 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Listening now. It's a grand score. I'll match it with any dramatic, quasi Americana score of it's type in it's era. It's one of the composer's best. Lyrical, haunting and inspiring.
|
|
|
|
|
|
Listening now. It's a grand score. I'll match it with any dramatic, quasi Americana score of it's type in it's era. It's one of the composer's best. Lyrical, haunting and inspiring.
One of the great marriages of image and music ever. A virtually perfect score in every way.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Listening now. It's a grand score. I'll match it with any dramatic, quasi Americana score of it's type in it's era. It's one of the composer's best. Lyrical, haunting and inspiring.
One of the great marriages of image and music ever. A virtually perfect score in every way.
Thanks to you, Steve and Bruce, I checked out the samples and I can't stop playing them. I saw the film in English class back in high school, and remember it as being a moving and intense experience. I didn't pay any attention to the score at the time, but I've no doubt it contributed greatly to the emotional gravity of the scenes in the film. I went ahead and ordered the CD from an outlet in Japan (at a slight markup), since it's already sold out at the usual suspects. I'm really looking forward to it.
Boy, Josh. you won't be sorry you did. It's just spellbindingly beautiful.
|
|
|
|
|
|
Gorgeous score!
A crime it wasn't released when the film first came out.
I have the promo, but when it comes to an improved remaster, I'm always interested, especially with a classic score like this one.
Just remember: Classical music afficianados have multiple recordings of a single piece, and are always comparing interpretations. The day will come, though I doubt any of us will live to see it, when film scores will be venerated in much the same way, and collectors will savor the nuances of one conductor's interpretation versus another's.
The day is coming. Believe it.
We are to be thankful we are around to see the first real appreciation of this kind of music, and while many of its creators yet live.
|
|
|
|
|
|
Just finished listening to this, absolutely wonderful. One of, if not, LR's best works!! I was VERY tempted to get the promo a while back, glad I saved my pennies and dimes. I also picked up RoboCop, which I had never seen the film, glad I didn't get any of the previous 2 versions! Intrada is cool in my book.
A new addition to my ever growing collection of goodies! Thanks Laurence!!!
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
dp
|
|
|
|
|
|
A rapid sellout. Nice that Kritzerland are rereleasing it with a few extras on Monday.
|
|
|
|
|
|
|
|
|
|
"This score sounds like a mixture of Herrmann, Goldsmith and John Williams. Now Herrmann had his own style, but was this music an inspiration for Goldsmith or Williams. The music sounds like late 70's Goldsmith and Williams"
-------------------
Totally agree with this comment. The Herrmann is most certainly evident, but listening to this score (from 1962) I think it had a HUGE influence on the 'then starting out' Jerry Goldsmith.
The whole sound design could be Goldsmith, from the ensuing years. Freud, most certainly. Patch Of Blue too.
There's also Basic Instinct swirling around, within this quite magnificent score.
I never really noticed it before, but my oh my, it's coming across to me loud and clear, as I play it now.
|
|
|
|
|
|
I always thought that in the 60s Rosenthal's path was somewhat akin to Goldsmith's...for both of them I think their first decade is arguably their greatest period. It's a pity that in ensuing decades Rosenthal's career did not take off in similar degree to Goldsmith's.
This score is a masterpiece, along with Raisin in the Sun and Requiem for a Heavyweight (thanks Intrada!)
Yavar
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
