I listened to the full Intrada release of The Sand Pebbles today. What a gift this score and this release is. If I recall, I listed this as my top choice for Goldsmith's 60s decade. The track "Jake and Shirley" is so light and lovely. The track "Death Of A Thousand Cuts" is conversely haunting and tragic. This one hasn't been off the shelf in a while and that won't happen again. Not only do I love the rich and poignant score, I have always loved the film. Ever the Steve McQueen fan, I consider this one his best performances (though there were many). Then you have Richard Attenborough as Frenchy, another actor I've enjoyed in so many roles. Finally you have lovely Candice Bergen and ever versatile Richard Crenna. The supporting cast is so notable. It's on my watch list for the weekend - can't wait.
I just wanted to bring this almost 60 year old score and film back for some discussion.
I share your enthusiasm for this film. Several years ago, during one of the TCM Classic Film Festivals, a brand new 70mm print was shown at the Egyptian Theatre. It was the entire roadshow presentation, with the overture, intermission etc. It was stunning, so much more impactful than seeing on a TV. And hearing Jerry Goldsmith’s score in all its glory was thrilling. They don’t make ‘em like that anymore!
Funny, I was thinking of the film itself just yesterday. I'm sorry to say I only ever saw it on TV (pan & scan) with ads, when I was probably 18 or 19. I'm way overdue for revisiting this picture (and properly).
I love John Barry, but I really think Goldsmith's deserved the Oscar that year.
It was an amazing, superb movie with a fabulous underscore. The music is outstanding. I saw the movie in the theater and immediately purchased the record. Edw, I encourage you to read the 2002 FSM topic that Howard posted above in his response. We really got into the movie as well as the score.
There was another thread on it too, where I had a long argument with someone who's now sadly deceased about its position in film history. He felt it was basically a cornerstone of film history, my contention was that it's fairly negligible - even if I like it, personally. I always find it fascinating when people heighten a film to a position it doesn't really have, just because they like it (or vice versa).
Either way, fine score. I'm content with my old RSNO re-recording.
It was an amazing, superb movie with a fabulous underscore. The music is outstanding. I saw the movie in the theater and immediately purchased the record. Edw, I encourage you to read the 2002 FSM topic that Howard posted above in his response. We really got into the movie as well as the score.
My humble thanks, jh. It's fun too to read the thread from the beginning and see how things started off quietly and then just erupted into celebration.
Love this score. It's such a masterpiece of understatement and orchestral color. People laud Goldsmith for his big, bold sci-fi scores from the 80s and 90s (and rightly so) but he was more than anything else the master of emotion and this score is a stunning example of his skill.
It was an amazing, superb movie with a fabulous underscore. The music is outstanding. I saw the movie in the theater and immediately purchased the record. Edw, I encourage you to read the 2002 FSM topic that Howard posted above in his response. We really got into the movie as well as the score.
I've started to read the thread Howard included. It's like a novel lol and I'm loving it. Your first comment giving your opinion of the movie blew me away. It was so accurate and so concise. I would swear you have a literary bent. Your comment about Richard Crenna's role as Collins is exact. Of course, I think Steve McQueen should have won the Oscar for Best Actor in 1967 but look at the other nominees, tough competition that year.
I'm glad I started a new thread on this movie. You can never overdo the discussion of a classic - or can you lol.
Thanks for sharing the link Howard.
P.S. - I haven't gotten to Howard's comments yet. Making some popcorn.
I’m sure he’ll buy another one if a source for the two lost cues is ever discovered. (Yes, I know we have one of them on disc 2 of the Intrada from a music and effects track; obviously I’m talking music-only.)
(Yes, I know we have one of them on disc 2 of the Intrada from a music and effects track; obviously I’m talking music-only.)