 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| This is a comments thread about FSM CD: The World, the Flesh and the Devil |
| |
|
I just opened this cd and found solid, solid Rozsa dramatic scoring, plus those interesting stylistic bonuses that are mentioned in the notes. I especially liked the music later in the disc, when the mood of the film appears to have changed.
I can understand especially why he chose to excerpt the Prelude for other recordings, as it is a real curtain-raiser.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
It's interesting how little a topic this was a few years back. Can anyone else tell me their feelings on this release please? Any help would be hugely appreciated.
|
|
|
|
|
|
This is a superb Rozsa score, but I'll just cut to the chase, WA...you need to pick up *all* of the FSM Rozsa releases with the sole exception of The Power (because it's included on the box set in superior form, rendering that disc only worthwhile for Atlantis: The Lost Continent by Russell Garcia...and any Rozsa fan should definitely start with his fine score to The Time Machine first).
Yavar
|
|
|
|
|
|
|
|
|
|
Oh, have to mention Green Fire and how fun it is! Another wonderful effort (even more cool because I never heard of the score until a couple of weeks ago).
|
|
|
|
|
|
I only got around to buying this about a year ago. I'm not really a completist, even when it comes to my favourite composers, and I vaguely recall seeing the film years ago and thinking that the score was fairly standard.
And in a way it IS fairly standard. But "fairly-standard" Rózsa for me is pretty damn good. I like this score now very much, but it did take a few listens before I was hooked. Reading the great liner notes by Jeff Bond and LK helped (I miss the FSM label in that respect), and a rewatching of the movie anchored the whole thing for me. Interesting to hear Rózsa doing jazz at one point. I find that bit almost annoying, but its fascinating nonetheless in its Bernstein (Leonard) parallels. The liner notes explain all that in detail. The rest could almost be for a film noir (well, I suppose you can't get much darker than the end of the world), but lurv raises its head, and so we get an optimistic theme for the Harry Belafonte character, which again for me is borderline-annoying to listen to. There you go - faint praise indeed. But I feel like listening to it right now, so thanks for bringing the subject up. I'll be back soon to tell you that none of it is actually annoying at all.
Still, at the moment, I'm classing it as "second-tier" Rózsa, on a par with two others I got around the same time - THE SEVENTH SIN and TRIBUTE TO A BAD MAN. Those took three or four spins before I really started to appreciate them. After that they became kind of addictive.
Having said that, none of the three I've mentioned in this thread come close to what is my absolute favourite second-tier Rózsa on FSM. That would be VALLEY OF THE KINGS, which does not have a good reputation as a film, and which seems to be largely overlooked by the majority. I think it's a truly wonderful score.
The mention of GREEN FIRE made me realise that I'd always avoided that one too. I wonder if I'll ever get around to getting it. It has never shouted "priority" to me, but neither did WORLD FLESH N' DEVIL, 7TH SIN, TRIBUTE TO A BAD MAN or especially VALLEY OF THE KINGS, all of which I acquired on a whim without thinking too much about it beforehand. I might use that system more from now on.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Decent score. Decent film not seen it in ages ( have it on dvd). The cast do well considering it's a three hander ( or header?!). Like mentioned the deserted streets were well done.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
