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While the "scenes that matter" are well-scored, the pop elements severely taint the entire experience of watching the film, at least for me. Still...stylistic inappropriateness aside, Ladyhawk is certainly a better-written score than The Princess Bride, TD's Legend, or Giorgio Morodor's goofy cues in The NeverEnding Story.
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You can argue all you want that a traditional score would be anachronistic, whatever... but at least it would have been of-a-piece with the tone and style of the rest of the film. As it is, the crummy pop funk music in LADYHAWKE is the aural equivalent of the characters in the film wearing clown wigs. It sticks out like a sore thumb, and jarrs me right out of the picture every time it comes crashing in. The love theme is nice, sure... but that's like saying half an actors performance is good. It's got to be ALL good. In the end, LADYHAWKE remains one of the most wasted opportunities in the history of film scoring. IMHO of course. But I am glad Thor finally saw the film.
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Of course Gerard Schurmann was originally contracted to score the movie ... Would have been interesting to hear... ... if not to see... it's one film I won't mind never seeing again.
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That is interesting... I've often wondered what scores appeal more to women than to men... Could it be related to the film's appeal at all?
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Posted: |
May 11, 2006 - 12:24 PM
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By: |
spielboy
(Member)
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Also, having seen the comments that GNP got from there kick back cards that they included in this relesae, I can tell you that folks really like this score You mean people who purchased the CD REALLY liked it ? Wow, what a surprise! And yes, women really liked it, dont know why... A few female friends (and not all soundtrack fans) got this GNP CD. And it was quite expensive at the time. About the big sales, I suppose the ALAN PARSONS credit is also responsible of that. Doesnt mean people like it as a FILM score necesaarily. As VANGELIS ones, for example. I do like the music (even the pop parts), but I dont like it in the film. But I dont like film either, so...
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LADYHAWKE was a resolutely straightforward, traditional medieval fantasy film with great actors, an intelligent script, and lush photography. That is the foremost reason, in my mind, why the score is utterly inappropriate and sticks out like a sore thumb. Some can argue its being "daring" and "different" until the cows come home... but when the rest of a production is so completely straightforward (and amazingly well done at that), a musical score like the one they ended up with just kills it. It breaks the magical spell that everyone else worked so hard to create. And as far as Ford's "reality injection" goes, I think album sales are somewhat beside the point here. I have no doubt that LADYHAWKE may have had a lot more mainstream music fans that most film scores, no doubt partially or completely due to the involvement of the very popular Alan Parsons Project (or Andrew Powell, same difference). I think GNP's album sales speak more to that fact than some kind of justification for how the score plays in the context of the movie - which is what this debate is about. Besides, saying an album is one of GNP's biggest sellers is kind of like talking about which expensive cruise ship sinks the slowest. (See Ford, you're not the only one around here who can say prickish things for no good reason.)
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McKellen's RICHARD III and Mrs Goldenthal's TITUS were not exactly "classic" adaptations (I saw motocycles and tanks!), so the music does not clash as much as in the old-fashioned tale LADYHAWKE. Excellently put.
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I just received LADYHAWKE by Andrew Powell from La-La Land. This will be my first encounter with the music since all those years ago that I saw the movie. I will listen with an open mind.
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