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Thanks for doing this!
Yavar
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Yeah, the score completely makes the movie. Haunting main theme. Dammit, now I want to watch this again.
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Posted: |
Jan 21, 2016 - 12:49 AM
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By: |
DavidCorkum
(Member)
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I posted this before, but I like it -
In issues 19 & 20 of the Soundtrack Collector's Newsletter, published in 1980, John Caps wrote an excellent article called The Ascent of Jerry Goldsmith. Here's what he wrote about Peter Proud:
" The ability to score for concept in a picture is even better tested in a film that has no cogent concept, no single idea of itself: The Reincarnation of Peter Proud. Goldsmith was obliged to create a whole voice for this weak movie, to become it's spokesman so that the whole film might, if it could, feed off of him. This was the silly story of a man who believed that he was murdered on a Massachusetts lake in some previous life. He set out to track down the facts of his own past, found that he was indeed murdered on the very lake he was visiting now and, inadvertently, recreated the whole incident. The script could not make much more of the plot than that - the players were flat in undeveloped roles and, although there was a rape, the murder, some nudity, and a spicing of occult, the film never even convinced us that it was serious.
Why Goldsmith signed on for the job is questionable for a start, but taking it in hand as he did, we find one of the most easily attractive, lyrically flowing scores he would do in the 1970's. It was a flute and piano score for the most part, backed by a standard string orchestra and a brace of synthetic sounds that mixed into Peter Proud's disturbing dream world. The mood Goldsmith provided was a sort of elegiac melodrama where Predestination is a sad necessity of life - at least Proud's life. It's Goldsmith's sympathy that sets the tone for the movie, that tells us how to take the story we're watching, and although the script gets worse as we go along, the music charms us closer.
The main tune was used in different guises - as pianos solos, as pulsing travel music while Proud looked for the home town his "other self" would recognize, and as a yearning string moment when Proud's doctor friend described reincarnation to him over the phone. Once he meets a "nice girl" during a game of tennis, a flowing new waltz tune for piano is introduced and it is reprised later by a lush string orchestra during their love scene on the cliff. All the while, even the love music reinforces the regretful, fated moodiness. The film absorbed some of that feeling from the music and at times seemed almost to be working. It was really only riding the ascent of Jerry Goldsmith. "
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There is an unmentionable released with so-so sound, but here's what Doug Fake had to say about it way back in 2005: "While poor cassette dubs and CDRs abound, true master elements for the majority of this score remain missing. Though a license can probably be negotiated for the album rights, the recording sessions were done here. So AFM fees also still apply, if the actual session masters can be located. There were separate orchestral sessions, piano sessions and electronic sessions. Where everything ended up is a mystery. We've found a small part of them but that's it so far. We'll keep our eyes peeled..."
Yavar
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This is without a doubt my favorite unreleased Jerry Goldsmith score. <...> I hope it gets a release someday.
Mine as well. I very much hope so too!!
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Posted: |
Jul 27, 2018 - 11:33 PM
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By: |
Zoragoth
(Member)
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Additionally, may I say, I consider this an important score in Jerry Goldsmith's career.
I mean, just listen to it. It may have been done quickly and cheaply but Goldsmith applied the same integrity and creative intelligence to the film as he did to the bigger contracts. Further, THE REINCARNATION OF PETER PROUD is not a film to be ashamed of. It's a first-rate suspense thriller, literately and inventively written, that depends on the dramatic skills of its actors and the visual skills of its director to engage the audience. It doesn't need big loud special effects and hyper-fast action. It's not that kind of film. Goldsmith's score is the vital piece of thread that keeps this suit stitched together, but it's a fine suit on its own.
I just watched this film last week (for the first time, not including broadcast TV years ago, which doesn't count) on the new Kino blu-ray and greatly enjoyed it. I sure hope they can find the score elements, as I would love to hear Goldsmith's score apart from the film.
The audio commentary for the Kino blu-ray is highly recommended, with facts concerning all the artists (cast, crew, Max Erlich, who wrote the novel and screenplay) coming at ya fast and furious. Goldsmith's music receives high praise, as it should, and perceptive structural analysis.
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