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Varese Sarabande is announcing three new CD Club releases this morning. According to the label, one of them will be Varese's final "Encores" release, as from now on all CD Club releases will either be expansions or first-time releases.


Captive State - Rob Simonsen - Sony [CD-R]
The Cardinal - Jerome Moross - Kritzerland
Celebrating John Williams - John Williams - Deutsche Grammophon
 - Piero Piccioni - Beat
Le Chant de Loup - tomandandy - Milan (import)
L'Odio E' Il Mio Dio
 - Pippo Franco - Beat
Lonesome Dove
 - Basil Poledouris - Varese Sarabande
Masters of the Universe - Bill Conti - Notefornote
Valley of Shadows - Zbigniew Preisner - Caldera
The World of Hans Zimmer: A Symphonic Collection
 - Hans Zimmer - Sony 


The Aftermath - Martin Phipps
Captive State - Rob Simonsen - Score CD-R on Sony
Finding Steve McQueen - Victor Reyes
Five Feet Apart - Brian Tyler, Breton Vivian
The Highwaymen - Thomas Newman
The Hummingbird Project - Yves Gormeur
Iceman - Beat Soler
The Inventor: Out for Blood in Silicon Valley - Will Bates
The Mustang - Jed Kurzel
Nancy Drew and the Hidden Staircase - Sherri Chung
Sorry Angel - Music Supervisor: Frederic Junqua
Styx - Dirk Von Lowtzow
Wonder Park - Steven Price - Score CD on Sony
Yardie - Dickon Hinchliffe


March 22
The Beach Bum
 - John Debney - Milan
Operation Mystery
 - Toru Fuyuki, Naozumi Yamamoto - Cinema-Kan (import)
Woman with Seven Faces
 - Katsuhisa Hattori - Cinema-Kan (import)
March 29
The Chaperone
 - Marcelo Zarvos - Sony
Hotel Mumbai
 - Volker Bertelmann - Varese Sarabande
Never Look Away
 - Max Richter - Deutsche Grammophon
April 5
- Danny Elfman - Disney
Halt and Catch Fire: Volume 2 - Paul Haslinger - Lakeshore
April 12
High Life - Stuart Staples - Milan
April 19
Being Rose - Brian Ralson - Notefornote
April 26
Knife + Heart - M26 - Mute
Date Unknown
Arthur Gesetz
 - Christophe Blaser - Kronos
Dead Ant
 - Edwin Wendler - Notefornote
Dr. Heckyl and Mr. Hype
 - Richard Band - Dragon's Domain
The Joel Goldsmith Collection vol. 1
 - Joel Goldsmith - Dragon's Domain
Le Gran Promesa
 - Rodrigo Flores Lopez - Kronos
L'Heure de la Sortie/Irreprochable
 - Zombie Zombie - Music Box
Si Puo Fare...Amigo
 - Luis Bacalov - Digitmovies
Test/Wild Field
 - Alexei Augui - Music Box
Wish You Were Here
 - Andre Matthias - Kronos


