I'm reading the book. There are several pages about the scoring. Very interesting. Phillip Lambro's score was continuously praised--right up to the disastrous screening. I love Goldsmith's score--my favorite of his; but I love the description of Lambro's music--yes, I know it's out there to get, so now I am. Robert Evans engaged Goldsmith by knocking on his door!
My local paper reviewed it today. Here are some quotations from this new book.
“With great style and lyricism, Sam Wasson’s nonfiction account of the making of the neo-noir classic “Chinatown” focuses on four of Tinsel-town’s denizens on the cusp of realizing their California dream when the Manson family unleashed its nightmare.”
“It’s impossible not to fall for this love letter to a love letter that pastes together the often sticky collage of how talent plus perseverance can equal a classic film”
“The four main antagonists are vividly portrayed: Evan, the schmoozer with taste; Towne the down-trodden writer; Nicolson the charmer leading a charmed life; and Polanski the auteur…. By comparison, short shrift is given to Faye Dunaway, brilliant as the femme fatale but high maintenance behind the cameras. “
“…Phillip Lambro, fired after preview audiences rejected his avant-garde score, leading to period-appropriate music from cinema stalwart Jerry Goldsmith.”
A fascinating and compelling read! A bit strange that in the first section, which deals with Polanski's deep-rooted fear of losing those closest to him, the author doesn't cover the passing of Krzysztof Komeda, since he covers "Vampire Killers" and Rosemary's Baby." (There's only an oblique reference to him in the discussion of the "Chinatown" score later on.) By most accounts Polanski and Komeda were very tight. But perhaps his fatality was one of those subplots that just didn't quite fit the story arc. In any event, the book is a really engrossing deep dive into that era.