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Is this film available on NETFLIX..AMAZON.. HBO etc?
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Well, thanks to a , well deserved and generous tip from a client, and the LLL sale , ordered this.
A.blind buy. Rare.
Graham Watt will have a lot to answer for if I don't like it.
ALOT to answer for.
Now really, Mr Marshmallow... If you have any taste at all, you WILL like - nay, LOVE - The Sentinel. And if you don't, well I'm sorry, but on this occasion it'll be all your own fault. This time I'm taking no responsibility.
But I'll be delighted if you rave about it. Come to think of it, even if you don't like it, I look forward to hearing your ravings.
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Its an enjoyable score but one can only imagine what WILLIAMS score would have been sounded like.
But than again the movie is just not one which would have fit Williams.Its a bit too trashy I think...
I'm sure it would have been a fine score. Williams is a grand composer all right. But I also feel that it would have been "just another" great JW effort, a bit of THE FURY here, DRACULA there... who knows? What I do know is that the Mellé score is absolutely EXTRAordinary in its inventiveness and sheer originality, a truly outstanding soundtrack which still constantly surprises me on the umpteenth listen.
Ya hear me, Marshmallow?
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Well, thanks to a , well deserved and generous tip from a client, and the LLL sale , ordered this.
A.blind buy. Rare.
Graham Watt will have a lot to answer for if I don't like it.
ALOT to answer for.
Now really, Mr Marshmallow... If you have any taste at all, you WILL like - nay, LOVE - The Sentinel. And if you don't, well I'm sorry, but on this occasion it'll be all your own fault. This time I'm taking no responsibility.
But I'll be delighted if you rave about it. Come to think of it, even if you don't like it, I look forward to hearing your ravings.
Well if I don't love it, I will chalk that up to not having SEEN the film. I am a BIG believer in the premise that one must see the film to properly appreciate the score.
But, I will still hold you responsible - good or bad
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Its an enjoyable score but one can only imagine what WILLIAMS score would have been sounded like.
But than again the movie is just not one which would have fit Williams.Its a bit too trashy I think...
I'm sure it would have been a fine score. Williams is a grand composer all right. But I also feel that it would have been "just another" great JW effort, a bit of THE FURY here, DRACULA there... who knows? What I do know is that the Mellé score is absolutely EXTRAordinary in its inventiveness and sheer originality, a truly outstanding soundtrack which still constantly surprises me on the umpteenth listen.
Ya hear me, Marshmallow?
Originality is the.most important part.
I would never blind buy a traditional orchestral score - by ANYBODY!
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I would never blind buy a traditional orchestral score - by ANYBODY!
Not even traditional orchestral music by Bruce R. Marshall?
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How about pumpkin spiced traditional orchestral music?
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Posted: |
Sep 6, 2019 - 10:53 AM
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By: |
Graham Watt
(Member)
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Following on from Mr Marshmallow's comments about HAVING to see a film before listening to the soundtrack, well, maybe in the case of THE SENTINEL it depends very much on how much you like your horrors. I bought the DVD about a month ago and watched it last night. I hadn't seen the film for a few years, so it was a nice refresher. Or perhaps "nice" isn't the right word. This is a film that some people despise. I wonder if those who despise it will dislike the score just by association. Anyway, I've always really liked the movie. The first half in particular is excellent, with some very well-done scenes, top-notch photography by Dick Kratina, some great editing, and a building sense of unease. What lets even the good bits down a little are the stilted performances from the leads, especially Cristina Raines, but I'll forgive her coz I fancied her when I saw the film in 1977.
Unfortunately it begins to fall apart with the introduction of the police case - Eli Wallach chewing the scenery and Christopher Walken chewing gum, looking weird even at such a young age and saying very little. I "know" that all that stuff is integral to the plot, but it just doesn't seem to fit the tone of the rest of the movie. Happily things pick up again for the humungous climax (and I'm not talking about Beverly D'Angelo again).
And surprise surprise, the music is absolutely magnificent in the film itself. It's a fascinating listen away from the film too, but it is also really allowed to shine in context, dialled up pretty high and judiciously used. It's just goddam terrific music!
I found it interesting to note some "differences" (or simply observations) between the music on the CD and in the film. Here are a few -
Near the beginning, just about 7 minutes in, there's a party scene. The music is the Source Music Track 25 on CD, "Do Your Own Kind Of Dance". In the film there are backing vocals, on CD it's instrumental only.
