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James Horner- Star Trek 2: The Wrath of Khan (tied with) James Horner- The Rocketeer
Jerry Goldsmith- Star Trek: The Motion Picture (tied with) Jerry Goldsmith- The Secret of NIMH
John Williams- Star Wars (77) (tied with) John Williams- The Empire Strikes Back
John Addison- Swashbuckler
Maurice Jarre - Crossed Swords
Michel Legrand - The Three Musketeers
Basil Poledouris- Conan the Barbarian
David Arnold- Independence Day
Miklós Rózsa- Ben-Hur
Wow, you really think STAR TREK: THE MOTION PICTURE is the best movie Jerry Goldsmith ever scored? Or that INDEPENDENCE DAY is a better movie than CASIONO ROYALE? CROSSED SWORDS better than LAWRENCE OF ARABIA?
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I'm glad Addison was brought up. For me, that's easy. His Oscar winner: Tom Jones
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Posted: |
May 4, 2021 - 8:22 AM
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By: |
OnyaBirri
(Member)
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To offer a possible example (and to prevent your brain from imploding, as there are so many variables one can weigh in):
L.A. CONFIDENTIAL
This is -- in my opinion -- no doubt one of the very best movies Jerry Goldsmith has ever scored. Now the "On the Waterfront" inspired score for the film is of typical Goldsmith excellence, and so is the selection of contemporary music, which is also important in the film, but from a standalone listening point, Goldsmith has written meatier, more powerful scores that were written for lesser films.
When people list the "best" scores by Jerry Goldsmith, L.A. CONFIDENTIAL probably would not be in the top ten, but in a list of the best movies Goldsmith has ever scored, it probably would be.
I love the film, but the score is a snooze fest.
It is also the only Goldsmith ponytail album I've ever owned.
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Wow, you really think STAR TREK: THE MOTION PICTURE is the best movie Jerry Goldsmith ever scored? Or that INDEPENDENCE DAY is a better movie than CASIONO ROYALE? CROSSED SWORDS better than LAWRENCE OF ARABIA?
Yes, Yes and Yes. Let me clarify, I'm naming best score they've written for a movie, not best movie ever scored. Maybe I don't understand the premise here.
Oh, if you say STAR TREK- THE MOTION PICTURE is the best score Jerry Goldsmith has written for a movie, I could understand, but the premise of this thread -- as I understood -- is to list those cases where you think the best score a composer ever wrote also happens to be in the best movie that said composer ever scored.
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James Horner- Star Trek 2: The Wrath of Khan (tied with) James Horner- The Rocketeer
Jerry Goldsmith- Star Trek: The Motion Picture (tied with) Jerry Goldsmith- The Secret of NIMH
John Williams- Star Wars (77) (tied with) John Williams- The Empire Strikes Back
John Addison- Swashbuckler
Maurice Jarre - Crossed Swords
Michel Legrand - The Three Musketeers
Basil Poledouris- Conan the Barbarian
David Arnold- Independence Day
Miklós Rózsa- Ben-Hur
Wow, you really think STAR TREK: THE MOTION PICTURE is the best movie Jerry Goldsmith ever scored? Or that INDEPENDENCE DAY is a better movie than CASIONO ROYALE? CROSSED SWORDS better than LAWRENCE OF ARABIA?
Yes, Yes and Yes. Let me clarify, I'm naming best score they've written for a movie, not best movie ever scored. Maybe I don't understand the premise here.
The premise is when the best score they've written for a movie happens to be for the best movie they ever scored.
In that vein I'm surprised more people haven't argued STAR WARS (or EMPIRE) for Williams.
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Not sure how anyone thinks "Dances With Wolves" is a best film.
I am sure how and it is.
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They can only feel good about Costner's character.
That's the whole problem. Feel good about the white savior
Oh, gee, the "white savior" reproach, come on, yawn. Perfectly normal to tell a story about one culture by introducing someone from another (usually more familiar to the audience) culture. I didn't see Costner's character "saving" the Sioux anymore than I saw Peter O'Toole "saving" the Arabs in LAWRENCE OF ARABIA or Richard Chamberlain "saving" the Japanese in SHOGUN.
You can have it.
Thanks! (I win.)
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Thanks, Joan, for mentioning Cool Hand Luke. I mentioned Bullitt earlier in the thread, because I think it is a perfect score for a perfect film--one of the best films of its type. But . . . Cool Hand Luke is also a great film and it really is my favorite Schifrin score, followed by The Fox and Bullitt.
With Barry I mentioned The Lion in Winter. One could also argue, and literally have, Dances With Wolves. Also, Out of Africa, The Ipcress File, and Midnight Cowboy. The Ipcress File is an unusual choice but, like Bullitt, a perfect score for a perfect film. Midnight Cowboy has a short score but, like Out of Africa, every cue counts and that theme is so effective, so bullet proof that I can listen to covers of this all day and even the worst arrangements can't kill it, though Elephant's Memory came close.
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