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Posted: |
Jun 4, 2021 - 12:12 AM
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By: |
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(Member)
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In general, I would say that Barry's greatest successes tended to come when he was bucking trends--Goldfinger, Midnight Cowboy, You Only Live Twice, The Ipcress File, etc. And when Barry was trying to follow someone else's success, the results were less satisfying. The Man With the Golden Gun, a rockish piece following Live and Let Die, MOR All Time High following For Your Eyes Only. Even following his own successes didn't always work: The Living Daylights (the song) following A View to a Kill, Thunderball following Goldfinger.
Neither the Living Daylights-song nor the View to a Kill- song was written by Barry!!!
Thunderball did not work? Come on!
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I read that the "celebratory" laser music from The Black Hole was put there by the powers that be. Barry wrote that music at the producer's insistence for the overture, I believe, and it was not intended for that scene.
It sure appears to be out of place.
And that's what the original intent of the thread was as far as I can see: music cues that are misplaced or at odds with the scene. Instead, at least some people seem to list simply scores or musical styles they don't like, which has been done in many other threads already.
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Sticking with Bond....
FROM RUSSIA WITH LOVE: The scene in Bond's hotel room where all he's doing is checking the place for hidden microphones and the James Bond theme is blasting out treble forte.
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Ooooooh!!!!!
THE MATRIX: RELOADED and THE MATRIX REVOLUTIONS.
This is sort on the border here, so bear with me.
I think the music for the first movie is ABSOLUTELY BRILLIANT.
But I find the second film gets bogged down in the overuse of techno/electronica, and the third film gets bogged down in the wannabe-opera / overused epic chanting.
Granted there are one or two cues in each that still sound good - but I felt like they totally lost the mystery and intrigue of the original film.
But again...
It's sort of how those two films were anyway...
You can certainly argue any case for whether score works or not, but are you contending that the scores for RELOADED and REVOLUTIONS don't fit those movies (as per the OP's question)?
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I love James Newton Howard‘s WYATT EARP - but for my taste it is much too heroic for the movie which should have gotten a more downbeat, subtle score.
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Ooooooh!!!!!
THE MATRIX: RELOADED and THE MATRIX REVOLUTIONS.
This is sort on the border here, so bear with me.
I think the music for the first movie is ABSOLUTELY BRILLIANT.
But I find the second film gets bogged down in the overuse of techno/electronica, and the third film gets bogged down in the wannabe-opera / overused epic chanting.
Granted there are one or two cues in each that still sound good - but I felt like they totally lost the mystery and intrigue of the original film.
But again...
It's sort of how those two films were anyway...
You can certainly argue any case for whether score works or not, but are you contending that the scores for RELOADED and REVOLUTIONS don't fit those movies (as per the OP's question)?
Well that's why I said that the suggestion was "sort of on the border" and concluded by saying the music is "sort of how those two films were anyway..."
I've said it elsewhere here too because theoretically, with very few exceptions, films get the scores they deserve. Like the James Bond films "Moonraker" and "The Man With The Golden Gun" have the aforementioned bad music that ruins certain scenes... but both films are goofy and Moonraker in particular has cheesy, tasteless jokes, so the bad music pretty much fits what the movie is. Same with The Man With The Golden Gun - tasteless, annoying redneck sheriff character as comedic relief = comedic slide whistle over an amazing car stunt... that's kind of what the film is.
Even "Never Say Never Again", which is a HORRIBLE score IMO kind of matches the film which is an uneven, unserious mess.
Or even "Shadow of a Doubt" - the music is melodramatic, but on par with most film scores of the period AND the film itself is pretty melodramatic.
But like I said originally, the Matrix suggestion was a weak one to begin with.
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