The latest release from Intrada is Max Steiner's Oscar-nominated score for the classic 1954 military drama THE CAINE MUTINY, starring Humphrey Bogart (as the unforgettable, paranoid Captain Queeg), Jose Ferrer and Fred MacMurray. The film originally inspired a non-score LP that was yanked from release, making it a legendarily rare item; only a small amount of Steiner's score had ever been released, and Intrada's Caine CD is the first release of the film's complete music from the original tracks.
Tadlow has announced two brand-new soundtrack CD releases of particular historic importance: the original tracks for Elmer Bernstein's final score, the documentary CECIL B. DEMILLE: AMERICAN EPIC, and a re-recording of Dimitri Tiomkin's score for the notorious 1946 romantic Western DUEL IN THE SUN, starring Gregory Peck and Jennifer Jones, with Nic Raine conducting the City of Prague Philharmonic Ochestra & Chorus.
The latest release from Quartet is an expanded, two-disc version of Ennio Morricone's score for the 1990 gangster drama STATE OF GRACE, starring Sean Penn, Robin Wright, John Turturro, Burgess Meredith, John C. Reilly, Ed Harris and Gary Oldman (because apparently they couldn't afford any good actors). The Quartet State of Grace features both the complete score that Morricone recorded for the film as well as the sequencing featured on MCA's original soundtrack CD.
The latest CD in Varese Sarabande's We Hear You series will be Dave Grusin's score for the 1974 thriller THE YAKUZA, starring Robert Mitchum, directed by Sydney Pollack and written by Paul Schrader, Leonard Scharader and Robert Towne, a score whose only previous release was from the Film Score Monthly label.
This Saturday, June 3rd, at 2:00, composer Geoff Zanelli will be signing CDs of his brand-new score for PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES, at Creature Features in Burbank, CA.
CDS AVAILABLE THIS WEEK
The Caine Mutiny - Max Steiner - Intrada Special Collection
Captain Underpants: The First Epic Movie - Theodore Shapiro - Capitol (songs w/ 15 min. of score)
Galavant: The Complete Collection - Alan Menken - Universal [CD-R]
I Sette Gladiatori - Marcello Giombini - Digitmovies
The Lovers - Mandy Hoffman - Milan
Max & Me - Mark McKenzie - Sony (import)
My Cousin Rachel - Rael Jones - Sony
Ode to Billy Joe - Michel Legrand - Kritzerland
Polizziotto Sprint - Stelvio Cipriani - Digitmovies
Wonder Woman - Rupert Gregson-Williams - WaterTower
IN THEATERS TODAY
Aaron's Blood - Jakub Gowlina
All About the Money - Ryan Perez-Daple
Band Aid - Lucius
Churchill - Lorne Balfe
Cruel and Unusual - David Buckley
Dark Signal - William Evers-Swindell
Dean - Mark Noseworthy
The Death of Louis XIV - Marc Verdaguer
Elian - McKenzie Stubbert
The Exception - Ilan Eshkeri - Score CD on Varese Sarabande
From the Ashes - Mark Orton
Handsome Devil - John McPhillips
Legion of Brothers - Philip Sheppard
Maurizio Cattelan: Be Right Back - John Jennings Boyd
Opening Night - P.J. Hanke
Past Life - Cyrille Aufort, Avner Dorman, Ella Milch-Sheriff
Rogue Warrior: Robot Fighter - Alex Staropoli
Tatara Samurai
Vincent-n-Roxxy - Ahmir-Khalib Thompson
Wonder Woman - Rupert Gregson-Williams - Score CD on WaterTower
COMING SOON
June 9
I Don't Feel at Home In This World Anymore - Brooke Blair, Will Blair - Lakeshore
The Lost City of Z - Christopher Spelman - Filmtrax
The Promise - Gabriel Yared - Lakeshore
Viceroy's House - A.R. Rahman - Filmtrax
The Yakuza - Dave Grusin - Varese Sarabande
The Zookeeper's Wife - Harry Gregson-Williams - Filmtrax
June 16
Cars 3 - Randy Newman - Disney
Cecil B. DeMille: American Epic - Elmer Bernstein - Tadlow
June 23
Baywatch - Christopher Lennertz - La La Land
The Big Sick - Michael Andrews - Varese Sarabande
June 30
...Continuavano A Chiamario Trinita - Guido & Maurizio De Angelis - Digitmovies
Dawn of War III - Paul Leonard-Morgan - Sumthing Else
Generation Iron 2 - Jeff Rona - Milan
