I bought this score on LP back in the days knowing nothing about the movie. And I love it.
One of Morricone's most evocative score, in my opinion.
Never saw the movie and it is impossible to find it on line.
Anyone saw it? How is the music in the context of the movie?
Just saw an interview with William Friedkin where he says Morricone did not compose the music as he wanted! I believe Morricone was right in the end...
Thanks for the link. That brief interview was interesting. Somehow, despite being a big Friedkin and Morricone fan, I've never seen this film. Not sure how it passed me by.
Thanks for the link. That brief interview was interesting. Somehow, despite being a big Friedkin and Morricone fan, I've never seen this film. Not sure how it passed me by.
It is a very obscure movie.
Never saw it anywhere. Just read about it and listened to the score...
Ah, now I MUST see it. Damn. That Alex McArthur fella was everywhere in the late 80s early 90s it seemed. It must never have been shown on TV when i was growing up.
I have not seen the movie but I do have the soundtrack (signed by one of the actors from the film). Anyway I do love the track District Attorney. This track is actually one of my all time favorite tracks by Morricone.
I have not seen the movie but I do have the soundtrack (signed by one of the actors from the film). Anyway I do love the track District Attorney. This track is actually one of my all time favorite tracks by Morricone.
My favorite tracks are: "Run, Run, Run", "Magma", "Rampage #2" and "Carillon".
Saw the film about 12 years ago. Think it must have been on a cable channel. Liked the film too. Dark and atmospheric. I can't remember much about how the music fitted the film, only that my love of the score took the film to another level. I remember reading somewhere that the film was shelved then re-edited and released. Would be fantastic to get a release and get both versions of the movie.
There are actually two versions of this film - the original 1987 cut and Friedkin's recut for the 1992 release. I haven't seen either; are there any differences re the score in the two versions?
EDIT: I see that other Mark has noted the two versions just abovemy post. But my question still stands.
I haven't listened to it in 15 years or so, but I can remember it extremely well. I will go back in the next couple of days and play it again - thanks for reminding me about it.
I’ve had this on cassette and CD for ages. Really great score and I love that cover art. The last track “Recollections” might be my favorite. I have seen the original version of the film. It’s a Jagged Edge/ Suspect kinda courtroom thriller with a great lead performance from Michael Biehn. Visually pretty uninteresting. The score is one of the best things about it.
Saw the film many years ago on video. As I recall, a bloody film in which the identity of the perpetrator was never in question, just whether he could be held to account or not. The score matched the film with a lot of intense, stressed-out sax.
It was one of my first ever Morricone CDs after I suddenly fell in love with his music in The Mission. The prospect of him working with the director of The Exorcist was almost too good to be true. The score remains understated and mesmerising and an all time favourite for me. I know someone who disliked the score initially and grew to appreciate decades later!
Finally saw the original cut of the movie in a lousy VHS copy.
The movie is very dry, sometimes looks like a documentary.
Its premise is interesting, at a time when serial killer's movies were not common, but it lacks dramatic punch.
The questions about the death penalty are important, but the movie never goes deep enough on it.
Morricone's score is quite good and it seems that the composer figured out what the movie was all about better than the filmmakers, but is over used in the first part, sometimes sounded like two different tracks were overlaped.
The cues "Run, Run, Run" and "Magma" were not used in the film.
"...Morricone's score is quite good and it seems that the composer figured out what the movie was all about better than the filmmakers..."
I think this happens a lot. Ennio is so good at what he does, his approach to the films - somewhere deep inside he has perfected the "Ok then, so whats this film really all about?" - and he can nail it in a word or a phrase in his mind and come up with the equivalent music. And what he chooses isnt always the obvious but no less crucial.
"...Morricone's score is quite good and it seems that the composer figured out what the movie was all about better than the filmmakers..."
I think this happens a lot. Ennio is so good at what he does, his approach to the films - somewhere deep inside he has perfected the "Ok then, so whats this film really all about?" - and he can nail it in a word or a phrase in his mind and come up with the equivalent music. And what he chooses isnt always the obvious but no less crucial.
Indeed. The same happened in my opinion with FAREWELL TO THE KING, where Basil's music is everything the movie should have been...
