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Posted: |
Mar 19, 2020 - 8:43 AM
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By: |
Rozsaphile
(Member)
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I've thought of one - THE THIRD MAN. It's a GREAT film, but the Anton Karas zither score is seriously damaging. I agree, Graham. I watched this movie last year and have read somewhere why the director used this music. Maybe here? Anyway, it was redundant and irritating. It was a good movie, but the music often pulled me away from the visuals. (Haven't been able to find anything in the search engine for several days, so I don't know where it was that I discussed this movie.) On this topic (and many others) I strongly recommend Nathan Platte's book Making Music in Selznick's Hollywood. Although DOS himself had no say in the creation of the score in Europe, he was quick to note its success ("a sensation," "the rage in England") and exploit it for the U.S. release. Carol Reed discovered Karas in Vienna, brought him to England, and actually lived with him for a time -- surely one of the closest director-composer collaborations ever. Graham Greene, author of the source novella, had made mention of music in connection with Harry Lime and later praised the score as realizing his concept better than he had done in prose. How many writers say that? Like it or not, the score had an influence on film music. It may well have paved the way for such unconventional approaches as were used in HIGH NOON, BLACKBOARD JUNGLE, and FORBIDDEN PLANET.
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I love the Mackintosh man score athough it's a bit repetitive in its use. Agreed. Maurice Jarre's answer to "The Third Man".
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P,T&A is a little all over the place because two other composers did some additional music for the film, apart from Newborn (Brian Banks and Anthony Marienelli).
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How bizarre. I find ALL of the suggestions in this thread perfectly fitted for their movies. Sometimes, the music is SUPPOSED to be a character all in itself with more attention drawn to itself than usual; I actually love it when that happens! And sometimes it's supposed to go AGAINST the visual content, as contrast or commentary. Whether the particular musical style is not to your liking, is another issue altogether. It has nothing whatsoever to do with the score's suitability in a film. If you're evaluating a score's suitability in a film, you'll need to take a far more objective stand. Musical styles or their applicable attention aren't the issue at all. It's about how horrible, or even good yet unfitting, individual scores can hamper an otherwise (despitable) great experience. It's the difference between Goldsmith's Gremlins score being an outstanding, very noticable character in its own film, and then being transposed to The Killing Fields. Quite frankly, for all the bellyaching it received upon its release, I'm surprised no one has mentioned Interstealler yet, which I found very fitting and wish I had been in one of the theaters which received the louder sound mix. Or maybe I'm the only one who likes the movie. The same for Ladyhawke. The only reason for which I enjoy Mission to Mars is Morricone's music. The movie, which is not really good, would be terribly boring without it. Agreed. I love the score, but the film is aimless and scientifically shameless. PS: I've always imagined Green Lantern would've been FAR better suited when transposed with Davis's The Matrix than what Howard provided, but that's just asking for both the film and Howard's score to be better.
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No "great" movies with unfitting scores come to mind. Plenty of okay to terrible movies with unfitting/bad scores, however, do come to mind, but that's not this thread.
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Gotta agree, from the moment I heard it, The Princess Bride score pulled me WAY out of the movie. I wonder if it's a major factor in why I never liked the film itself. It could literally be the score that ruined it for me. I like Mark Knopfler just fine, but his score for The Princess Bride is pure amateur hour. Ladyhawke of course is another. In this case I like the film, however, a recent re-watch in my home theater with guests resulted in howls of laughter at the music from my guests. You want to listen to a real head-scratcher, try figuring out what the score in the opening 5 minutes of UNCUT GEMS is trying to say.
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