A 1971 James Bond-ish vehicle for Anthony Hopkins. This was to lead to more films, but that didn't happen. The film is rather unremarkable and there are better things to watch if you have the time.
This is a fantastic score that was brought to my attention years ago when reading about it here at FSM.
The score has it all: A kick-ass Bondian theme, reoccurring motifs and orchestration ideas, drama, suspense, adventure, mystery, fight music, even some softer love material. Parts harken back to scores of yesteryear, with flourishes you could hear in "Mutiny on the Bounty" (indeed, an ascending [as I recall] orchestration idea from that Kaper score is heard in this one).
0:16 in. Morley's cool and catchy theme for the film.* (4:28)
8:48 in.* (2:03)
14:25 in. (0:20)
14:49 in.1536 (0:47)
18:18 in. (0:30)
19:47 in.* (1:50)
29:36 in. (0:26)
31:37 in.* (0:29)
33:18 in.* (0:48)
36:50 in.* (1:18)
41:28 in.* (1:52)
43:48 in. (1:50)
48:24 in. (1:00)
52:34 in. (0:48)
54:25 in.* (2:20)
1:00:24 in. (0:38)
1:01:41 in.* (0:40)
1:03:28 in. I just can't praise this cue enough. Sounds like the cue was dialed out early and we don't hear the proper ending.* (6:18)
1:10:45 in. (1:45)
1:13:55 in. (1:02)
1:21:55 in.* (2:10)
1:23:27 in. (0:40)
1:26:10 in. (0:35)
1:26:53 in. (0:10)
1:28:05 in.* (load cuts off; somewhere over two minutes long; goes straight into thee end credits)
APPROX. TOTAL RUNNING TIME: 30 to 35 minutes. So obviously it would need to be paired with something unless there is a substantial amount of alternates and un-used scoring. I'm not one of these people who likes to buy a pressed CD that is half full.
At the time, Morley was still a man named Walter Stott. I can't even imagine what the details were, but Stott got married to a woman, went overseas for the honeymoon, and came back a woman.
The score remains unreleased. The main theme was re-recorded for a release of her scoring titled The Film & Television Music of Angela Morley: http://www.angelamorley.com/site/filmandtv.htm
Morley died in 2009 from complications arising from a fall.
Trivia: within a year Hopkins also starred in another spy movie, which was also scored by Morley ("The Looking Glass War". That score also remains unreleased (I remember skimming the film and not being taken at all with the score).
For any label taken by this and wanting to look into it, here are the production companies according to IMDb: Gershwin-Kastner Productions(co-production) Winkast Film Productions(co-production)
Presumably, since other scores from both productions companies have been released, this should be at least be legally possible to put out. Please, some label jump in and explain why this score hasn't happened yet.
For the guys here: 59:35 in. You're welcome.
"Strangely enough, I'm one of the good guys," as he drags away a person he killed.
"You're just a professional bastard. "In the words of a late friend of mine: It's what I do well."
Yes! This is cool music! I enjoy films from that period in the UK where there is an obvious Bondian touch to the storyline and often one or more Bond alumni in the production team.
Some of us know Morely primarily through her arrangements for Scott Walker's early solo albums.
I wonder if those arrangements still exist. I always hoped they would do a concert together, but Scott was not one to revisit his past, and they are both gone now.
I only found out this film existed last year on a blu-ray compilation of trailers, but I'm now pleased to discover the score in that trailer is from the film - I adore that expansive rolling in the middle of the main theme!
Morley was such a wonderful composer. Hopefully one day this will see a release!
I love this film. I have it on DVD in the widescreen edition. That part of Scotland is often in films and TV series.
A stellar cast as well.
The soundtrack is pretty good - thanks for that.
The poster takes a few liberties though!
But the Alistair Maclean novels generally made for solid movies. Fear is the Key is another one I thoroughly enjoy with an an excellent Roy Budd score.
Yes! This is cool music! I enjoy films from that period in the UK where there is an obvious Bondian touch to the storyline and often one or more Bond alumni in the production team.
Chris
Yeah this was definitely cool music. Taken to see this with parents as we all enjoyed the MacLean films, and as Where Eagles Dare had been such brilliant music i waited with anticipation (even tho wasnt Goodwin). Wasnt disappointed. Wonderful beginning, - straight away frogman appears in the water you know its gonna be great - and when he starts climbing the anchor chain and the music kicks in as WHEN EIGHT BELLS TOLL comes up, wow!! Here's the intro n main title...
