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Nude?!
Well then....
Seriously. This is the music that could have been in COLUMBO. Think of it as unused score and imagine Robert Gulp desperately searching for a contact lens...Patrick O'Neal transporting a dead body along a mountain road...Eddie Albert burying a body at sea. . Roddy McDowell on a tram with a box of exploding cigars!
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Posted: |
Sep 8, 2019 - 1:33 PM
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By: |
Last Child
(Member)
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Seriously. This is the music that could have been in COLUMBO. Think of it as unused score and imagine Robert Gulp desperately searching for a contact lens...Patrick O'Neal transporting a dead body along a mountain road...Eddie Albert burying a body at sea. . Roddy McDowell on a tram with a box of exploding cigars!
I feel like this is a call for help from BRM. Mentioning Roddy is a clear reference to Malcolm with whom he's often and mistakenly presumed to be related, and whose imdb bio reads thusly...
In the mid-1980s, the years of alcohol and drug abuse, including $1000 a week on cocaine, caught up with him. Years of abuse took its toll on him; his black hairs were now gray. Looking older than he really was, nobody wanted to cast him for playing younger roles. The big roles having dried up, he did many B-rated movies. The 1990s were kinder to him, though. In 1994, he was cast as Dr. Tolian Soran, the man who killed Captain James T. Kirk in Star Trek Generations (1994). He was back on the track, playing villains again. He played another in the classic BBC miniseries Our Friends in the North (1996). Today, with more than 100 films under his belt, he is one of the greatest actors in America. He still does not have American citizenship, but he likes the no-nonsense American ways. He resides in the northern suburbs of Los Angeles, California.
Sound familiar? BRM the villain of FSM.
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People - Please DO pay attention. There IS Columbo music in THE SENTINEL, and it IS for Robert Gulp dumping a body. And Richard Dreyfuss isn't in it, but every other actor in the world is.
//añadido-desde_nave_espacial//gobierno:secreto///
It seems that I'm the one who must pay attention. The "Eye-Ehm-Dee-Bee" lists Richard Dreyfuss as the "Man on the Sidewalk (uncredited)". This was after JAWS. Was he just there by chance?
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And Richard Dreyfuss isn't in it....
Oh yes he is!
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And Richard Dreyfuss isn't in it....
Oh yes he is!
[image]i.postimg.cc/Yq6tTCyF/The-Sentinel-Richard-Dreyfuss-1977.jpg[/image]
We were posting at the same time, Mark. Can't get access to your image from the spaceship, but I'll try other means. Anyway, was it an in-joke? A favour for somebody? As I said, Dreyfuss was already famous by then.
//Editado// Nave_espacial//
Ah, I see him now. Is that really him? And is he talking to Amy Irving?
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Is that really him?
It sure looks like him!
And is he talking to Amy Irving?
Isn't that Cristina? I need to see this movie again!
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And I added, "Is he talking to Amy Irving"?
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No, wait, that's Cristina and Deborah Raffin with their backs to the camera. I don't know who Dreyfuss is flirting with!
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19. About Sentinels 1:48
Never viewed The Sentinel, Graham, but recently received this La-La Land CD.
Only listened few times + absorbing it at present, but I'll deposit my thoughts later on into this thread.
If one likes the beginning of track #19 I've referred to above, then I suggest listening to this serial work entitled "Dialoghi" for cello & orchestra by Luigi Dallapiccola:
https://youtu.be/do6pAgpoNAI
Some scribes consider this opus to be a superior specimen of symmetrically designed 12-tone composition.
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Posted: |
Nov 2, 2019 - 10:54 AM
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By: |
Graham Watt
(Member)
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19. About Sentinels 1:48
Never viewed The Sentinel, Graham, but recently received this La-La Land CD.
Only listened few times + absorbing it at present, but I'll deposit my thoughts later on into this thread.
If one likes the beginning of track #19 I've referred to above, then I suggest listening to this serial work entitled "Dialoghi" for cello & orchestra by Luigi Dallapiccola:
https://youtu.be/do6pAgpoNAI
Some scribes consider this opus to be a superior specimen of symmetrically designed 12-tone composition.
Thanks for that, Zardoz. I'm not overly familiar with Dallapiccola, but I've dipped into his works on occasion when following up some "research" (if that doesn't sound too pompous) on Leonard Rosenman. Anyway, back to THE SENTINEL - Yes, there's a definite link there between the Mellé track and the Dallapiccola (especially Part 1). No idea how directly intentional it was, if at all. Thinking back to the large output of Mellé, that particular piece from THE SENTINEL might be the closest he ever got to the Dallapiccola vision of serialism.
Looking forward to your views on the entire soundtrack. Even if you dislike it. At least I know you'll express yourself, rather than just saying "Shite".
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Thanks for that, Zardoz. I'm not overly familiar with Dallapiccola, but I've dipped into his works on occasion when following up some "research" (if that doesn't sound too pompous) on Leonard Rosenman. Anyway, back to THE SENTINEL - Yes, there's a definite link there between the Mellé track and the Dallapiccola (especially Part 1). No idea how directly intentional it was, if at all. Thinking back to the large output of Mellé, that particular piece from THE SENTINEL might be the closest he ever got to the Dallapiccola vision of serialism.
