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The Big Goodbye: Chinatown and the Last Years of Hollywood
by Sam Wesson
https://amzn.to/2vWKWwQ
I'd like to think there'll be some discussion of the score.
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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!
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“
“…Phillip Lambro, fired after preview audiences rejected his avant-garde score, leading to period-appropriate music from cinema stalwart Jerry Goldsmith.”
"period-appropriate"? Not entirely.
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“
“…Phillip Lambro, fired after preview audiences rejected his avant-garde score, leading to period-appropriate music from cinema stalwart Jerry Goldsmith.”
"period-appropriate"? Not entirely.
I think it's hard for some people's memories to get past that stunning trumpet. You're right, of course, he mostly approached Chinatown's period the same way he did L.A. Confidential, preferring the mood, the emotions, and the kind of music that helps the story, rather than announcing itself with a standout, period style.
In a quickie interview at the time of the Oscar noms, Curtis Hanson talked about asking Jerry to do period music, and Goldsmith telling him that emotions are emotions, no matter when a story is set, so let me score that. Your songs will cue the period for people.
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I thought this was going to be about the proper Chinatown in Liverpool!
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Posted: |
Feb 8, 2023 - 1:50 PM
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By: |
Tom Servo
(Member)
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“
“…Phillip Lambro, fired after preview audiences rejected his avant-garde score, leading to period-appropriate music from cinema stalwart Jerry Goldsmith.”
"period-appropriate"? Not entirely.
I think it's hard for some people's memories to get past that stunning trumpet. You're right, of course, he mostly approached Chinatown's period the same way he did L.A. Confidential, preferring the mood, the emotions, and the kind of music that helps the story, rather than announcing itself with a standout, period style.
In a quickie interview at the time of the Oscar noms, Curtis Hanson talked about asking Jerry to do period music, and Goldsmith telling him that emotions are emotions, no matter when a story is set, so let me score that. Your songs will cue the period for people.
Yep, I agree with this response, I was about to say the same thing!
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I don't think Goldsmith's score is period. Period.
I don't think lambro's score is avant-garde. I think Goldsmith's score is more avant-garde than Lambro's.
I rather like Lambro's score. in some ways he approached it the same way goldsmith did.
The big difference--and it's a whopper--is that Goldsmith's theme drips with tragedy and drama and Lambro's theme, by itself a nice piece of music, doesn't grasp that tragic element.
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