In one thread (and probably repeated) I stated that I had made my own DVD rip and the score lasts 40'32" though that does include a 4'10" sequence of easy-listening background music covered by dialogue.
From my DVD-rip: My track title listing: 1. Main title 2'32" 2. Two dead agents 1'55" 3. How did it go? 2'05" 4. Hurry, Phil, hurry 0'19" 5. Customs’ officers 0'41" 6. A walk in the hills 0'28" 7. Graveyard fight 1'49" 8. Drinks at 10 (dialogue) 4'10" 9. No second thoughts? 0'26" 10. Hunslett followed 0'28" 11. Helicopter flight (part 1) 0'47" 12. Helicopter flight (part 2) 1'14" 13. He won’t be coming up now 1'58" 14. Return to Firecrest 2'04" 15. Visitors 1'00" 16. Help! 0'43" 17. We’ve wasted enough time already 2'25" 18. They’re under Loch Houron 0'04" 19. Back to Hutchinson’s 0'34" 20. Here we go again 0'42" 21. Gold under water 6'15" 22. Has it? 0'19" 23. I’ll even take my boots off 1'29" 24. Creeping around 1'02" 25. Attack on the boat house 1'02" 26. Fight in the boat house 0'42" 27. You didn’t kiss me goodbye 0'54" 28. It’s what I do well 1'12" 29. End title 1'03"
As for Angela Morley, I have numerous works by her, stretching back to 1953 (cover versions of music from Chaplin's Limelight) to 1998 when she worked with John Williams producing arrangements for his recordings with the Boston Pops. I believe she worked with John Wilson to produce the album mentioned by Justin of her film and TV compositions.
But contrary to the Justin's assertion: I think the film is great entertainment - I could watch it time and again (and do!) Mitch
Yes I remember seeing this at the Odeon L Square London when it came out, loved the score, as a lad it seemed very bond indeed. I seem to remember I have a cover version of the title on one of those themes albums, cant recall by who?
Yes I remember seeing this at the Odeon L Square London when it came out, loved the score, as a lad it seemed very bond indeed. I seem to remember I have a cover version of the title on one of those themes albums, cant recall by who?
Apart from the John Wilson version mentioned above, the only other (official) recording I know of is by Chaquito (a.k.a. John Gregory) on his 1972 album Spies and Dolls. I like the vibrancy of this recording more than the John Wilson one which sounds a little flat ... but neither capture the sound of the original quite right.
Whilst I understand the oft-repeated JB007 description applied to this film, and agree that its mere existence owes more than a nod to that franchise, I don't see the film as a clone ... it was a contemporary action adventure story ... nothing more, nothing less. Also, I think talk of a series is one of those after-the-event rumours. Given Anthony Hopkins' meteoric rise in those days I doubt he would have been interested in a sequel, let alone a series. And author Alistair MacLean, who had scripted the screenplay from which he then wrote his novel, had moved on and by 1971/2 was looking to leave fiction writing behind.
Yes I remember seeing this at the Odeon L Square London when it came out, loved the score, as a lad it seemed very bond indeed. I seem to remember I have a cover version of the title on one of those themes albums, cant recall by who?
Apart from the John Wilson version mentioned above, the only other (official) recording I know of is by Chaquito (a.k.a. John Gregory) on his 1972 album Spies and Dolls. I like the vibrancy of this recording more than the John Wilson one which sounds a little flat ... but neither capture the sound of the original quite right.
I forgot to mention that I didn't include any source scoring. I think I skipped over at least two of those.
I'm not sure that the long cue accompanying the social gathering (remember those? ) is source music ... as there's no indication that the characters hear it. But it certainly breaks the flow of the score and would be relegated to the status of source by many listeners.
Although I had known about him forever, probably since Leos Carax' POLA X (which I own on DVD), I really only started to look into his non-film work after his scores for Brady Corbet in recent years. A lot of it was more experimental than I had expected.
Never been a fan. Apart from his JB007 recording (the omitted Only Myself to Blame from The World Is Not Enough (1999)) the only works of I have are Joanna (1968) and his version of This Way Mary (1973) based on John Barry's glorious Mary's Theme from Mary, Queen of Scots (1971).
None of these has pushed me to acquire more (similarly re: The Walker Brothers) Mitch
) is source music ... as there's no indication that the characters hear it. But it certainly breaks the flow of the score and would be relegated to the status of source by many listeners.