I just received Frantic today and it came with an extra booklet. To my naive stupidity I thought it came signed by Morricone or something like that but I couldn't find the sign anywhere! LOL
Now I see what the reason is and I thank FSM for its professionalism
For anyone familiar with this score, can you identify which cue plays in this scene?
Well, I became familiar with it doing the FSM CD. This is "On the Rooftops of Paris" on the album but as I recall the film version is different and it was the only thing on the stems where we couldn't find the film version. Sorry!
I am a big fan of the film...it may be "lesser Polanski" but I just love it, and Morricone's score.
For anyone familiar with this score, can you identify which cue plays in this scene?
Well, I became familiar with it doing the FSM CD. This is "On the Rooftops of Paris" on the album but as I recall the film version is different and it was the only thing on the stems where we couldn't find the film version. Sorry!
I am a big fan of the film...it may be "lesser Polanski" but I just love it, and Morricone's score.
Lukas
I'm not as familiar with this score as you kind folks... but can I just say how eternally grateful I am of Lukas and others on this forum, who are instrumental in these releases we long for and love, for being available to answer our questions at a moments notice.
For anyone familiar with this score, can you identify which cue plays in this scene?
Well, I became familiar with it doing the FSM CD. This is "On the Rooftops of Paris" on the album but as I recall the film version is different and it was the only thing on the stems where we couldn't find the film version. Sorry!
I am a big fan of the film...it may be "lesser Polanski" but I just love it, and Morricone's score.
Lukas
I'm probably fawning over this earlier in the thread, my very first Ennio score, via the Elektra cassette, for my 13th birthday. I love this wonderfully rainy, moody score. That is all.
Well, I became familiar with it doing the FSM CD. This is "On the Rooftops of Paris" on the album but as I recall the film version is different and it was the only thing on the stems where we couldn't find the film version. Sorry!
I am a big fan of the film...it may be "lesser Polanski" but I just love it, and Morricone's score.
Lukas
Thank you for your response, Lukas. I feel foolish for not paying closer attention to the album program; the answer was there all along
And on the topic of "lesser" Polanski, a few days ago I revisited parts of Bitter Moon and became enamored of it all over again. Now that's a score!
Well, I became familiar with it doing the FSM CD. This is "On the Rooftops of Paris" on the album but as I recall the film version is different and it was the only thing on the stems where we couldn't find the film version. Sorry!
I am a big fan of the film...it may be "lesser Polanski" but I just love it, and Morricone's score.
Lukas
I can't begin to thank you enough for that CD! It's my favorite Polanski film and one of my favorite scores ever.
I'd argue it's not lesser Polanski on an artistic level, just less famous and less beloved.
I actually think it's one of his most personal films. If you read his book, his account of what happened after Sharon Tate was murdered is very similar to what Ford's character encounters in the movie, with the cold, disinterested, unsympathetic cops and authorities. Polanski tells of investigating the crime himself for weeks. I've always felt Frantic was his oblique film about that, though he's never said it clearly, the way he has explicitly said Oliver Twist is his film about his life as a young boy in Poland hiding from the Nazis.
I also feel like it's an important film in his own life, because it ends a lengthy gap after making Pirates, where he talked about giving up film and where he wrote his autobiography, as if that portion of his life was over. Instead, Frantic seems to have reinvigorated him. He's worked consistently ever since, and of course he met his wife of nearly 40 years on the film too.
SPOILERS AHEAD for Frantic and also Once Upon a Time In Hollywood********* I would also argue that it's the precursor to OUATIH. Everyone acted like Tarantino giving Sharon Tate an ahistorical happy ending in his film was revolutionary, but I've always felt Frantic does basically the same thing. It creates a nightmare scenario where Ford's beloved wife is suddenly absent, but through dogged pursuit of her, when nobody else believes in him, he's able to find her and be reunited with her. You can't tell me that ending scene in Frantic isn't a poetic evocation of what Polanski hoped would happen in 1969. I think it's truly powerful that, in attempting to make a film that would give him some closure (my opinion, obviously), he ended up meeting the woman he'd share the second half of his life with. Just a couple of years earlier, of course, he was still making a movie (Tess) simply because Sharon Tate gave him the book, and dedicating the film to her memory.************END SPOILERS
Also, I feel a personal connection to Frantic, because when Warners issued the Blu-Ray about 10 years ago, they used the wrong audio track (they used a partially French-dubbed track). I begged and pleaded with anyone I could contact at Warner Home Video for them to fix it, but they thought I was a lunatic and consistently brushed me away, so I just looked up Polanski's office phone number online, called, got his secretary, and explained what had happened. She had worked on Frantic, so she understood they had used the audio track intended for the French theatrical release, and she asked me to email him a letter explaining things, which she would show him. Within a couple of weeks, the Blu-Ray was fixed, and then soon after Polanski sent me an autographed Frantic script, to thank me for bringing the mistake to his attention.
Also, I feel a personal connection to Frantic, because when Warners issued the Blu-Ray about 10 years ago, they used the wrong audio track (they used a partially French-dubbed track). I begged and pleaded with anyone I could contact at Warner Home Video for them to fix it, but they thought I was a lunatic and consistently brushed me away, so I just looked up Polanski's office phone number online, called, got his secretary, and explained what had happened. She had worked on Frantic, so she understood they had used the audio track intended for the French theatrical release, and she asked me to email him a letter explaining things, which she would show him. Within a couple of weeks, the Blu-Ray was fixed, and then soon after Polanski sent me an autographed Frantic script, to thank me for bringing the mistake to his attention.
