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 Posted:   Oct 17, 2020 - 6:12 AM   
 By:   ZardozSpeaks   (Member)

"A Name for Evil" almost plays like an "Outer Limits" episode. I wonder if Frontiere was deliberately going for that.

Most of Frontiere's film work doesn't resemble the music he wrote for 1960s television.
I recall getting all of his LP soundtracks during the late 1980s and being disappointed with each title because it didn't sound like anything from THE OUTER LIMITS.
Yet, A Name for Evil sounds like a continuation, of sorts, of "The Forms of Things Unknown" segment even though the Penthouse production had R-rated content not suited for TV.

Curious approach to the material ; perhaps the presence of Robert Culp led Frontiere to revisit his OL modes.

 
 Posted:   Oct 17, 2020 - 7:13 AM   
 By:   Last Child   (Member)

Most of Frontiere's film work doesn't resemble the music he wrote for 1960s television.
I recall getting all of his LP soundtracks during the late 1980s and being disappointed with each title because it didn't sound like anything from THE OUTER LIMITS.


After hearing a couple feature film scores, I got that impression as well. And not all his TVshow scores sound like OL (ie Rat Patrol). I tried to find TV movie/shows he scored before 1980 (as shown on imdb) because you can't judge from a summary. A rodeo show is the last place I would have looked for the origins of his OL music.

 
 
 Posted:   Oct 17, 2020 - 8:40 AM   
 By:   OnyaBirri   (Member)

Yet, A Name for Evil sounds like a continuation, of sorts, of "The Forms of Things Unknown" segment even though the Penthouse production had R-rated content not suited for TV.


Oh, the film is nothing like The Outer Limits, aesthetically, but the score is.

Amazing that the US went from postwar swank and elegance in 1963 to unwashed hippies in less than a decade. Sad...

 
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