The Handmaid's Tale - Adam Taylor - Lakeshore
House of Cards: Season 5 - Jeff Beal - Varese Sarabande
Il Sesso Della Strega - Daniele Patucchi - Digitmovies
It Comes at Night - Brian McOmber - Milan
Rabbit & Rogue (ballet score) - Danny Elfman - Sony
War Machine - Nick Cave, Warren Ellis - Lakeshore
July 7
A Ghost Story - Daniel Hart - Milan
John Williams: Themes and Transcriptions for Piano - John Williams - Varese Sarabande
Spider-Man: Homecoming - Michael Giacchino - Sony
War for the Planet of the Apes - Michael Giacchino - Sony
July 14
2:22 - Lisa Gerrard, James Orr - Varese Sarabande
July 21
American Gods - Brian Reitzell - Milan
July 28
Genius - Lorne Balfe - Milan
August 4
Free Fire - Geoff Barrow, Ben Salibury - Lakeshore
Wind River - Nick Cave, Warren Ellis - Lakeshore
September 8
Twin Peaks: The Event Series - Angelo Badalamenti - Rhino
Date Unknown
Duel in the Sun (re-recording) - Dimitri Tiomkin - Tadlow/Prometheus
Il Relitto - Angelo Francesco Lavagnino - Alhambra
La Morte Vestita Di Dollari - Carlo Savina - Kronos
Monster from Green Hell - Albert Glasser - Kritzerland
Nikola Tesla - Alfo Kabiljo - Kronos
Puppet on a Chain - Piero Piccioni - Silva
Scott of the Antarctic (re-recording) - Ralph Vaughan Williams - Dutton
State of Grace - Ennio Morricone - Quartet
Un Reitto Delle Isole - Mario Nascimbene - Kronos
THIS WEEK IN FILM MUSIC HISTORY
June 2 - Frederic Devreese born (1929)
June 2 - Marvin Hamlisch born (1944)
June 2 - David Dundas born (1945)
June 2 - Alex North begins recording his score to Les Miserables (1952)
June 2 - Patrick Williams begins recording his replacement score for Used Cars (1980)
June 2 - Bill Conti begins recording his score for Cohen & Tate (1988)
June 2 - Recording sessions begin for Danny Elfman’s score to Big Top Pee-Wee (1988)
June 3 - Curtis Mayfield born (1942)
June 3 - Shuki Levy born (1947)
June 3 - Gail Kubik begins recording his score for The Desperate Hours (1955)
June 4 - Irwin Bazelon born (1922)
June 4 - Oliver Nelson born (1932)
June 5 - William Loose born (1910)
June 5 - Laurie Anderson born (1947)
June 5 - Amanda Kravat born (1966)
June 6 - Aram Khachaturian born (1903)
June 6 - Ed Plumb born (1907)
June 6 - Edgar Froese born (1944)
June 6 - Herbert Stothart begins recording his score to The Yearling (1946)
June 6 - Miklos Rozsa begins recording his score for The Red Danube (1949)
June 6 - Michel Legrand begins recording his unused score for The Man Who Loved Cat Dancing (1973)
June 7 - Georges Van Parys born (1902)
June 7 - Franz Reizenstein born (1911)
June 7 - Charles Strouse born (1928)
June 7 - Don Peake born (1940)
June 7 - Lewis Furey born (1949)
June 7 - Morton Stevens wins an Emmy for his Hawaii Five-O episode score “A Thousand Pardons, You’re Dead,” and Pete Rugolo wins for his TV movie score The Challengers (1970)
June 7 - Elmer Bernstein begins recording his score for The Shootist (1976)
June 7 - Daniele Amfitheatrof died (1983)
June 7 - Billy Goldenberg records his score for the Amazing Stories episode "The Amazing Falsworth" (1985)
June 8 - George Antheil born (1900)
June 8 - Recording sessions begin for Bronislau Kaper's score for The Wild North (1951)
June 8 - John Williams wins the Outstanding Music Composition Emmy for Heidi (1969)
June 8 - Jean Wiener died (1992)
June 8 - Caleb Sampson died (1998)
June 8 - Herschel Burke Gilbert died (2003)
DID THEY MENTION THE MUSIC?
STAR WARS: THE FORCE AWAKENS - John Williams
"When the exposition speeds up, 'The Force Awakens' becomes every fan’s idea of how the 'Star Wars' world should look and feel. Abrams and cinematographer Dan Mindel recapture the bright colors of the universe, while John Williams’ boisterous score turns up the pervasive sense of awe. Industrial Light & Magic similarly delivers on expectations for effects. From lightsaber duels to twirling spaceship shootouts, 'The Force Awakens' offers eyeball candy at every turn."
