone - Capitol/EMI
Basic Instinct (expanded) - Jerry Goldsmith - Prometheus
Battle Cry - Max Steiner - Screen Archives/BYU
The Best of Lone Wolf and Cub - Hideakira Sakurai, Kuuihiko
Murai - La-La Land
The Brave Little Toaster - David Newman - Percepto
Dirty Harry - Lalo Schifrin - Aleph
Foxes of Harrow - David Buttolph - Screen Archives
Harry Potter and the Prisoner of Azkaban - John Williams - Warner
The Keys of the Kingdom - Alfred Newman - Screen Archives
Laws of Attraction - Edward Shearmur - La-La Land
Narrow Margin - Bruce Broughton - Intrada Special Collection
The Punisher - Carlo Siliotto - La-La Land
The Reluctant Astronaut - Vic Mizzy - Percepto
Son of Fury - Alfred Newman - Screen Archives
Stealing Time - Joey Newman - La-La Land
Timeline - Jerry Goldsmith - Varese Sarabande
THIS WEEK IN FILM MUSIC HISTORY
April 9 - Toots Thielemans born (1922)
April 9 - Miklos Rozsa begins recording score to The Seventh
April 9 - Arthur Benjamin died (1960)
April 9 - Henry Mancini wins song and score Oscars for Breakfast
at Tiffany's (1962)
April 9 - Elmer Bernstein begins recording score to The Gypsy
April 9 - Giorgio Moroder wins Oscar for Midnight Express
April 9 - Bill Conti wins Oscar for The Right Stuff score;
Michel Legrand wins for Yentl song score (1984)
April 10 - Claude Bolling born (1930)
April 10 - Shirley Walker born (1945)
April 10 - John Barry wins his first two Oscars for the score
and song Born Free (1967)
April 10 - Elmer Bernstein wins only Oscar for, of all things,
Thoroughly Modern Millie; Alfred Newman wins his final Oscar for
Camelot music adaptation (1968)
April 10 - Michel Legrand wins first Oscar for Summer of
42 score; John Williams wins first Oscar for Fiddler on the
Roof music adaptation; Isaac Hays wins only Oscar for song Theme
From Shaft (1972)
April 10 - Nino Rota died (1979)
April 11 - John Williams wins fourth Oscar for E.T. score;
Jack Nitzsche wins Oscar for Officer and a Gentleman song;
Henry Mancini wins for Victor Victoria song score (1983)
April 11 - Ryuichi Sakamoto, David Byrne, Cong Su
win Oscars for Last Emperor score (1988)
April 12 - Ronald Stein born (1930)
April 12 - Hugo Friedhofer begins recording score to Soldier
of Fortune (1955)
April 12 - Miklos Rozsa begins recording score to Lust For
April 13 - Vladimir Cosma born (1940)
April 13 - Bill Conti born (1942)
April 13 - John Addison wins his only Oscar for Tom Jones
April 14 - Shorty Rogers born (1924)
April 14 - John Barry wins third Oscar for Lion in Winter
score; Jerry Goldsmith, nominated for groundbreaking Planet of
the Apes score, probably bitterly disappointed (1969)
April 14 - Georges Delerue wins his only Oscar for A Little
Romance score; David Shire wins song Oscar for Norma Rae
April 15 - Michael Kamen born (1948)
April 15 - Lalo Schifrin begins recording his score to The
Hellstrom Chronicle (1971)
April 15 - Francis Lai wins Oscar for Love Story; Jerry
Goldsmith, nominated for Best Picture winner Patton, is again
probably bitterly disappointed he didn't win (1971)
April 15 - John Greenwood died (1975)
April 15 - Arthur Morton died (2000)
DID THEY MENTION THE MUSIC?
HELLBOY - Marco Beltrami
"Del Toro shows genuine empathy for comic book culture and conventions
and enlists like-minded cohorts, notably production designer Stephen Scott,
cinematographer Guillermo Navarro and composer Marco Beltrami, whose orchestral
score lends dramatic weight to the action."
Richard Harrington, Washington Post
HOME ON THE RANGE - Alan Menken
"The rousing, Coplandesque score is by Alan Menken, who also composed
the original country songs with lyricist Glenn Slater."
Scott Foundas, L.A. Weekly
"The songs, with overtones of 'Oklahoma!,' were composed by Disney stalwart
Alan Menken and are performed by the likes of k.d. lang and Bonnie Raitt,
but they are mostly unexceptional."
Walter Addiego, San Francisco Chronicle
"A wonderful score composed by Oscar winner Alan Menken ('The Little
Mermaid,' 'Beauty and the Beast'), and performed by the likes of Bonnie
Raitt and k.d. lang, helps round out the thin story line."
Jennifer Frey, Washington Post
"Brightly colored and cartoonish, 'Home on the Range' features six new
songs by Alan Menken, the composer who gave us the music in 'The Little
Mermaid,' 'Beauty and the Beast,' 'Aladdin,' 'The Hunchback of Notre Dame,'
'Hercules' and 'Pocahontas' (the lyrics this time are by Glenn Slater).
