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Posted: |
Oct 20, 2003 - 6:21 PM
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By: |
Southall
(Member)
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Well, this depends on what you think of Cobb. It's a pretty typical Goldenthal score - I love it. Barely any of his scores are less than interesting, and if you like Cobb, I'm sure you would like Alien 3, Demolition Man, Final Fantasy, In Dreams, Interview with the Vampire, Michael Collins, Othello, Sphere, A Time to Kill and Titus and probably the few I've not mentioned as well!
He's one of those composers where if you like one of his scores, you probably like them all (and vice versa).
Shameless plug for Cobb review: www.movie-wave.net/titles/cobb.html
James
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It's one of my favorite Goldenthal scores, "The Homecoming" is such a heart wrenching piece. I love the frenetic violin solos on Reno Ho (Part One, I think). I agree with the previous comment that if you enjoy Goldenthal's scores, this one's sure to please.
n.p. Man In The Moon (James Newton Howard)
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I would say that COBB along with GOLDEN GATE is my favorite Goldenthal score. It seems to have aged better than some of his other works although his Vietnam Oratorio is pretty impressive too.
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When you think that the magnificent Elliot could be applying his "lite touch" to dramas like these today, it really is unfortunate he's been silent on the film music front for so long...
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Goldenthal's bag of tricks got repetitive rather quickly in my opinion, but when those tricks were fresh, they were so great. I haven't seen "Demolition Man" discussed much on this thread, I think it is one of the great action scores of the 90s: The breakneck action pieces, the spooky metallic sci-fi moments, all wrapped in a (then) completely fresh sound. The opening track on "Cobb" is a masterpiece, as is a good deal of the rest of the score.
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Statements like this have always driven me nuts. No one ever complained about Goldsmith sounding like Goldsmith - why would anyone complain about Goldenthal being Goldenthal?
"Whadda ya mean Williams is doing *another* Spielberg movie?!" 
Sadly, your logic is lost on the likes of Runkle.
His opinions haven't changed much since he used to post on rec.music.movies under the name MR CAIRO.
Ford A. Thaxton
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Statements like this have always driven me nuts. No one ever complained about Goldsmith sounding like Goldsmith - why would anyone complain about Goldenthal being Goldenthal?
"Whadda ya mean Williams is doing *another* Spielberg movie?!"
Interesting point, perhaps I should have been more precise. Although I love all of the work of Goldenthal, even the non-film stuff like the Vietnam oratorio, it is in my view undeniable that scores like "Sphere" and a lot of his later work are pretty weak imitations of what people (and indeed, filmmakers) liked about his earlier work, with diminishing returns for the listener. This is of course my opinion, but it seems to me that there are a limited number of ideas there. Goldenthal himself may have a limitless number of ideas, but in his film work he has painted himself into a corner I believe.
What I meant for the original poster on this thread was that he should skip the middleman and go back to the scores that established Goldenthal as Goldenthal... Alien 3 and Demolition Man.
As for the Goldsmith comment ... Maybe in 30 years Goldenthal will have 150 scores under his belt, many in every genre, with certain stylistic similarities but an amazing diversity in thematic material and approach, but I don't see it happening.
And with Goldsmith there's that special quality that he would score "Baby" or "Magic" and write perfect, unique and brilliant scores for all these bizarre and/or bad movies. Goldenthal is also a great composer, yes, but I feel that his high-art aspirations may inform some of the pretentions that would prevent him from writing, for instance, brilliant dinosaur music.
As for Mr. Thaxton, I'm delighted that his boundless love for me hasn't changed either!
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