Eric Kohn, IndieWire
"Ridley, playing a scavenger named Rey who lives on a lonely, dusty planet (sound familiar?), is a prodigious piece of casting. She manages the tricky task of making Rey seem like one of us, a perfect audience conduit -- humble, but hungry for grand adventure -- while also obviously destined for great things. In Ridley’s hands, Rey’s got an undeniable specialness about her, which is why the camera lingers so effectively, so affectionately, on her as John Williams’s plaintive score swirls around her like an aura. (And, it should be mentioned, how thrilling it is that this is a girl’s role this time around.)"
Richard Lawson, Vanity Fair
"Stop me if you’ve heard this one: A droid is sent to a desert planet so an evil empire can’t get the intel hidden inside of it. Young people discover their connection both to a conflict of earlier years and to the Force. There’s a colorful watering hole where aliens of all sorts listen to music and learn vital information that will move the plot forward. There’s a giant planet-destroying weapon that must be brought down. Old heroes will make way for new heroes to emerge. And it’s all set against a rousing score by Oscar-winning composer John Williams. It’s not a bad strategy -- what is 'Creed,' after all, if not a contemporary re-do of 'Rocky?' --— and Abrams and company bring enough verve to the proceedings to create some wonderfully exciting moments alongside the reunions and the revelations. There are some slower bits, and an ending designed to leave you wanting more, but I’d be lying if I said I didn’t feel a tingle in my neck at the familiar opening of Williams’ score."
Alonso Duralde, The Wrap
"Augmented by John Williams’s sprightly score, the depiction of Rey’s life on Jakku is exotic and engrossing, whether she scoots along the desert in her Speeder, hauls her scavenged goods into town among crowds of otherworldly ungulates or pulls off some kitchen wizardry with an ingredient that turns a pan of boiling liquid into an instant soufflé. The deep vistas of drifting sand, as photographed by Dan Mindel, are the movie’s visual high point -- they’re equally bleak and seductive."
Michael Sragow, Film Comment
"Abrams dutifully checks off all the boxes for a 'Star Wars' movie: he has the soaring John Williams score, the adorable chirping droid, otherworldly landscapes, lightsaber battles, intergalactic fortune cookie wisdom (Lupita Nyong’o voices a newfangled Yoda-like character) and spacey Shakespearean themes. It’s just gravy to have Ford, Fisher and Hamill reprise their signature roles from the original 'Star Wars' trilogy."
Ethan Sacks, New York Daily News
"There’s a very good chance that most diehard 'Star Wars' fans are going to love 'The Force Awakens'. They’re going to love it because it’s been made to their exact specifications, relayed through years of constructive criticism and very vocal bellyaching. Gone are the senatorial tariff debates, slapstick alien mascots, and stiff Jedi banter that characterized George Lucas’ commercially successful but widely maligned prequel trilogy. As directed by professional franchise custodian J.J. Abrams, this seventh installment goes back to the basics of what made the series the most popular in movie history. Like, all the way back: 'The Force Awakens' borrows so much from the 1977 original -- environments, relationship dynamics, action scenes, even a basic plot structure -- that it often resembles a remake as much as a straight sequel. But for plenty of viewers, any misgivings about originality will go out the window the minute Han Solo and Chewbacca saunter back into the Millennium Falcon, or that rousing John Williams score rises over new images for the first time in a decade."
A.A. Dowd, The Onion AV Club
"So Abrams and his co-writers wisely start with the introductions, fleshing out the new players -- Finn, a Stormtrooper whose crisis of conscience leads him to join the forces of good, and Rey, a tough scavenger on a journey of her own -- while meticulously parsing out reunions with the old gang throughout their adventure. And Abrams’ direction is certainly affectionate for the previous pictures; aside from the obligatory opening logline/title/theme/plot scroll (good luck not getting goosebumps when that first John Williams stinger hits), it’s got plenty of visual and narrative callbacks, from the cheeseball wipes to the clipped British accents of evil (actual dialogue: 'I won’t have you question my methods!') to the Reifenstahl staging (a good deal clearer this time around, and on the other side, thank goodness) to terse interactions on long walkways over vast voids of nothingness."
