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Posted: |
Jul 18, 2011 - 3:13 PM
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By: |
Thor
(Member)
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The damn search engine is down, so sorry if there is a general topic about this already. I finally got around to this 1966 comedy farce.
Well, it's not good. It's better than GOLDFARB, but that's not saying much. It's not funny, it's over-the-top and it's padded out with random, meaningless plot points that just grate. A little bit of slapstick there, a little bit of ridiculous situations there to which you just have to shake your head in disbelief. And of course, it's also hopelessly dated in that women are basically just helpless creatures waiting to be wooed by confident males. Tony Curtis and George C. Scott are both competent as air force pilots interested in the same gal, but neither really fit the role they're supposed to play. Scott as a romantic leading man? Nah. Loved Saul Bass' titles, though. He's always brilliant.
Musically, it once again shows Williams going over the top - mickey-mousing slapstick, inserting on-the-nose renditions of Soussa, Rule Britannia, wedding marches and what-have-you. The best bits are unquestionably the source cues, which also dominate the album. But there were a couple of nice proper score cues as well, such as the melancholic music for the "fake" funeral, the love theme and the pastiche Italian music for the in-film parody on Italian melodrama.
As I said, the LP soundtrack program released on FSM presents the best cues -- the swingin' source cues -- although the title song is horrible, but fun. Same with "Big Beautiful Ball" which is used over the credits sequences and as non-diegetic music throughout. It's a good soundtrack that I play ever so often.
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Posted: |
Jul 18, 2011 - 4:20 PM
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By: |
MusicMad
(Member)
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I recall discussing (or, at least, offering my views on) this score some time ago, shortly after I'd bought the FSM CD (16 Sep 09). I've not seen the film ... at least, not that I can recall. The thought of George C. Scott playing comedy does not inspire me ...
Anyhow, whilst I recognise Mr. Williams as a master of his craft, of which film scoring is just one component, these light fluffy scores from the 1960s are not his strength. I very much like Penelope - though it is the non-Williams' song which attracts me most. A Guide to The Married Man is okay but not nearly as good ...
... but it is so much better than his score (as represented on the album) to Not With My Wife, You Don't. As you state, Thor, there is the Arrivederci Mondo (Italian Movie) cue which is lovely but very little else of merit. Even the normally dependable Johnny Mercer seems to be in a world of his own with the tedious lyrics.
And the score is put in context when you play the companion one Any Wednesday by George Duning ... in itself not great but just so much better.
I believe Henry Mancini had some competition for this genre of score in the 1960s, from the likes of Neal Hefti, Frank DeVol and the afore-mentioned George Duning; I don't think John Williams was part of that group.
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The thought of George C. Scott playing comedy does not inspire me ...
If you've not seen DR. STRANGELOVE you really should.
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