March 15 - Jurgen Knieper born (1941)
March 15 - Max Steiner wins the Oscar for Since You Went Away score (1945)
March 15 - Ry Cooder born (1947)
March 15 - Stomu Yamashta born (1947)
March 15 - Jerry Fielding records his score for the TV pilot Shirts/Skins (1974)
March 15 - Jerry Fielding begins recording his score for Beyond the Poseidon Adventure (1979)
March 15 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Starship Mine” (1993)
March 15 - Thomas Newman begins recording his score for The Shawshank Redemption (1994)
March 15 - Recording sessions begin for Mark Mancina’s score to Twister (1996)
March 15 - Arnold Schwarzwald died (1997)
March 15 - Jay Chattaway begins recording his score for the Star Trek: Enterprise episode “Bound” (2005)
March 15 - Recording sessions begin for Danny Elfman’s score for Restless (2010)
March 16 - Harry Rabinowitz born (1916)
March 16 - John Addison born (1920)
March 16 - Alesandro Alessandroni born (1925)
March 16 - Aaron Copland begins recording his score to The Red Pony (1948)
March 16 - Recording sessions begin for Hugo Friehdofer’s score to Captain Carey, U.S.A. (1949)
March 16 - Nancy Wilson born (1954)
March 16 - Michiru Oshima born (1961)
March 16 - Henry Mancini begins recording his score for Breakfast at Tiffany’s (1961)
March 16 - Mario Castelnuovo-Tedesco died (1968)
March 16 - Marcus Trumpp born (1974)
March 16 - Recording sessions begin for Leonard Rosenman's score to Cross Creek (1983)
March 16 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Cause and Effect” (1992)
March 17 - Alfred Newman born (1901)
March 17 - Tadashi Hattori born (1908)
March 17 - Karl-Heinz Schafer born (1932)
March 17 - John Sebastian born (1944)
March 17 - Benjamin Bartlett born (1965)
March 17 - Billy Corgan born (1967)
March 17 - Chris Bacon born (1977)
March 17 - Georges Delerue begins recording his score for Memories of Me (1988)
March 17 - Ernest Gold died (1999)
March 17 - Dennis McCarthy and Kevin Kiner record their score for the Star Trek: Enterprise episode “Damage” (2004)
March 17 - Jean Prodromides died (2016)
March 18 - William Lava born (1911)
March 18 - John Kander born (1927)
March 18 - Yoko Kanno born (1964)
March 18 - Frank Ilfman born (1970)
March 18 - Clinton Shorter born (1971)
March 18 - Dominic Frontiere begins recording his score for Cleopatra Jones and the Casino of Gold (1975)
March 18 - Guillaume Roussel born (1980)
March 18 - John Williams begins recording his score for The Lost World: Jurassic Park (1997)
March 18 - John Phillips died (2001)
March 18 - Paul Baillargeon records his score for the Enterprise episode “The Crossing” (2003)
March 19 - Jean Weiner born (1896)
March 19 - Dimitri Tiomkin wins Oscars for High Noon’s score and song (1953)
March 19 - Jeff Alexander begins recording his score to Escape from Fort Bravo (1953)
March 19 - Anthony Marinelli born (1959)
March 19 - George Garvarentz died (1993)
March 19 - Velton Ray Bunch records his score for the Enterprise episode “Acquisition” (2002)
March 20 - Michel Magne born (1930)
March 20 - John Cameron born (1944)
March 20 - Miklos Rozsa wins his second Oscar, for A Double Life score (1948)
March 20 - Franz Waxman wins his second consecutive Best Score Oscar, for A Place in the Sun (1952)
March 20 - Elmer Bernstein begins recording his score for The Tin Star (1957)
March 20 - Amit Poznansky born (1974)
March 20 - Stu Phillips records his score for the Buck Rogers in the 25th Century episode “The Hand of Goral” (1981)
March 20 - Ray Cook died (1989)
March 20 - Georges Delerue died (1992)
March 20 - Johnny Pearson died (2011)
March 21 - Antony Hopkins born (1921)
March 21 - Gary Hughes born (1922)
March 21 - Mort Lindsey born (1923)
March 21 - Alfred Newman wins his seventh Oscar, his second for Score, for Love is a Many-Splendored Thing (1956)
March 21 - Joseph S. DeBeasi born (1960)
March 21 - Alex North begins recording his score for Spartacus (1960)
March 21 - Alexander Courage records his score for the Lost in Space episode "The Mechanical Men" (1967)
March 21 - Miklos Rozsa begins recording his score to The Green Berets (1968)
March 21 - John Williams wins his fifth Oscar, for his Schindler's List score (1994)
March 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Journey’s End “ (1994)
March 21 - Nicola Piovani wins his first Oscar, for Life Is Beautiful; Stephen Warbeck wins the final Comedy or Musical Score Oscar for Shakespeare in Love (1999)



"From a technical perspective, 'Assassin’s Creed' transitions from the present to the 15th Century rather smoothly and with a great deal of added momentum from Jed Kurzel’s bombastic, percussion-heavy score, but the constant jumping back and forth significantly detracts from the present day material -- one, because it means the facility gets less screen time and, two, because everything that happens in the 15th Century is monumentally more riveting."
Perri Nemiroff, Collider
"Sci-fi fantasy meets pseudo history in this ill-conceived adaptation of a popular video game series. Michael Fassbender stars in a dual role, as a member of the Assassins (a secret medieval Spanish brotherhood who in 1492 protects the Muslim king of Granada against the Knights Templar and the Inquisition), and as his North American descendant some 500 years later, a murderer rescued from execution by Marion Cotillard, who plays a scientist intent on linking DNA to antisocial behavior. As expected, the accent is on action -- swordplay, archery, burning at the stake -- but Asian martial arts and parkour are thrown in as well, if only to distract from the abject senselessness of the screenplay. Director Justin Kurzel worked previously with the leads on his much better 'Macbeth' (2015), which was budgeted at about a tenth of this overblown silliness; brother Jed Kurzel provided the thundering, overmodulated score, apparently trying to hammer us into submission, much like the movie's crypto-fascist villains. With Jeremy Irons, Brendan Gleeson, and Charlotte Rampling, doing their damnedest to class up the joint."
Andrea Gronvall, The Chicago Reader