Jason Bailey, Flavorwire
"The movie opens with John Williams’s triumphal orchestra blast and the titles that make us salivate on cue, followed by a backward exposition crawl announcing that Luke Skywalker has vanished and ... a bunch of other stuff. I honestly couldn’t follow it all, but the takeaway is that the Dark Side is now embodied by the First Order (rather than the Empire), which borrows its rhetoric and architecture from the Third Reich, and that the Resistance, led by General (not Princess) Leia, has sent her best pilot, Poe Dameron (a funny, mouthy Oscar Isaac), to obtain a map to Luke’s location. Don’t ask why -- I couldn’t tell you. It’s a McGuffin. But the best things are the old things: familiar camera setups, scene-change wipes, costumes, John Williams’s music (there’s even a melancholy reprise of that superb Darth Vader theme), enemy fighter ships that emit plangent groans, the Millennium Falcon, and, of course, the human stars. Though his voice is now a croak, Harrison Ford slips into the swashbuckling Han Solo role with youthful vigor, his timing as crisp as ever, and Carrie Fisher’s cracked, deepened, post-rehab voice gives Leia new depth. Peter Mayhew’s Chewbacca gets lots of laugh lines -- or yowls. The one-liners are largely second-rate, but 'The Force Awakens' gives you the joy of reunions and the tragedy of loss."
David Edelstein, Vulture
"Anyone tempted to gripe about plot revelations in the following review should aim all their fanboy wrath square at 'The Force Awakens'' writer-director JJ Abrams. Even before the famous music kicks in and the scroll text pops up to inform us that 'Luke Skywalker is missing...' you all know the spoilers. Abrams has recreated beat-for-beat, with a fetishist's eye, the first 'Star Wars' film 'A New Hope.' Don't get us wrong, the cover version is classy, but the arrangement sticks too close to the original."
Jamie Dunn, The Skinny
"As much as I’d planned on keeping a critical distance going in to the first 'Star Wars' film in 10 years, I’d be lying if I said I didn’t feel the hairs on my neck stand up and salute when the clarion blast of John Williams’ score struck up and the familiar opening crawl of text unspooled. Suddenly, I was 13 again. About that expository crawl… I’ll refrain from spoilers here, but this much seems like fair game: Luke Skywalker has vanished. The sinister First Order has risen from the ashes of the Evil Empire and is hellbent on finding the not-so-young Jedi and destroying him. Meanwhile, Princess Leia (now going by the title General Leia Organa) is leading the Resistance and sends her best pilot to the planet of Jakku to find clues of Luke’s whereabouts. Mercifully, there’s not a single mention of taxation or trade routes."
Chris Nashawaty, Entertainment Weekly
"Abrams isn’t coy or gratuitously manipulative when it comes to pleasing his audience. The minute the lights go down, John Williams’s brassy anthem starts up and the opening crawl begins, explaining that Skywalker has been missing for the past 30 years, during which time an evil empire known as the First Order has taken power. A resistance movement is fighting back, led by General Leia Organa, who as the film opens has enlisted her finest fighter pilot to find Luke and enlist his Jedi powers on behalf of the rebel forces."
Ann Hornaday, Washington Post
"Gone, happily, are the prequels’ ADD-inducing background shots of spaceships zipping across a sterile cityscape like goldfish trapped in a giant screen saver. The different worlds we see here, from the parched desert vistas of Jakku to the verdant forests of the planet Yavin, feel vividly textured and inhabited (Rick Carter and Darren Gilford are credited with the production design). But the most crucial component of the movie’s design is undoubtedly John Williams’ still-enveloping score, from that thrilling, trumpet-like first blast over the opening text scroll, to the majestic flurries of feeling the music generates as it accompanies the characters on their long and difficult journeys."
Justin Chang, Variety
"To be sure, any time you can speak of a film's earning potential as residing in the billion-dollar-plus neighborhood, the main story is to be more often found in the business section than on the arts pages. When the financial stakes are this high, what ends up on the screen can often be judged as much, or more, in terms of commercial calculation than creative achievement. So one of the primary satisfactions of this sharply paced and lively blockbuster is the obvious care that has gone into every aspect of the production, from the well-balanced screenplay and dominance of real sets and models over computer graphics to the casting, a strict limitation on self-referential, in-jokey humor and the thoroughly refreshed feel of John Williams' exuberant score. In the end, 'Star Wars: The Force Awakens' feels like the work of a very capable student, one who has studied his subject so diligently and thoroughly that he knows what to do and what to avoid, is smart enough to have engaged one of the experts in the field, in this case Kasdan, to work on the blueprint, and to have ensured that another of the key contributor to the series' success, John Williams, would return again after all the years. The franchise is indeed reawakened, and we already know when to expect several more installments."
