 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I prefer the Goldsmith score. But the way you put it, I get the Tangerine Dream thing better. I was in a band with another guitarist a while back. This guy could really shred. He just had all the chops right and could do all the technical stuff to a t. But the weird thing is, they dropped him and bumped me up to lead. They liked me, the aging punk, better. I couldn't really do what that guy could do. But this band had a keyboard in it too, and my little rhythmic and aggressive but simple lead lines fit the mix of elements better than his showboating. I think you're kind of saying the same thing about Goldsmith's score vs Tangerine Dream's.
|
|
|
|
|
|
As a huge Tangerine Dream fan, I must say it's my least favourite music of theirs. Goldsmith's LEGEND is an amazing odyssey into melodic, harmonic and textural avenues forged by Ravel and to a lesser degree, Bartok. I hadn't listened to Goldsmith's CD since the '90s I must confess but had the opportunity to check it out recently and I was floored by the level of writing. Aside from the horrible DX7 brass patch that punctuates the goblins, it's a score full of wonder and expansive thematic material.
That's my perspective on this...
|
|
|
|
|
|
In a parallel universe...
Bravo Paul, bravo! You illustrate this argument to perfection. 
|
|
|
|
|
|
|
|
|
|
Ridley Scot's perennial second-guessing of his films has it's most obvious (and infamous) symptom in the constant tinkering and fussing with his scores. The biggest victim of this has been Jerry Goldsmith. It's amazing that we managed to end up with as much of his music in 'Alien' as we did. (A bit of 'Freud' thrown in for good measure - but still another symptom of Scot's constant doubts about what he's doing!) 'Legend' is a perfect example as well - although to be fair - at least he was pressured by 'suits' in the States. But why blame the score for those lacklustre preview cards?!? Goldsmith's 'Legend' is one of the greatest pieces of film music I've ever heard. To say it works with the film is an understatement - at worst THE SCORE ADDS THE MAGIC the film is sorely lacking. (I don't hate it). I also recently watched the Tangerine Dream version. It pales in comparison. Furthermore, if the 'suits' really wanted something to 'contemporize' the film or give it something to appeal to younger crowds - they blew it. Tangerine Dream are more esoteric than anything Goldsmith contributed - and the domestic failure of the film only bears that out.
|
|
|
|
|
|
|
Ridley Scot's perennial second-guessing of his films has it's most obvious (and infamous) symptom in the constant tinkering and fussing with his scores. The biggest victim of this has been Jerry Goldsmith. It's amazing that we managed to end up with as much of his music in 'Alien' as we did. (A bit of 'Freud' thrown in for good measure - but still another symptom of Scot's constant doubts about what he's doing!) 'Legend' is a perfect example as well - although to be fair - at least he was pressured by 'suits' in the States. But why blame the score for those lacklustre preview cards?!? Goldsmith's 'Legend' is one of the greatest pieces of film music I've ever heard. To say it works with the film is an understatement - at worst THE SCORE ADDS THE MAGIC the film is sorely lacking. (I don't hate it). I also recently watched the Tangerine Dream version. It pales in comparison. Furthermore, if the 'suits' really wanted something to 'contemporize' the film or give it something to appeal to younger crowds - they blew it. Tangerine Dream are more esoteric than anything Goldsmith contributed - and the domestic failure of the film only bears that out.
Well, we also have to remember the two songs by Jon Anderson and Bryan Ferry when we're talking about the appeal to younger fans. Those two songs are marvellous. Give me Bryan Ferry every day over Goldsmith's hokey score.
https://www.youtube.com/watch?v=1jVclWz_eXU
|
|
|
|
|
|
|
In a parallel universe...
Bravo Paul, bravo! You illustrate this argument to perfection.
Thank-you! 
In reality, the US and European cuts of Legend are actually different films -- and not only because of the scores.
The US version opens with a corny title scroll that awkwardly attempts to clarify the setting of the film (but only comes off as corny). Darkness' opening monologue is different and more poetic -- but ruined by the ultraviolet lighting and the villain's yellow "day-glo" fingernails.
The US version has a tacky "make-out" scene early in the film (cut together from outtakes of the kiss from the end of the movie) which affects the tone of the movie, and caters to the sexual angst of teenyboppers. The US cut also added some extra dialog looping (in which Tom Cruise has some genuinely cringe-worthy lines). A brief action scene with some kind of zombies popping out of the floor was added for the US cut.
The final shot of the US cut is a shot of Darkness cackling wickedly (even though he was, theoretically, vanquished -- I guess Universal wanted to keep open the option of a sequel). The font used in the end credits of the Euro version is Albertus, whereas the US version uses the slightly-slicker-looking Fritz Quadrata (how's that for arcane trivia?).
But even with the editorial changes trying to cater to the "Breakfast Club" crowd, what Scott ultimately made was more of an art film, and the material (even with Tom Cruise's casting) was just not in step with the MTV generation. The US version of Legend is at best an awkward exercise in 1980s nostalgia -- highly dated, but appealing to those who grew-up in that era (or wish they had). The Euro cut -- and more especially the directors cut -- come off better today.
Sadly, the score in the Euro cut is still compromised, with the terrible library music in the kitchen fight, and the ill-fitting Psycho II main title. Goldsmith's score was chopped-up and moved around quite a bit (with the main title re-tracked into several scenes), and some outstanding cues were not even used.
But even if Goldsmith's score is "sappy" (as some contend it is) replacing it with synthpop was still a huge mistake. Legend was the kind of film that required large-orchestral music. It's a pity they didn't seek-out John Williams -- who was free right when Legend's score was being replaced (the Peter Pan musical having been canceled). Legend with two different scores -- one by Williams and one by Goldsmith. Now that would have been something!
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 30, 2021 - 10:07 PM
|
|
|
|
By: |
brysenji
(Member)
|
At the risk of reinvigorating more TD vs Goldsmith battles...
I'm a big, most-of-my-life LEGEND fan. Started with the American cut, then I dove into all the complicated history, found (not easily) a copy of the European cut, and became a huge fan of Goldsmith's score. Still love Tangerine Dream's, too, for what it is. It's a huge shame, a disservice to their work, that their full score was never released. Some additional bits have found their way out ("Tracks in the Snow", their live "Legend Leftover" aka the final battle music, the 7-minute long suite aka "The Unicorn", and snippets like the swamp music in "Goldhunter" and a flute-less love theme in "Beyond the Cottage and the Lake") but sadly some of their score's best moments remain unreleased. I'm hoping that maybe the upcoming remastered Arrow Blu-Ray release offers us... something.
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
