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I bough this double header for "Klute" that I already knew but FSM enhanced it so brilliantly that it became a brand new experience.
The orchestration is fascinating, just listen closely to Small's use of instrument.
The killer motif ranks as one of the best with Scorpio from "Dirty Harry": I mean the obsessive female voices.
http://www.filmscoremonthly.com/store/MP3/1016/04_Phone_Call_Play_Back.mp3
The first instrument that starts the "Main Title" always remind me Billy Goldenberg's creepy 70's Universal sound.
"Klute" is again a very versalite and composite score that combines many influences and references from chamber music, modernist classical music, traditional Indian music, psyche rock music, funk, jazz ... "Klute" is a concept score.
Two themes (the love, the killer) dominate and are repeated with different arrangements all the way.
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I liked KLUTE (and I agree wholeheartedly with Thomas that it does occasionally have that '70's-Billy Goldenberg- [and others]-at-Universal' sort of feeling). I do think that it got a bit repetitive in parts of the CD, but it worked brilliantly in the film and that's what counts.
Much though I admire Mr Shire, outside of some snippets of ALL THE PRESIDENTS MEN, I found it rather a tough listen. The music didn't really 'engage' me, I suppose. Then again, in the movie I don't think that it would have been intended to.
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Posted: |
Sep 7, 2009 - 7:55 AM
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By: |
Jim Phelps
(Member)
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I liked KLUTE (and I agree wholeheartedly with Thomas that it does occasionally have that '70's-Billy Goldenberg- (and others)-at-Universal' sort of feeling). I do think that it got a bit repetitive in parts of the CD, but it worked brilliantly in the film and that's what counts.
Much though I admire Mr Shire, outside of some snippets of ALL THE PRESIDENTS MEN, I found it rather a tough listen. The music didn't really 'engage' me, I suppose. Then again, in the movie I don't think that it would have been intended to.
Then it's no coincidence that this score is "hitting the spot", because I've been watching the first season of COLUMBO all weekend, so I have Billy G. and the like on the brain! I also can say that my taste in film and TV music has leaned heavily towards the abstract, atonal, and dissonant style so popular in the late-sixties/early-seventies. I've enjoyed jazz from that period for decades now, so perhaps I'm overdue in fully immersing myself in music like this.
I'm a bit embarrassed that it took me nearly two years to finally "pull the trigger" on this release, but that's a New York Minute compared to the seven years it took me to purchase, love, and treasure POINT BLANK/THE OUTFIT. I'll miss obsessively putting it in and taking it out of my SAE shopping cart, though! 
I really gotta stop living on Mayberry time...
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I liked KLUTE (and I agree wholeheartedly with Thomas that it does occasionally have that '70's-Billy Goldenberg- (and others)-at-Universal' sort of feeling). I do think that it got a bit repetitive in parts of the CD, but it worked brilliantly in the film and that's what counts.
The repetitive aspect is done on purpose because the score, as I wrote above, consisted on two themes (the love, the killer) executed with different arrangements. In the context of the film, it is designed to show the obsessive nature of two characters: the killer in the shadow and the hooker.
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The repetitive aspect is done on purpose because the score, as I wrote above, consisted on two themes (the love, the killer) executed with different arrangements. In the context of the film, it is designed to show the obsessive nature of two characters: the killer in the shadow and the hooker.
Mmmm. Interesting point. I'll have to give KLUTE a listen with the above in mind; I haven't heard it for a while. Not sure that I'll be doing the same with ATPM though.
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"How do you think they work within the films themselves?"
To be honest Jim, I haven't re-watched the films since I first viewed them in the eighties!
So getting the scores on CD was very much like listening to them without much memory association. I know Shire's ATPM score acts more like a pulse for the film anyway (similar to the way Peter Hyams generally likes his films scored).
I must try to catch Klute when it gets a reshow on telly. I figure that score could grow in appreciation when I renew my aquaintance with the film. Who knows.
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When I'm listening to a CD, I could care less how the music worked in the film. If it works great in the film but is unlistenable at home on it's own, I have no interest.
Yes, of course you're right. What I meant is that the composers initial task is to serve the needs of the film, rather than a soundtrack album.
But it's nice to satisfy both ends of the spectrum 
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I know they're watching me and the other four people who bought this score.
Four plus one people? Didn't they watch me too? Make that six ;-)
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