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What was the best film score you've ever heard that was dumped and (perhaps inexplicably) replaced?
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Apart from Jerry Goldsmith's LEGEND, which was replaced in the US but not in Europe? That would be my number one choice. But apart from that... these are among the best:
Alex North: 2001 - A SPACE ODYSSEY
Elmer Bernstein: LAST MAN STANDING
Christopher Young: AN UNFINISHED LIFE
Jerry Goldsmith: TIMELINE
These are examples where I think the original score surpasses the replacement score, though I'd say in case of LAST MAN STANDING, it's a tie... I love Ry Cooder's score just as much, and it's very different.
There are others, of course, some terrific ones, like Maurice Jarre's THE RIVER WILD, where one excellent score was replaced with another excellent score.
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Gabriel Yared - TROY
Michael Nyman - PRACTICAL MAGIC
Two of my favorite scores ever.
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Also:
John Barry - THE GOLDEN CHILD
Graeme Revell - EATERS OF THE DEAD
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Lots of good candidates but the answer to this question is Elmer Bernstein’s THE SCARLET LETTER.
Yavar
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I wish I could say John Barry's Sinful Davey, but since no one has ever heard it . . .
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The Getaway- Original score by Jerry Fielding
Alien Nation- Original Score by Jerry Goldsmith
Edge of Darkness- Original Score by John Corigliano
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Posted: |
May 4, 2025 - 5:26 PM
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By: |
c8
(Member)
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Legend by Goldsmith has no peer. Goldsmith wrote the ultimate, most complex, operatic fairy tale score that elevated the movie into heights Scott couldn’t. Tangerine Dream’s score is so twee and flimsy it actively harms the movie every note of the way.
Timeline is up there, too. No score was going to make that turd watchable. But Goldsmith provided a surprisingly nuanced score that has a firm narrative arc. Tyler’s score suffers from noisy temp-track-itis and while does its job serviceably, gets nowhere near JG’s admirable effort.
The score I expect to see here frequently is Troy. I’m here to say no. Yared wrote incredible, epic music. But it was so grandiose every moment from the outset it had nowhere to go and no arc to follow. It tells a story of “ once upon a time, the end, and by the way…” No score was going to be a 5-star masterpiece when it’s written is just over a week, but, Horner got a narrative arc into his score that makes it a better narrative film score by default.
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Did you mean Bernstein’s Natty Gann, Schiffy? Horner’s was used.
And of course Goldsmith’s Legend was retained everywhere else in the world besides North America.
Yavar
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The actual correct answer here is Morricone’s What Dreams May Come. Someone has to figure out how to release this.
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So many other great scores mentioned. I know I had to stop myself from mentioning too many.
I would disqualify Jóhann Jóhannsson's score for BLADE RUNNER 2049 for not actually existing though. :-)
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