"I could go on about Callum’s fellow prisoners, or his sordid relationship with his father (Brendan Gleeson), or how Charlotte Rampling somehow ends up as the film’s big bad (just be grateful and don’t ask questions), but it’s safe to assume that the 'Assassin’s Creed' movie hasn’t forsaken the video games’ signature WTF factor. If anything, Kurzel has fully embraced it, the Australian director of grimly airless indie fare like 'Snowtown' and 'Macbeth' refusing to sacrifice a scrap of integrity for his characteristically bleak studio debut. In a production of this size, that obstinance comes off as willful strangeness -- he drapes the film in a frigid gauze of gray so that light only pokes through in shafts, he frames throwaway scenes with the stillness of a renaissance painting, and he evens the whole film out with a haunting score by his brother Jed that sounds closer to Tim Hecker than it does Hans Zimmer."
David Ehrlich, IndieWire
"Kurzel's regular DP Adam Arkapaw ('True Detective,' 'The Light Between Oceans') mostly ditches the painterly tableaus of 'Macbeth' for swooping topographic glides. Each world, from auto-da-fé to bunker, is evocatively rendered by production designer Andy Nicholson and costume designer Sammy Sheldon Differ. And composer Jed Kurzel ('Slow West,' 'The Babadook') capably steps into the blockbuster frame with a nicely hurtling score, traditional for the 15th century and electronic for this one until they begin to overlap, as the modern Assassins shake off their shackles for a franchise-bait ending that's all too abrupt."
Harry Windsor, The Hollywood Reporter

JACKIE - Mica Levi

"For Portman, this isn’t so much the role of a lifetime as maybe the roles, plural: The notion of multiple Jackies affords her a range of personas, from the poised debutante to the knowing media manipulator ('I love crowds,' she tells John at the airport, sarcasm on her breath) to the shattering, bereaved spouse. For Larraín, the film is the latest in an ongoing line of stylistic pivots. The Chilean director has three films in American theaters this year -- including last spring’s disgraced-priest drama 'The Club' and another biopic opening in just two weeks, 'Neruda' -- and none of them resemble each other in the least. He shot 'Jackie,' his first film in English, on grainy Super 16, which undercuts the glamour of 1600 Pennsylvania Ave. with a little gritty texture, while also allowing Larraín to match his own footage to archival snippets. The filmmaker’s shrewdest move, though, was securing the discordant contributions of English musician (and 'Under The Skin' composer) Mica Levi, whose lonely horns and whining strings steer the film away from the emotional pitfalls of prestige cinema, providing a thick unease in the process. It might be the soundtrack of the year."
A.A. Dowd, The Onion AV Club
"During this period, Jackie famously compared her husband’s tenure in the oval office with King Arthur's Camelot, and Larraín concentrates on this attempt to enshrine his presidency in mythology. Portman’s mannered performance is unforgettable, internalising Jackie’s grief into a quivering ball of anxiety, but it’s Mica Levi’s score that’s the film’s real star. Layering wailing strings over the bellow of melancholic horns, Levi violently manipulates the traditional orchestral score of a prestige picture to express how the building of a myth around one person can distort history. Peeling away the artifice of the Kennedy legacy to reveal the raw nerve of failed idealism, 'Jackie' is a bewitching study of mythmaking that underlines Larraín’s status as cinema’s most daring political filmmaker."
Patrick Gamble, The Skinny

"Larraín has orchestrated everything with an international array of talent and with technical virtuosity, from his casting (Peter Sarsgaard as Bobby Kennedy, Greta Gerwig as Jackie's private secretary/confidante Nancy Tuckerman, Richard E Grant as painter/Kennedy intimate William Walton) to Stéphane Fontaine's cinematography and Mica Levi's strikingly spare, dissonant score. The result is a mesmerising reflection on celebrity, memory and the determined individual crafting history."
Angie Errigo, The List
"Other elements of the film are a little more in the 'your mileage may vary' realm. Director Pablo Larrain ('No') clearly chose the oppressive score by Mica Levi ('Under The Skin') for a reason, but for me, its heavy-handedness grew wearying and undermined what Portman was doing in a number of scenes. It makes every moment feel like it's supposed to be filled with portent, which makes narrative rhythms difficult to moderate. It also means that when that score lets up in favor of really entirely too much on-the-nose quoting of 'Camelot' (of course it's relevant, but still), it seems even more like nobody making the movie trusts what Portman is doing to convey what they're trying to convey."
Linda Holmes, NPR

