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This is a comments thread about FSM CD: The Appointment
 
 Posted:   May 26, 2020 - 3:18 PM   
 By:   Grecchus   (Member)

This is the only live-action imagery connected to the film I've ever seen. The YT poster is familiar with the FSM CD:

https://youtu.be/Nuo3qUsFXgk

There's this, too: https://youtu.be/Qx6W_ZvRSo8

 
 Posted:   May 26, 2020 - 3:55 PM   
 By:   Lukas Kendall   (Member)


When we did the CD, we were given a VHS tape of the cut with the Barry-Walker score. That seems to be the only one still available and in limited circulation (evidently it ran on TCM, per these youtube clips). The edit with the Phillips score I think was done for its American television premiere. A very disappointing film, sorry to say, especially from the great Sidney Lumet.

Lukas

 
 Posted:   May 26, 2020 - 5:03 PM   
 By:   Grecchus   (Member)

That might have been so in another era, Lukas, but when you've seen nothing but lockdown for as long as I/we have, anything that provides a snapshot of the way we were tends to go down a treat. At least it does for me. Besides I'm from the 60s, and this movie end-points the decade where I'm from. I can 'smell' the interior of those cars in the scene!

As far as the FSM CD content goes, the Legrand opener is like a figure of eight. It kind of goes round and round and round. But, I don't mind. I can hear it on automatic and it tends to be hypnotically soothing. The Barry stretch is a bit monotomous in the sense it ends up being tremendously mournful and the mood the film put him in comes right on out in the music. Stu's play is obviously more conventional, however, he had the complication of having to add in vocals so his effort kind of reminds me of the type of easy listening records where there would be 'lookers' eyeing you back on the covers and the songs would incorporate male and female singers - funnily enough, I'm having difficulty trying to extract a prime example of the genre even though it keeps teetering on the end of my tongue - perhaps something along the lines of the James Last singers - you know, stuff typical of that other era. Did Stu actually hear JB's score before entering the fray because by golly, they're not quite the same in overall outlook. One is undoubtedly european/continental in approach and the other is not. I can only think Stu might have had Valley Of The Dolls as a close fitting type of benchmark upon which to base a temp track in catering for the stateside interpretation. I like Stu's entry because it has The Beauty Of Beginning, which is the central 'sweetening' point of his version of the score for me. Actually, I can't decide whether I prefer the instrumental over the song because they both have something the other doesn't.

Edit: For some reason, I was reminded of Ray Conniff and the typical album covers that would grace his records when thinking of Stu's score. Must be some sort of generic style identifier in the singer/orchestral arrangements, or something.

 
 Posted:   May 26, 2020 - 5:33 PM   
 By:   Lukas Kendall   (Member)


Yes, Stu screened the movie with the Barry-Walker score and recalls he asked the studio's Margaret Booth, who was responsible for the re-edit, "What exactly do you want me to do that John Barry didn't do?" And the answer was to make it more contemporary and hipper. I like his score quite a lot and am proud of this weird CD!

Lukas

 
 
 Posted:   May 26, 2020 - 6:33 PM   
 By:   Alex Klein   (Member)

It's a fascinating listening experience: three scores for the same film. It could be mandatory listening for film music students.

I just wish Lukas had left Barry's voice at the end of the restaurant source cue, in which the composer says: "the bill, please", or something to that effect (BTW, that piece was written by Barry, as confirmed by a 45 RPM single release).

Alex

 
 
 Posted:   May 26, 2020 - 7:04 PM   
 By:   Bond1965   (Member)

I have been in love with Barry's theme since first hearing it on this "Ready When you are, J.B." album.

That said, I love all three scores but find myself going back to the Legrand more often than not. There's just something so unusual about it that it always fascinates me. I'm extremely glad this rarity was uncovered. Same for Legrand's score for THE MAN WHO LOVED CAT DANCING.

J

 
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