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| This is a comments thread about FSM CD: 36 Hours |
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Posted: |
Oct 17, 2024 - 3:05 AM
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By: |
Graham Watt
(Member)
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22 years later and here's the first comment. "This is great."
I took a chance on this possibly old-hat score. I say a "chance", a gamble, because on my terribly limited exposure to old Dimi, I often felt that he was too "in yer face". But this title promised, being from a decade I generally like and having a subject matter which would suggest sobriety.
I'm so glad I crumbled and went for this, 22 years down the line. It's my first Tiomkin. Love the piano throughout and the way it rumbles and darts in peaks and troughs. I was worried that the song, in its instrumental variations as underscore, would be too schmalzy for me, but I like it. It's got a touch of Les Baxter exotica in the way it modulates. One of the bonus tracks - the jazz trio version of the main theme - is exceptional, and almost "worth the price of admission alone", as the kids didn't use to say.
36 HOURS. I love it. And I'm looking forward to spending the rest of my life picking up soundtracks from the time before most of us were born.
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Graham, I'm with you in your previous feelings about Tiomkin, and in finding this score to be a pleasant exception which I enjoy quite a lot. Probably Top 3 Tiomkin for me, along with The Old Man and the Sea and The Alamo (the one over the top bombastic Tiomkin I really enjoy for whatever reason).
Yavar
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Posted: |
Oct 17, 2024 - 11:12 AM
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By: |
robertmro
(Member)
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22 years later and here's the first comment. "This is great."
I took a chance on this possibly old-hat score. I say a "chance", a gamble, because on my terribly limited exposure to old Dimi, I often felt that he was too "in yer face". But this title promised, being from a decade I generally like and having a subject matter which would suggest sobriety.
I'm so glad I crumbled and went for this, 22 years down the line. It's my first Tiomkin. Love the piano throughout and the way it rumbles and darts in peaks and troughs. I was worried that the song, in its instrumental variations as underscore, would be too schmalzy for me, but I like it. It's got a touch of Les Baxter exotica in the way it modulates. One of the bonus tracks - the jazz trio version of the main theme - is exceptional, and almost "worth the price of admission alone", as the kids didn't use to say.
36 HOURS. I love it. And I'm looking forward to spending the rest of my life picking up soundtracks from the time before most of us were born.
I wish we had scores like this today in particular scores that feature a piano. For a while many other film composers followed Tiomkin's lead even Goldsmith did in some cues in scores like The Sand Pebbles.
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This is a terrific score! I grabbed it in the "Buy 10, get a free, out-of-print Towering Inferno" deal FSM had, in which I grabbed a number of blind buys I to this day remain glad I did.
I rescore movies, especially silents, many of which I find are scored badly, in a way which turns a specific film into a generic Silent Film Experience, which, once you've had that, you don't need to do again. Fritz Lang's Woman In The Moon is Bollywoodlike in its length, and its being an all-genres sort of movie: science fiction, romance, spy thriller, adventure, and for the spy parts, 36 Hours proved to be perfect! Even though most of the scores I used were from much earlier, the instrumentation blending so well with the images made it fit spectacularly, and I find I often watch those scenes less as part of the film, and more as a sort of music video for the tracks.
Great music, this.
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