 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Wasn't the score conducted by Ken Thorne?
|
|
|
|
|
|
Wasn't the score conducted by Ken Thorne?
I think so. Around 1970- 1971 Barry couldn't complete all of the projects he was assigned to, partly because of his commitment to the stage musical, 'Lolita, My Love' which he was working on with Alan Jay Lerner.
Therefore for 'They Might Be Giants' and Peter Yate's 'Murphy's War' he composed the themes for the movies and then Ken Thorne scored the movies using those themes and also conducted.
Thorne did an excellent job of adapting Barry's work
|
|
|
|
|
|
|
|
|
|
|
|
|
|
... and did a really good recording of it from them, if I may say so.
Cheers
|
|
|
|
|
|
John Barry may well have included a "mock-up" of musical ideas.
He worked with a fellow or two who would create synth snap-shots as audition pieces for Directors who wanted a clearer idea of what it would sound like (rather than just hearing the piano version.)
While working with these synth assitants Barry created his Polydor SOUND re-arrangements for orchestra and synthpatch.
Barry himself is a technophobe. Pencil and staff paper is as avant-garde as he will venture personally
The Main Title with the rhythmic-invariant two-note figure is pure Barry.
The "Caper" music sounds like Ken Thorne arrangement, certainly.
The March at the end is my favorite.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
This is from the book John Barry: The Man With the Midas Touch by Geoff Leonard, Pete Walker, and Gareth Bramley:
“During 1970 and 1971, Barry was juggling so many projects at the same time that he was in danger of overreaching himself. With television, cinema, and theatre clamouring for his services, he was forced into having to call upon the services of composer Ken Thorne to help him complete a number of projects to which he was committed. This collaboration resulted from their mutual acquaintance with Vic Lewis (of NEMS Enterprises) who was Thorne’s agent and manager, as well as a personal friend of Barry’s. The first of these projects was the TV series The Persuaders, for which Thorne wrote the incidental music over a three-month period, ensconced at CTS Studios (Queensway) with around forty musicians. Not long after, with Barry busily working on songs for Lolita My Love, Alice’s Adventures and Billy, [Thorne] was asked to work on two films for which Barry had written the main themes—Murphy’s War and They Might Be Giants. On both projects, Barry decided precisely where music was most appropriate within the body of the film and supplied Thorne with a set of cue sheets, videos of the films, together with the basic melodic framework around which arrangements could be written. On both occasions Thorne conducted the score. . . . Two re-recorded cues from [They Might Be Giants]–“Main Title / The Game’s Afoot”—were issued by Silva Screen Records as bonus tracks accompanying the Walkabout recording.”
|
|
|
|
|
|
|
As i mentioned on another thread, my all-time favorite theme!
re missing footage: this is one of the most exasperating things i have ever encountered.
The tele version has a speech given by Jack Gilford following Scott saying "I cant remember, i dont have any memories"
Gilford says" You want memories, here's my memory" I remember when I was young, walking with my girl on a warm summer night, hand in hand....." But, it never happened. Not even once"
this is one of the most heartbreaking, moving monologues i have ever heard yet it was missing from the vhs
version. If it is contained in other versions , please advise.
bruce
|
|
|
|
|
|
last line:
Scott: "Let it be said, we were found together in the light"
now THAT'S POETRY. combined with Barry's music. MAGIC!
|
|
|
|
|
|
|
|
|
|
interpretation of the ending:
the light was from a subway train, they were committing suicide.
anyone disagree?
bruce
|
|
|
|
|
|
|
 |
Posted: |
Aug 6, 2010 - 11:23 PM
|
|
|
|
By: |
Doc Loch
(Member)
|
interpretation of the ending:
the light was from a subway train, they were committing suicide.
anyone disagree?
bruce
Yes, I totally disagree. In fact, pardon me for being blunt but I think this misses the entire point of the film. You're trying to impose a rational explanation onto an ending that clearly is meant to be abstract and philosophical, and in any case the explanation doesn't work because they are standing in front of one of those tunnels common in Central Park, not in a subway, and the sound we hear is horses' hooves, not trains. The whole point of the ending, as indicated in that final scrolled up statement, is that Watson finally is able to comprehend Justin's vision of the universe, which she had taken for insanity, by believing with her heart rather than her head, and that is why she at first hears and then is able to see Moriarty. Moriarty is also not a literal person but the embodiment of all the evil Justin feels compelled to combat (the way many people invoke the name God for something which they believe is out there but cannot fully understand or explain). We, the audience, want to believe in Justin's perfect and exquisite "madness" but aren't yet ready to fully embrace it, which is why we are able to hear Moriarty approaching but only see a blinding light. But if you look deeply into that light, and look with your heart instead of your head, you may see what Justin and Mildred see. I've seen this film many, many times and each time I feel I come a little closer to sharing their vision.
|
|
|
|
|
|
|
interesting theory Doc.
you are right about not taking it too literally .
however, he says "we were found together in the light" indicating a joint death pact.
Scott knew he could not live anymore in the modern world. the only solution being death., he just needed his Watson to join him
brm
ps i have looked far and wide but i have never been able to locate a copy of Goldman's play 
|
|
|
|
|
|
another great scene, in the movie palace
Scott explains the appeal of Westerns:
"There were no masses, only individuals striving to be free"
Watson tears up, recognizing, perhaps for the first time, his deep wisdom:
"Oh god, why did i have to find you know?"
|
|
|
|
|
|
|
|
|
|
I don't recall ever seeing the play in published form (it's my understanding that it only received a few stagings in the early 1960s) . . .
At the time of the release of the film, the play had not been produced in New York (I don't know about subsequently). The play premiered in Stratford-on-Avon, UK, on 11 September 1961.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