"Back at the White House, Jackie drifts through the empty halls like an apparition, with the title song from 'Camelot' resounding through the home as if it were a voice from beyond, and the jarring strings of Mica Levi’s score haunt the screen. Jackie takes a drink, tries on gowns, and once more explores the lavish and symbolic surroundings that are trapped in the immediate past and are already being prepped by the Johnson family for the sudden future."
Robert Levin, A.M. New York

"There's a mesmeric intensity to 'Jackie' that's unlike any biopic of its kind, marked by a deliberate effort to narrow the scope to one woman's actions and reactions over the course of a few fraught days. Much like her extraordinary score for the science fiction film 'Under The Skin,' composer Mica Levi sets a tone for Jackie that's simultaneously discordant and beautiful, with lilting strings punctuated by sharp, ringing woodwinds. There's an enveloping somberness to the music that complements Portman's performance, which in quieter moments suggests Jackie as a ghostly figure who's haunting the wreckage of her own life. 'I used to make [men] smile,' she tells the journalist. Now she makes everyone uncomfortable."
Scott Tobias, NPR

"Throughout, Larrain frequently cuts back to Jackie’s interview with White, in which she calmly lays out what he can and can’t include in his reporting -- reminding him that she’s never smoked a cigarette, for example, as she lights one up in front of him. The gap between how she was and how she wanted the world to see her is made thuddingly obvious, but the story she was promoting was obvious, too -- not just her repeated mentions of 'Camelot' (the title song of which, along with Mica Levi’s gorgeous minor-key score, is a recurring motif in the film’s soundtrack), but also in the massive funeral she planned."
David Sims, The Atlantic

"Through two viewings of 'Jackie,' I was never able to pin down whether it was Portman’s performance or Larraín’s way of framing it that left me emotionally shut out. The experiences we see Jackie undergo -- informing her two small children of their father’s death, organizing her husband’s televised public funeral, consulting with a Catholic priest (John Hurt) about the seeming indifference or cruelty of God -- are wrenching, but I didn’t feel the least bit wrenched. For all its disorienting intensity, emphasized by Mica Levi’s keening and discordant score, 'Jackie' operates at a chilly remove from the viewer."
Dana Stevens,

"That said, it’s remarkable just how many of the standard-issue biopic tropes the film embodies, while simultaneously refreshing and distressing them, and sometimes even seeming to turn in on itself to examine them. Our very first shot of Portman as Jackie is a case in point: it’s a close up on her face as she cries, a melodramatic, woman’s-picture 'Grace of Monaco' (God help us) shot but one that is instantly subverted by the opening strains of Mica Levi‘s outstanding score. The foreboding, descending, atonal orchestral drone makes the 1950s weepie shot, and the immaculate 1960s styling, including Jackie’s iconic asymmetric bob with the big side forever whipped into a single perfect chin-length curl, feel impeccably modern."
Jessica Kiang, The Playlist
"Pablo Larraín’s movie, with its keening score by Mica Levi, is a dance to the music of grief. Swiftly and nervously, as if obeying the beat of Jackie’s memory, we step back and forth in time. Back to Jackie, resplendent in eau de nil, with the proud President (Caspar Phillipson, who has the Kennedy eyes) at her side, listening to Pablo Casals; back to a flawless reconstruction of the televised White House tour that she offered to eighty million viewers, in 1962; forth to the fateful day in Dallas, to the swearing-in of Lyndon B. Johnson (John Carroll Lynch) on Air Force One, and to Jackie’s flailing attempt to interrupt the autopsy at the hospital. 'I want him to look like himself,' she cries, in the most pitiful of pleas. Then comes the agony of arranging the funeral procession, with Robert Kennedy (Peter Sarsgaard) and Jack Valenti (Max Casella) poised to be consulted or overruled. (Also of service is the painter, fixer, and all-round Kennedy confidant William Walton, stylishly played by Richard E. Grant and deserving a film of his own.) Other glimpses abound, some unnervingly intimate -- a solitary Jackie, swooping through grand and empty rooms, in a waltz of despair, or reaching for the bottle and taking a consolatory swig."
Anthony Lane, The New Yorker
"'Jackie' never figures out how to reconcile its self-conscious tendencies with its protagonist’s raw grief, but Mica Levi’s score makes an ostentatious effort to bridge that gap, taking inspiration from Jonny Greenwood’s work on 'The Master.' Horns and strings rise and then descend into a cauldron of lonesome interiority, and stray woodwinds flare at suitably off-kilter moments, mainly as Larraín homes in on the abrupt transfer of power. Jackie simultaneously prepares to vacate the White House, where she catches stray glimpses of Lyndon (John Carroll Lynch) and Ladybird Johnson (Beth Grant) examining fabric samples and huddling in a cocoon of aides and lackeys, and plans her husband’s funeral, where she’s repeatedly cautioned that her aspirations for the ceremony -- a grand public procession, attended by world dignitaries and the public -- pose an outsized national security risk. She absorbs this advice with a rather brazen indecision, between stretches of boozing and pill-popping spent listening to the soundtrack for the musical 'Camelot.'"
Christopher Gray, Slant Magazine
"The second movie in 'Jackie' is new and often powerful, and it derives all of its newness and power from specifics. This 'Jackie' is the story of a woman who suddenly, violently lost her husband, then had to figure out how to get through the next few days of her life without surrendering her sanity along with whatever power she once had. The mundane nature of this second movie is what makes it feel so eerily accurate. Details such as the specific bloodstains on Jackie's clothes and the bruise revealed on her shin as she takes her stockings off, the point-of-view shots of Jackie looking at all those men who have concluded they should decide her fate for her, the catch in Jackie's voice as she tries to tell her children that their father is dead without using the word "death," the way she goes into a depressive reverie and starts going through her clothes and trying on various dresses while listening to Jack's favorite album, the original cast recording of 'Camelot': all of this feels achingly true. But Larraín pushes the 'power' of it all too hard (often by ladling on Mica Levi's lyrical yet too often bombastic score). Even Portman's accent-driven performance, while ferociously committed, feels too much like a researched, considered, Marilyn Monroe-breathy impersonation, one that has been constructed from the outside in rather than incarnated from within. Rarely have I seen a more vivid example of artists getting in their own way and tripping themselves up."
Matt Zoller Seitz,

