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| This is a comments thread about FSM CD: THX 1138 |
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Posted: |
Aug 15, 2014 - 12:48 PM
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By: |
Rollin Hand
(Member)
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¶ Here is Lalo Schifrin's avant garde masterpiece of the Seventies along with The Hellstrom Chronicle.
¶ THX 1138 is extremely versatile like many scores of Schifrin (Cf. Coogan's Bluff, Bullitt, Dirty Harry, Pretty Maids All in a Row). The common denominator is unconventional rendition of Baroque Church choir and abstract ambient music (mixing folkloric instruments from Brazil, Africa, Eastern Europe) combined with such hard counterpoints as an African ethnic cue ("Primitive Dance"), a light little ladies song ("Be Happy Again")—that I adore—, smooth latin tunes a la Cool Hand Luke ("Source #1", "Source #2", "Source #3"), intimistic music ("Love Dream"), a rock spaghetti western tune ("Source #4").
¶ THX 1138 features many of Schifrin's gritty Seventies devices: dissonant buzzing organ or synthesizer, scrapped cymbals, tablas or cimbalom tapestry or punctuations, instruments distorted with echo, weird and swift cue transition inside a track.
¶ THX 1138 has got two tracks that got me hooked up on the spot: the pair of dissonant tracks entitled "Escape" (First is track #12 and Second is track #14) because of the Dirty Harry connection. Think Scorpio and the money delivery at night!
First http://www.filmscoremonthly.com/store/MP3/0604/12_FIRST_ESCAPE.MP3 Escape
¶ Anyway, I love the Baroque and solemn finalé dominated by a harpsichord entitled "The Hologram".
••• For those happy few listeners who own the score: why do you like it?
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Many of Schifrin's avant garde scores are worth listening to away from the film for its experimental tone and orchestrations. Another score I would love to have released if the rights issue is ever resolved is John Boorman's HELL IN THE PACIFIC with Lee Marvin and Toshiro Mifune. There is little dialogue so Schifrin's modernistic approach works well with the visuals.
http://youtu.be/dTPd3eOPPNQ?list=PL1BPrVOMOxxLSzP8LRE-7II0aHEUhKadL
Due to the minimalism of dialogue and music, the overall sound design plays an important role in each of the character's psyche.
JP
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Many of Schifrin's avant garde scores are worth listening to away from the film for its experimental tone and orchestrations. Another score I would love to have released if the rights issue is ever resolved is John Boorman's HELL IN THE PACIFIC with Lee Marvin and Toshiro Mifune.
¶ What musical connection do you spot between Hell in the Pacific and THX 1138?
¶ Can you elaborate on the rights issue for Hell in the Pacific, please?
1. THX 1138 and HELL IN THE PACIFIC are modernistic due to Schifrin's orchestration and use of instrumentation and coloristic tonalities. Both scores deeply reflect psychological and physical trauma while the sound design reflects natural and artificial settings within the film.
2. I am not the one to discuss the rights issue, but if you think about the person who has championed many of Schifrin's scores, from DIRTY HARRY to THE HELLSTROM CHRONICLE, he would be the better person to ask.
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Posted: |
Aug 16, 2014 - 12:25 PM
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By: |
Bob DiMucci
(Member)
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Can you elaborate on the rights issue for Hell in the Pacific, please?
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I am not the one to discuss the rights issue, but if you think about the person who has championed many of Schifrin's scores, from DIRTY HARRY to THE HELLSTROM CHRONICLE, he would be the better person to ask.
HELL IN THE PACIFIC, was produced by Selmur Pictures, Inc. (ABC Pictures Corp.). The likely owner of the film, as with other ABC assets, is Disney. But the real problem would be locating the original music elements. No original soundtrack has ever been released for any of the ABC film productions, other than what was issued on LPs at the time of the films' release. (There was no LP for HELL IN THE PACIFIC.)
In 1997, Schifrin himself renewed the copyright to the music score, so a re-recording would seem to be possible, if anyone thought it would sell.
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When THX buys a red dendrite after he gets off his work shift at the beginning of the movie (later to dispose of it in a disintegrator as soon as he arrives home), a clarinet-led kind of "elevator music" plays as he moves through the "shopping area".
Is this music on the FSM CD? Was it composed by Schifrin?
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