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Yes, Sinatra's tendency to fall into a few "ring-a-ding-ding" moments and the ghastly Sands performance are regrettable, but the film has a certain power in spite of those faults. It certainly isn't the kind of material one would have expected Sinatra to pick for his directorial debut. Arguably, it also contains one of Clint Walker's most effective screen performances.
It is, indeed, regrettable that Warners blew the Japanese subtitle situation (although it almost lends the film an even "artier"
feel in the beginning.)
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I know Clint Walker and Brad Dexter were in that but was Sands the fellow who played the shouty, gung-ho, raw "loottenant"?
If that's the one, that robotic marine voice reminded me a little of Rip Torn in Beach Red.
(I know one was a grizzled Sergeant and the other a bit of a by-the-book idiot but the style of voice was the same).
I always thought None But the Brave was later than Beach Red's 1967 but Ive seen something that said 1965 for NBTB? Can someone confirm ?
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Yeah, Bill, NONE BUT THE BRAVE was 1965, and, you're right, Sands DOES sound like Rip Torn in many of his roles, but Torn somehow pulls off the clenched-jaw delivery, while Sands sounds like someone who's had a broken jaw wired together.
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Yeah, Bill, NONE BUT THE BRAVE was 1965, and, you're right, Sands DOES sound like Rip Torn in many of his roles, but Torn somehow pulls off the clenched-jaw delivery, while Sands sounds like someone who's had a broken jaw wired together.
That made me laugh, vinylscrubber.
yeah, clenched jaw delivery - with a butt of a fat cigar sticking out!!!!
(i'll move my Beach Red observations to separate thread)
None but the Brave was an interesting film from memory. Been years since I saw it. Was it either the first of its kind - or one of the first - to feature the Japanese soldier's side of things, the fishermen missing home and their wives and children and such like? That must've been unusual back then?
I dont have the score yet but recorded the music originally from the film. I liked it. In fact I liked a lot of Williams stuff before he did the more well known blockbusters.
The CD seems highly recommended by posters on here.
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I just got this and it is a fine score. BUT- and this is a big BUT- somewhere in the middle of, I want to say, Track 14. Williams goes "GILLIGAN'S ISLAND/JOHN GOLDFARB silly ( that's silllleeey as in gooofeeey) on us. It hurts the "total listening ambience"
Did I get that right, Thor?
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Yup I love this one too, and wonder at the fact that it gets talked about so little.
Yavar
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All these years later, echoing Dana's comment, why wasn't there more hoo-rah over this release?
Great great early William's, can recommend it enough.
William's, and Goldsmith - right out of the gate those cats were at the top of their form.
OOOOoooo. This is a winner!
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Posted: |
Apr 22, 2018 - 2:23 PM
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By: |
GoblinScore
(Member)
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Oh hey WA, hows trix?? 
If you like military Williams mode, kind of Midway Jr.,
this is one to look into. Fascinating to hear those early glimmers of later scores.
Loved this when it was issued, love it still today. They worked miracles on the sound quality, I think. Most importantly, it's a very listenable album, even presented in FSM archive style - I'm never bored with this one.
As always, mileage may vary, but I like it....
Peace!
Sean
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The sound quality is actually darn good on this, so if by "FSM archive style" you're referring to them including a lot of bonus tracks...I'm actually super grateful for that: the track of Williams playing his main theme on solo piano is probably my favorite thing on the entire disc!
Yavar
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Oh hey WA, hows trix??
If you like military Williams mode, kind of Midway Jr.,
this is one to look into. Fascinating to hear those early glimmers of later scores.
Loved this when it was issued, love it still today. They worked miracles on the sound quality, I think. Most importantly, it's a very listenable album, even presented in FSM archive style - I'm never bored with this one.
As always, mileage may vary, but I like it....
Peace!
Sean
Hi!
This one, Black Sunday, and Midway are going to be my Williams purchases for next month.
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Black Sunday, EXCELLENT, that one - a great listen and package all around. Knowing your tastes veering towards darker listens & the pretty much agreed upon thought it is Williams' 'Goldsmith' score (like Ghost & Mrs.Muir is Herrmann's 'Steiner' score for example), you should enjoy it.
The ONLY negative is missing tapes for the spectacular film version of the finale - stems were used, its manageable, but not as glorious sounding as the rest of the album.
Midway is good, more of a fragmented listen as you have probably heard all this anyway. The Wentworth/RSNO & VS Club recordings are both worth hearing & compliment each other.
This has been really helpful, thank you!
My estimation continues to rise re JW. Jane Eyre is just a striking achievement, and not just for its being a relatively early score. Also, I recently heard Jaws 2 for the first time (last week) and was just so impressed that he didn't just carbon copy the first, far from it. It's a fantastic score on its own imo.
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Since Graham has shooed us away from this thread (cheers GW ;-) I'll just leave with this - glad you mentioned JANE, since that is what lead me to revisiting BRAVE this afternoon. I had not played JE for about a year, and it is hands down, masterful stuff, short but sweet record I never tire of. No shortage of accolades here, just happy that you, WA, know that, since I see your just starting on William's. Good on ya!
The thing that kept me from letting myself let go and embracing the full JW catalogue has been the SW and IJ burn out I've experienced since the 80s. Those themes drive me crazy, I heard them one million too many times. That said, I happen to admire Empire Strikes Back, and recognize all the franchise scores overall as excellent (I'd be pretty dumb if I didn't).
Jane Eyre is such a great effort, it shines out even when stacked against undisputed meisterwerken like Close Encounters and ET. JW went for something very challenging and knocked it out of the park; makes me curious if any of the JE score has been played in concert (I'd be a little freeked out if not).
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