Todd McCarthy, Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
June 2
AKIRA (Shoji Yamashiro) [Nuart]
THE FLY (Howard Shore), POSSESSION (Andrzej Korzynski) [Cinematheque: Egyptian]
FROM DUSK TILL DAWN (Graeme Revell) [New Beverly]
THE ROAD WARRIOR (Brian May), MAD MAX: FURY ROAD (Tom Holkenborg) [New Beverly]
THE SORROW AND THE PITY [Cinematheque: Aero]
June 3
A BOY AND HIS DOG (Tim McIntire, Jaime Mendoza-Nava) [New Beverly]
THE CAPTIVE [Silent Movie Theater]
FLASH GORDON: ROCKET SHIP [New Beverly]
THE IRON GIANT (Michael Kamen) [Cinematheque: Aero]
LOLA MONTES (Georges Auric), LIEBELEI (Theo Mackeben) [Cinematheque: Aero]
THE ROAD WARRIOR (Brian May), MAD MAX: FURY ROAD (Tom Holkenborg) [New Beverly]
THE SEDUCTION OF MIMI (Piero Piccioni) [Silent Movie Theater]
WILD AT HEART (Angelo Badalamenti) [Silent Movie Theater]
June 4
ALL SCREWED UP (Piero Piccioni) [Silent Movie Theater]
CARNIVAL OF SOULS (Gene Moore) [Cinematheque: Egyptian]
FLASH GORDON: ROCKET SHIP [New Beverly]
HOTEL TERMINUS [AMPAS]
JACKASS THE MOVIE [Silent Movie Theater]
JACKASS NUMBER TWO [Silent Movie Theater]
MASK, LIFEGUARD (Dale Menten) [Cinematheque: Aero]
THE PANIC IN NEEDLE PARK, SCARECROW (Fred Myrow) [New Beverly]
June 5
THE PANIC IN NEEDLE PARK, SCARECROW (Fred Myrow) [New Beverly]
SEVEN BEAUTIES (Enzo Jannacci) [Silent Movie Theater]
June 6
HANNAH AND HER SISTERS [LACMA]
SCREAM FOR HELP (John Paul Jones), THE STEPFATHER (Patrick Moraz), LISA (Joe Renzetti) [New Beverly]
June 7
THE KENTUCKY FRIED MOVIE, NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [New Beverly]
A NIGHT FULL OF RAIN (Roberto De Simone) [Silent Movie Theater]
THE PHANTOM CARRIAGE [Silent Movie Theater]
June 8
FOX AND HIS FRIENDS (Peer Raben) [Silent Movie Theater]
THE KENTUCKY FRIED MOVIE, NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [New Beverly]
June 9
GRINDHOUSE: PLANET TERROR (Robert Rodriguez, Graeme Revell) [New Beverly]
THE MALTESE FALCON (Adolph Deutsch), KEY LARGO (Max Steiner) [UCLA]
STAR TREK -- THE MOTION PICTURE (Jerry Goldsmith), THE BLACK HOLE (John Barry) [New Beverly]
STAR TREK II: THE WRATH OF KHAN (James Horner) [Cinematheque: Aero]
VARIETY (John Lurie) [Silent Movie Theater]
THE WRAITH (Michael Hoenig, J. Peter Robinson) [Silent Movie Theater]
June 10
BEFORE THE FLOOD (Trent Reznor, Atticus Ross) [Cinematheque: Aero]
THE BLACK HOLE (John Barry) [New Beverly]
DESPERATE LIVING (Chris Lobinger) [Silent Movie Theater]
KLUTE (Michael Small) [Silent Movie Theater]
THE OMEGA MAN (Ron Grainer) [New Beverly]
STAR TREK -- THE MOTION PICTURE (Jerry Goldsmith), THE BLACK HOLE (John Barry) [New Beverly]
THE TREASURE OF THE SIERRA MADRE (Max Steiner), THE ASPHALT JUNGLE (Miklos Rozsa) [UCLA]
June 11
BACK TO THE FUTURE (Alan Silvestri), BACK TO THE FUTURE PART II (Alan Silvestri), BACK TO THE FUTURE PART III (Alan Silvestri) [Cinematheque: Aero]
THE BLACK HOLE (John Barry) [New Beverly]
HONEYSUCKLE ROSE (Willie Nelson), THE SEDUCTION OF JOE TYNAN (Bill Conti) [New Beverly]
NIGHT HAS A THOUSAND EYES (Victor Young) [UCLA]
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