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Reading the OP as an implied insult to Williams' later work is pointless. Let's not get diverted from the fact that "My Friend Mr. Nobody" is a truly wonderful score.
I listen to it straight through and there isn't a moment I would do without.
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That's some good stuff. It's obviously very Williams. It's amazing how much his work has changed yet stayed quintessentially him.
I'm curious how Star Wars / Superman / Close Encounters are "Reaganite". Surely they are "Carteresque". (Would Jaws be "Fordian" or "Nixonian"?)
And they all sound a heck of lot like Lost in Space to one degree or another.
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Posted: |
Mar 17, 2018 - 6:16 AM
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By: |
Jim Phelps
(Member)
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I'm curious how Star Wars / Superman / Close Encounters are "Reaganite". Surely they are "Carteresque". (Would Jaws be "Fordian" or "Nixonian"?)
As far as trends go, no decade is a self-contained entity (though there is overlap), which explains why the late 1970s is markedly different than 1970-75. I would argue that Nixon, Ford, and Carter-era films reflect the post-Civil Rights Movement, Vietnam, Counterculture, and Watergate "hangover" and later "malaise", whereas Reaganite cinema reflects the escapist, nationalistic, and largely optimistic atmosphere of the 1980s.
For a good, retrospective example of this tipping point, watch NO COUNTRY FOR OLD MEN. It essentially chronicles the death of the 1965-75 era (give or take).
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If Williams' SUPERMAN was Carteresque, were Ken Thorne's II and III more Reaganite? Discuss.
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It begs the question, which is more dangerous: Reaganite or Kryptonite?
Have to admit, I'm getting nostalgic for Reaganite.
I'm here all week, folks.
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It begs the question, which is more dangerous: Reaganite or Kryptonite?
Have to admit, I'm getting nostalgic for Reaganite.
I'm here all week, folks.
You don't know nostalgia until you've had some Zorgonite. All hail Zorg the Zorgian.
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