I doubt it was intentional. Around 1972, classical music record producers' notions of modernity was basically Bartok or Stravinsky, so I don't think an item such as Luigi's 'Dialoghi' would have been commercially available on vinyl during the '70s for Gil M. to have even heard it.
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Looking forward to your views on the entire soundtrack. Even if you dislike it. At least I know you'll express yourself, rather than just saying "Shite".
Coming soon ...
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I doubt it was intentional. Around 1972, classical music record producers' notions of modernity was basically Bartok or Stravinsky, so don't think an item such as Luigi's 'Dialoghi' would have been commercially available on vinyl during the '70s for Gil M. to have even heard it.
That got me wondering what Dallapiccola was available on recordings pre-1977:
https://www.discogs.com/artist/776668-Luigi-Dallapiccola
No "Dialoghi," but this list might not be complete.
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That got me wondering what Dallapiccola was available on recordings pre-1977:
https://www.discogs.com/artist/776668-Luigi-Dallapiccola
No "Dialoghi," but this list might not be complete.
True, that, but it seems more than half of those LPs are European, and American albums feature a Dallapiccola piece within compilations on multiple composers.
Looks like 1973 onwards witnessed growth of all-Dallapiccola album programs.
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Whilst I've never seen The Sentinel nor owned The Andromeda Strain on LP or CD, I do have the Intrada CDs of The Organization and Borderline. Beyond these and Then Came Bronson, my exposure to Gil's music has been basically via watching episodes of Kolchak or Night Gallery.
Maybe because of this, I hear in The Sentinel similarities to Jerry Fielding (as if The Sentinel was a feature-film length Kolchak story  ).
But wait ... there's more: for years I've preferred Fielding's soundtracks for Michael Winner-directed movies over his music for Peckinpah, so I still can't shake away those Winner/Fielding associations when listening to The Sentinel.
I wonder why Winner approached John Williams instead Fielding to write for The Sentinel?
[If Williams had scored it, I think there would be one track titled "For Alison"  ]
Gil Mellé’s music was recorded around the Thanksgiving Day holiday in late November of 1976.
However, principal photography was shot in NY during the summer of 1975!
In my mind, this makes The Sentinel one of those mid-'70s pictures (like Logan's Run) that had gotten pushed-aside and forgotten by the late-'70s craze for special-effects orientated cinema. Mellé’s resultant score is much more ‘early-'70s’ in character than the symphonic type of writing that would soon become a trend in the late'70s & early '80s.
When Mellé's score utilizes the middle-ages-sounding ecclesiastical theme, this recalls to me the sort of harmonic vocabulary that Fielding used in his orgasmic aural climaxes.
Elsewhere, Gil M. is more laid-back and coolly detached, not unlike Johnny Mandel's style.
Eruptions of wailing trumpets/saxophones or screetchy violins sound as though they emanate from an early-'70s Italian giallo by Ennio Morricone.
Herein lies the crux of my review: The Sentinel sounds like good thriller music but it doesn't communicate to me any occult atmosphere or the supernatural. It's like a blend of Fielding's Demon Seed with a Morricone or Nicolai giallo. It is music for blood-letting & gore by a knife-wielding psychotic clergyman, but not for anything apocalyptic or Satanic. To me, The Sentinel is very different from The Omen and The Mephisto Waltz.
Just the main title credit sequence from The Devil's Rain by Al de Lory sounds more Hellish than any cue from The Sentinel.
High marks for Mellé, though, for creating his own electronic instruments and modifying manuscript paper to accommodate the needs of his music for this film.
So … this Gil Mellé soundtrack is good, but heaping unlimited superlatives onto The Sentinel is not thoroughly justifiable (in my opinion). Of course, it’s great to have this recording finally available on disc, but - with a pressing of 3,000 – I think Mellé’s aesthetic approach is going to be a hard-sell to younger collectors weaned on Hans Zimmer’s Remote Control stable of sonic wallpaper designers.
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Robert Gulp?
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Thanks Zardoz for posting your review, and especially for not simply saying that the score is "shite".
I've always heard an overlap, very occasionally, between Mellé's film scores and the work of Jerry Fielding. It may be due to their jazz background, but that would be simplifying things far too much - having to exclude so many composers with a jazz background who sound nothing like either Mellé or Fielding. You mention Johnny Mandel... Come to think of it, some of the moodier moments in HARPER (what's that track - "Temple in the Clouds" or something?) - have that Mellé-Fielding growly sound. But then we'd be on to Stan Kenton, Gunther Schuller and a million others.
I don't know how I'd feel about THE SENTIINEL's score's ability to convey Hell-on-Earth if I hadn't seen the film, but I kind of get the feeling that I would unavoidably make a connection. I don't honestly think that it would merely conjure up killer-on-the-loose films, certainly not exclusively. The use of synthesized choir, the very liturgical moments punctuated by some extremely Devilish exclamations, the frenzied glissandi mixed with voices... No, for me it's not simply another good ´70s thriller score. Although it's so very varied that much of it may well have been at home in more standard fare.
Whatever, whether ANY of it succeeds in conjuring up images of Hell is irrelevant to me. The fact that it does is an added bonus though, because I can see/hear how Mellé nailed it. If it didn't work that way it would still be a monumentally great soundtrack, and one which need even MORE hyperbole! So let loose Zardoz, you cold Vulcan fish.
THE SENTINEL is freakin' brilliant, man!
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If Zardoze eliminated the last sentence of his post, it might be of value.
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