At last! Oft-requested soundtrack from Time Bandits gets world premiere release! Terry Gilliam directs, fellow Monty Python cohorts John Cleese, Michael Palin join Sean Connery, Jim Broadbent, Sir Ralph Richardson, Shelley Duvall, Ian Holm as performers with David Warner playing Evil Genius, Gilliam and Palin script, Mike Moran scores, Handmade Films presents. Imaginative mind of brilliant 11-year old boy creates wild sci-fi time travel tale of group of thieves with stolen map of “time holes” who invade his bedroom while embarking on the plunder of riches from numerous historical locales. Amongst the events and peoples encountered in their time travels: Napoleon, Robin Hood, King Agamemnon, ancient Greece, the “Titanic”, culminating in a variety of wild action sequences. Composer Mike Moran opens, closes with striking electronic bookends, then embarks on full-blooded symphonic and choral journey through time and history with rousing music that incredibly was all previously unreleased until this Intrada premiere! Numerous highlights abound, amongst them classically-limbed period music for Napoleon in battle, haunting modal-flavored theme for ancient Mycenae in Greece, darkly menacing orchestral music for Evil Genius, many other musical treasures. Spotlight goes to lengthy “Escaping The Cell” portion of “Entrance Into The Fortress Of Darkness”: Here all manner of percussion come front and center, each recorded on their own channels requiring degree of complex mixing. Also deserving attention is exciting series of action cues for battles inside the Fortress of Darkness, recorded in numerous shorter sections also requiring considerable editorial assembly. Thrilling brass rhythms, fanfares are name of the game! Stirring, flavorful ending song “Dream Away” by George Harrison also included! Entire score and final song presented in dynamic stereo from original first-generation session mixes courtesy composer and Handmade Films. Highly informative notes by Scott Bettencourt enhance colorful booklet designed by Kay Marshall which includes film’s iconic “key artwork” campaign on front cover. Harry Rabinowitz serves as musical director, John Richards records at CTS Studios in England, Mike Moran composes & orchestrates. Intrada Special Collection CD available while quantities and interest remain!
01. Opening Titles (1:28) 02. Dwarves Entrance (0:58) 03. Supreme Being Music (0:50) 04. Kevin Escapes From Barn (1:27) 05. Castiglione Entrance (Napoleon) (4:26) 06. Sherwood Forest (2:29) 07. Evil’s Grotto (4:05) 08. Entrance Into Mycenae (2:55) 09. Escape From “Titanic” (1:26) 10. Time Of Legend (1:03) 11. Ogre Sequence (0:34) 12. Giant Rising Out Of Ocean (0:50) 13. Entrance Into The Fortress Of Darkness (8:26) 14. Map Rescue (3:38) 15. Evil Battle Medley (4:12) 16. Tank Battle (2:00) 17. Evil’s End Music (0:43) 18. Ascension Of Supreme Being (0:41) 19. Closing And “Dream Away” (George Harrison) (5:12) Time: 47:44
Seconded! I saw the film by pure chance on a double bill - in French no less - in late summer 1983. As usual, for moi at least, second billed films often wind up becoming life long favorites for some reason. That's the way I discovered Big Trouble in Little China, Time Bandits, Lost Boys.. etc. I went in with no expectations, no fore knowledge of the films themselves - pre internet for those old enough to remember - and a completely open mind. Had a blast and was hugely entertained every single time.
"Oh, Benson. Dear Benson. You are so mercifully free of the ravages of intelligence."
This movie. Oh my god, this movie. The cast. The visuals. The dialogue. And the score. A holy grail from that fantasy/sci-fi golden age 1977-1984. And I'd forgotten how catchy that George Harrison song is.
Thanks, Intrada. My first soundtrack purchase of the year is a good'un.
I always assumed the Castiglione cue was library music! Who knew?
I recall reading it was based on an existing classical piece - I forgot which though.
When I was working on the liner notes, Frank DeWald informed me that it was a reworking of/homage to a classical piece, which with my less than classically trained ear I certainly would not have realized (I forget which piece it was -- I guess you'll just have to read the liner notes to find out).
I always assumed the Castiglione cue was library music! Who knew?
I recall reading it was based on an existing classical piece - I forgot which though.
When I was working on the liner notes, Frank DeWald informed me that it was a reworking of/homage to a classical piece, which with my less than classically trained ear I certainly would not have realized (I forget which piece it was -- I guess you'll just have to read the liner notes to find out).