In the film, after Cristina Raines studies the photo of Burgess Meredith, it cuts to another party scene (there are a lot of parties in this film, the best being the birthday party for the cat). On the CD, Track 4 "The Photo And The Panel" seems to combine two cues. Can't recall if on CD it segues into the (in)famous "rummaging around in the downstairs department" scene, and I'm not about to be caught by my wife looking at that scene again.
I mentioned in an earlier post that I don't remember having heard the jazzy opening to Track 15 "Archdiocese Break-in" in the film. Well that's because it isn't in it. They re-track an earlier piece for the opening part of that scene. Some other music is re-used too, such as the memorable coda to Track 4 "Prospective Tenant" - "If he's blind, what does he look at?"
Another piece of music on the CD but not in the film is the opening minute or so to Track 23 "The Sentinel - End Credits". I'm happy to have all this missing music on the CD.
The Source Music cue Track 30, "T.V. Drama" is clearly from the Columbo episode "Death Lends a Hand". Our esteemed (Member) says that it's been adapted from that, and re-orchestrated. He should know, but I can't really tell, especially as heard in the film, where it lasts about a mere ten seconds.
Interestingly, I was sure that the brilliant "Lipstick Commercial" (Source Music cue, Track 28) had been written for a lipstick commercial, just as "Shampoo Commercial" (Source Music cue, Track 24) was the music heard during the shampoo commercial. Well it ain't. There is no lipstick commercial in the film. The music is heard in the background during yet another party scene.
So there you go, a dismembered rabbit. I don't know how to conclude, so I'll just say that I love THE SENTINEL more than ever. Looking forward to The Marshmallow Rabbit, or indeed any other comments from people who either make sense or don't.
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Shipped#
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Last C, that scene you mention is still SUPREMELY creepy, thanks to the lighting, Mellé's score, and the shadow cast by Fred Stuthman in his underpants as he walks SCARILY QUICKLY, from the corner of the room, past Cristina Raines and into the next room. Then his arms come out to terrorize her, but she sticks a knife in his arm, cuts his nose off, and makes jellied eels of one of his eyeballs. Who said this was tastefully done?
Further to my previous rabbit, I listened to the CD again this evening, and after having watched the film once more last night I think I noticed quite a lot more music on the CD than ended up in the film. One more for the list would be (I think - I can hardly remember - perhaps the second bottle of vino tinto was kicking in) the last part of Track 12 ("I'd Like To Take A Look At That House"). That's very much in the semi-jazz style of the first part of "Archdiose Break-in", and is not heard in the film. And one really nutty observation is that when I taped the film onto cassette, in the cinema, in 1977 (the tape recorder under my coat), the End Titles finsihed with a repeated (three times) horn note - quite subtle... I thought it was a sound fault from the sleeping projectionaist. But on the DVD it's there, but not on the CD. A bit weird.
While I'm on a roll about Gil Mellé and his CD scores, I feel like mentioning how the few CD releases of his music which we have been blessed with have some noticeable differences from the music as heard in the actual films. I'm sure James Phillips or someone knows the answer, but for example in Intrada's THE ORGANIZATION there's a different take heard near the end of the Main Title. It's not like that in the film itself. It goes off in a completely different direction. Also, the Herbie Hancock-style electric keyboard is practically non-existent on that track on CD, whereas in the film it's very up-front. Missing elements?
Oh, and Intrada's BORDERLINE. That's actually a Mellé score which I'd considered "lesser", because I'd seen the film, and the music was quite discreet. Well of course that's because most of it was chucked! The original Mellé idea, and the final "paired down" versions are both heard on the absolutely wonderful CD. And yet the Main Title as heard in the film is not present on the CD at all. There's no percussion hit during the Main Titles in the film, but on the CD we have only that version.
But I have digressed and rabbited a lot. THE SENTINEL is freakin' brill. A final (actually pertinant, probably) thought is that if one feels the need to see the film before hearing the soundtrack (Mr Marshmallow-Head comes to mind), what happens if the score as heard in the film is completely different or truncated (BORDERLINE for example), or completely replaced/ unused?
My rabbits mixed up the toasties. It's that time of night and this wonderful wine. Only 5 euros at the supermarket.
THE SENTINEL - My soundtrack of 2019.
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Shipped#
Received!
Stay glued to your screen for my expert opinion.
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