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That climactic scene was among the many great film clips at a DGA tribute to Joseph Mankiewicz and when he spoke at the end of the event he bemoaned the way movies nowadays end with a long, anti-climactic crawl of credits. He compared this practice unfavorably with the power of THE GHOST AND MRS. MUIR's ending, stirring great, powerful emotion and then immediately leaving the audience to ponder the experience in silence as the theater lights come up.
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Posted: |
Nov 21, 2020 - 8:29 AM
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By: |
OnyaBirri
(Member)
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I mentioned earlier in this thread that the Ghost and Mrs. Muir was my favorite Herrmann. And that is really saying something, especially when you consider all those Hitchcock scores, the Harryhausen films, Jane Eyre, Citizen Kane, the Magnificent Ambersons, All That Money Can Buy, Obsession, Taxi Driver, and so many more.
It is one of my favorites too. Believe it or not, I don't think I've ever seen the film. Maybe we'll watch it tonight.
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That climactic scene was among the many great film clips at a DGA tribute to Joseph Mankiewicz and when he spoke at the end of the event he bemoaned the way movies nowadays end with a long, anti-climactic crawl of credits. He compared this practice unfavorably with the power of THE GHOST AND MRS. MUIR's ending, stirring great, powerful emotion and then immediately leaving the audience to ponder the experience in silence as the theater lights come up.
***
"Interesting point PNJ, but for me, it's a yes and a no.
Some films do/would benefit from the Finale piece being The End, but think of all the wonderful End Titles we would have missed out on (The Swarm, all those JW recap suites).
I can't imagine the big Finale piece in Capricorn One not being followed by a recap of his driving Main Title music.
And with ET, although the big Finale would have been enough, that rhapsodic piano piece that follows ain't bad either."
***
It was Mr. Mankiewicz's point and as such I thought it was worth sharing, but -- big surprise -- I'm a film music fan and I totally understand your mixed feelings on the matter. As a movie lover I can agree with Mankiewicz's thought as a general thing, and as a music lover I'm all for the-more-score-the-better...
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Posted: |
Dec 6, 2020 - 9:19 AM
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By: |
Howard L
(Member)
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Howard, that was a lovely, elegant write up. Must check out both movies again.
A throwback, sí? Thank you, joan, and everyone here for your encouraging responses. It's kind of overwhelming. Nothing like sharing what is dear to you and finding out it strikes a mutual chord among many.
...No matter how many times I watch The Ghost & Mrs Muir, the final scene, where a radiant Gene Tierney rises from her chair as her younger self and rejoins her lost love to the gorgeous strains of Herrmann's poignant strings, always turns me into a blubbering wreck!
You know, the Captain's outstretched hands...Herrmann's soft, subtle tones...then, "Come, Lucia. Come, m'dear"...then, the close-up...may be, for me, the finest quick cut in my film-viewing life second only to the blowing out of the match by Lawrence. The sun rises in the desert; Lucia arises, too, with an instantaneous "upward" shift to those poignant strings. It is a magnificent transition.
...the power of THE GHOST AND MRS. MUIR's ending, stirring great, powerful emotion and then immediately leaving the audience to ponder the experience in silence as the theater lights come up.
Aces.
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