Though sung by some first-rate talent, including k.d. lang, Tim McGraw
and Bonnie Raitt, these tunes don't have the memorable catchiness of Menken's
Christine Dolen, Miami Herald
"A suitable score by Oscar-winner Alan Menken ('Beauty & the Beast,'
'The Little Mermaid') and catchy lyrics by Glenn Slater certainly don't
hurt this modestly enjoyable effort by Disney. Nor do its songs, sung by
the likes of k.d. lang, Tim McGraw, Beu Sisters and Bonnie Raitt, who effortlessly
lend their western twang. 'Home on the Range' relies less upon the legendary
Disney animation than Menken's plush score and upon the oddly apt casting,
which will keep adults as engrossed as kids."
Paula Nechak, Seattle Post-Intelligencer
"Character figures prominently in pic's funniest and most spectacular
production number, 'Yodel-Adle-Eedle-Idle-Oo,' which plays like a rainbow-hued
mix of Gene Autry, Busby Berkeley and animator Friz Freleng. Other standouts
in Western-flavored song score by composer Alan Menken and lyricist Glenn
Slater range from Texas swing of 'Little Patch of Heaven' (warbled by k.d.
lang) to 'Will the Sun Shine Again,' plaintive ballad sweetly rendered
by Bonnie Raitt. In contrast, 'Anytime You Need a Friend' is pop-rock ear
candy that, in this context, sounds jarringly inappropriate."
Joe Leydon, Variety
THE UNITED STATES OF LELAND - Jeremy Inigk
"But aside from some scattered alternative-rock songs, the film's soundtrack
mostly features the kind of droning acoustic/electric-guitar atmospherics
that have become an American independent-film cliche."
Noel Murray, The Onion
"Wearing its earnestness and studied sensitivity on its sleeve with
self-righteous conviction, Matthew Ryan Hoge's 'The United States of Leland'
is as maudlin and monotone as the whiny alt-rock that drenches its overly
articulated emotional disclosures."
David Rooney, Variety
ON THE MAN WHO ALMOST PLAYED HITCHCOCK
FROM: "Preston Neal Jones"
Thanks for the Peter Ustinov memorial. As far as the composers
you listed are concerned, Peter the Great could be said to have had a collaboration
with at least one of them, since he sang -- in suitably excruciating fashion,
of course -- the songs Rozsa crafted to represent the Emperor's creations
[in Quo Vadis].
As to his Oscar-winning role in SPARTACUS, it's been a long time
since I've read DEAR ME, Ustinov's autobiography, so I wonder if he himself
ever claimed to have written any or all of his lines in that brilliant
Dalton Trumbo script. I do know that whoever wrote them he certainly deserved
his award for the way he played them, often in sly, throw-away manner that
was just priceless. (Catch the scene where he nervously escorts the Roman
ladies around his "show-room" as they select which slaves will duel to
I was very glad to see that many obituaries quoted Ustinov's school
report which declared, "He has great creativity, which must be curbed at
all costs." My own favorite description of Ustinov might even have been
penned by him; it appeared back in the sixties as the lead-off in an ad
for one of Ustinov's books: "Peter Ustinov, as everybody knows, is Orson
Welles, rolled into one."
Rolled into one-of-a-kind, I should think.
THE REJECTION THAT LAUNCHED A THOUSAND
FROM: "Daniel Ball"
SUBJECT: RE: Nick Joy on Yared Getting Canned on Troy
I'd like to add to your addition that the creative forces behind
Troy are weak ones.
I believe that if Petersen really did enjoy Yared's score, then
he, as the director, should not have yielded his vision to that of the
audience. Not to mention a test audience!
The medium of film has some real potential if artistic integrity
is maintained and not sold out.
It annoys me how Hollywood really squanders its resources.
It's pretty much mastered the art of making an aesthetically-pleasing
movie, but the movies of late have been lacking content because they've
become formulaic, thanks to the marketing departments. Nobody takes risks
by trusting the vision of the director. And most of the time if he is trusted,
it's probably because he's been conditioned to make the kind of bland,
ineffective crap that his money-grubbing bosses have told him to make.
I give my props to Peter Weir for keeping it original while still
staying on Hollywood 's payroll.
Master and Commander is a great example of deviance-and defiance-for
the big-budget studio film. When I saw it, I kept expecting it to play
out like Pirates of the Caribbean, but instead, it was a "surprise" and
became its own creature. I rested easy after a while, knowing the movie
was in Weir's hands, because he wasn't resorting to predictable Hollywood
filmmaking. He didn't seem to care if he connected with everyone in the
theater or not and I'm glad he was given the freedom to do that. Now if
more people would be like that!
Disclaimer: this is my opinion and the only reason I think these
things are because I get out to see movies, not because I know anything
about what goes on during board meetings over at WB or Universal. I live
on the wrong side of the US to be getting in on that kind of action.
So if you feel like I've picked up a bad vibe on how things are
run, feel free to correct me.