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It's weird (well, to me anyway) but this score just never grabs me when I dig it out to play.
It was the disc I chose with my remaining credit from my FSM subscription (when the mag died) and thought I'd love it, since I like most 70's scores and usually enjoy Dave Grusin's music.
It kinda just passed me by on first play. Same with the second play, which made me wonder whether I needed to see the film again, which I've only seen once, many years ago on the telly.
I tend to share similar opinions with Graham Watt and Jim Phelps (certainly concerning Jerry Fielding) which makes it all the more strange that I can't get into this score the way they have.
I sense another listen coming on.
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Kev - you really must give this another spin. It took me three or four listens to really appreciate it. All that kind of "static" stuff for the fight scenes - it's not ENTER THE DRAGON - but it's quite hypnotic in context (one case where it really helps to know the movie). Having said that, yeah, maybe the surprisingly low-key approach is disappointing (when the End Titles eventually kick in, it's like coming out of a tunnel), but only at first. I still liken it to something like Fielding's KILLER ELITE which has a lot of material just based around a low pulse of sound with a little ornamentation behind it. It's almost deceptively "boring", but if you let it, it ends up casting its spell.
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And, coincidentally Kev - that's the one I chose to finish off my mag subscription too!
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By: Graham S. Watt (Member)
"And, coincidentally Kev - that's the one I chose to finish off my mag subscription too!"
---------------------------------------
Now this is just getting scary! Okay Graham, repeat after me..."My Name Is Graham Watt, Not Kev McGann, My Name Is Graham Watt, Not Kev McGann"
Next you'll be telling me your first bike was a Chopper!! 
I think I've worked out why I can't engage with this score. It must be my affinity, or lack of, to the film (as Jim and Graham mention above).
I've only seen it once, years ago, in my younger years. It never really stayed with me that much.
Comparatively, I really enjoy his score to 3 DAYS OF THE CONDOR, more because I love the film, as opposed to the quality of the score.
I would usually choose an orchestral, ambient, percussion style score over light pop/jazz any day of the week, but these two examples prove to me that my love of the film CONDOR and my distance to THE YAKUZA are the reason why my usual preferences are the wrong way 'round. I think.
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Well, my listening preferences don't always make sense to me either!
My Omnibus Box should be on it's way to me soon, together with Hunters Are For Killing (I placed my order with Movie Music and they get the box in tomorrow)
I look forward to hearing all those older scores.
You're right, I don't remember the Robert Conrad series (I know Graham does, I've seen him mention it before, he must be a bit older than me), but I certainly look forward to hearing Grusin's scores when my Box arrives.
Plus, I'll be able to reopen the Hunters thread.
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Kev, I don't remember that old Robert Conrad series at all! I don't think I even mentioned it anywhere before. Perhaps you are confusing me with someone else. And my bus should be in in a few days too!
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Posted: |
Oct 1, 2010 - 6:44 AM
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By: |
Jim Phelps
(Member)
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I got the Yakuza DVD for cheap and watched it late last night. Midnight seemed like the best time to watch such a contemplative film.
The DVD quality itself is magnificent. Colors, as they say, "pop." (and so do some digits!)
Visually, the film is a thing of beauty! Every shot is so colorful and framed so well, as I've come to expect from a Sydney Pollack movie. The shots of Tokyo and its lights were just a joy to see. "Every move a picture", as Buddy Love once said.
Robert Mitchum. He's double-chinned, graying, and every inch the icon of world-weary regret. I'd watch (and have watched) Mitchum in some dreary crud, but The Yakuza is one of his finest works. What is it about actors like Mitchum and William Holden where no matter what time in their careers it was, they just dazzled you? Congrats to director Pollack for getting one helluva performance out of The Man Who Didn't Give a Sh!t.
Takakura Ken: Amazing! Charismatic in as few words as possible. Anyone denied growing up with this guy in your moviegoing life should sue for reparations. I know I'll be filing my own lawsuit. He's fascinating to watch.
Brian Keith: Despite a wretched comb over, Keith remains one of the most underappreciated actors of his time. "Uncle Beel" is a heel in this one.
Richard Jordan: If Richard Jordan is in a movie, then it must be the '70s. This guy was a true chameleon and I wish he were around today. 
Kishi Keiko: She was wonderefully vulnerable and loyal as Mitchum's lost love. Such a difficult role to play but she's lovely to watch and was just perfect for this role.
James Shigeta: If James Shigeta's in a movie, then it must be the '70s (or late '60s). How greater fame eluded him is a major disgrace.
In my next post, perhaps I'll discuss the music in context with the film.
Okay, on with the flailing and listmaking...but I'll be bumping that crud shortly.
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I got the Yakuza DVD for cheap and watched it late last night. Midnight seemed like the best time to watch such a contemplative film.
The DVD quality itself is magnificent. Colors, as they say, "pop." (and so do some digits!)
Visually, the film is a thing of beauty! Every shot is so colorful and framed so well, as I've come to expect from a Sydney Pollack movie. The shots of Tokyo and its lights were just a joy to see. "Every move a picture", as Buddy Love once said.
Robert Mitchum. He's double-chinned, graying, and every inch the icon of world-weary regret. I'd watch (and have watched) Mitchum in some dreary crud, but The Yakuza is one of his finest works. What is it about actors like Mitchum and William Holden where no matter what time in their careers it was, they just dazzled you? Congrats to director Pollack for getting one helluva performance out of The Man Who Didn't Give a Sh!t.
Takakura Ken: Amazing! Charismatic in as few words as possible. Anyone denied growing up with this guy in your moviegoing life should sue for reparations. I know I'll be filing my own lawsuit. He's fascinating to watch.
Brian Keith: Despite a wretched comb over, Keith remains one of the most underappreciated actors of his time. "Uncle Beel" is a heel in this one.
Richard Jordan: If Richard Jordan is in a movie, then it must be the '70s. This guy was a true chameleon and I wish he were around today.
Kishi Keiko: She was wonderefully vulnerable and loyal as Mitchum's lost love. Such a difficult role to play but she's lovely to watch and was just perfect for this role.
James Shigeta: If James Shigeta's in a movie, then it must be the '70s (or late '60s). How greater fame eluded him is a major disgrace.
In my next post, perhaps I'll discuss the music in context with the film.
Okay, on with the flailing and listmaking...but I'll be bumping that crud shortly.
Actually, James Shigeta was in one late 80's movie, a little thing called DIE HARD. 
I need to check out the dvd of THE YAKUZA. I liked the movie when it was released.
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Jim, you deserve some kind of award for keeping the threads about Jerry Fielding, Dave Grusin and 70's film scores alive. Don't you let go dude!
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