"The score by Mica Levy ('Under the Skin') is more akin to sound design than music. Dissonantly eerie, presumably to underscore the unreality of what Jackie endured, stringed tones tones flare intrusively at unexpected moments. Stephane Fontaine’s cinematography is stately and beautifully somber."
Claudia Puig, The Wrap

"Larraín is currently on a creative tear after his inventive literary study 'Neruda' wowed Cannes mere months ago; any concerns that he might have gone soft on us by taking on an American prestige project are allayed before a word of dialogue is spoken in 'Jackie.' Rather, it’s the first eerie, keening notes of the score by Mica Levi that put our fears to rest, even as everything else is set tinglingly on edge: No director who’d choose Levi, the young British experimental musician who gave 'Under the Skin' its haunting siren’s wail, to aurally steer his film has any plans to play it safe. Coolly handsome as the film is, it’s a collation of aesthetic choices that push us persistently and ever-so-subtly into the discomfort zone. Sebastián Sepúlveda edits it into non-sequential shards of memory, jaggedly disarranged in the manner of post-traumatic consciousness, while cinematographer Stéphane Fontaine’s searching close-ups repeatedly step an inch too far into its subject’s already frail personal space."
Guy Lodge, Variety

"The movie's gut punch owes part of its exceptional force to Mica Levi's emotionally charged score, its requiem-style strings heavy with sorrow, sometimes distorted to express a surreal state of warped reality (reminiscent of her fabulous work on 'Under the Skin'). In one gorgeous passage, military drums come in softly over strings and piano as Jackie considers burial sites at Arlington. There's also brilliant use of songs from the Lerner & Loewe musical 'Camelot,' a name steeped in legend that would forever be associated with the Kennedy administration, for better or worse. Larrain's tremendously moving portrait rescues one of the key players from that shorthand sobriquet, revealing her as a creature of infinite psychological and emotional complexity."
David Rooney, The Hollywood Reporter

PATERSON - Carter Logan, Sqürl
"Each section (or should it be stanza?) of the film is introduced by the day of the week, beginning with Monday and continuing through to the next Monday. Much of Paterson’s day repeats the same routines, and we become intimately familiar with the repetitive meter. When things over which he has no control skew the meter, Paterson also finds his life out of step. The stunning camerawork and expressive lighting by Frederick Elmes ('Blue Velvet;' 'River’s Edge;' 'Synecdoche, New York') add further dimensions to Jarmusch’s storytelling, and the original music written and performed by Carter Logan, Sqürl, and Jarmusch lend 'Paterson' a noodling quality that provides an aural equivalent to the reworking of lines of verse. In the end, I fear all my leaden talk of poetry only dishonors 'Paterson' and chips away at its elevation of the ordinary. So tune out my verbiage and heed this siren’s call."
Marjorie Baumgarten, The Austin Chronicle
"Laced with a hazy ambient score by Jarmusch’s band SQÜRL, 'Paterson' is steeped in gentle well-being; it seems to propose a model of contemplative, perceptive, responsive life as it should be lived. The life shared by Paterson, Laura, and Marvin seems to be an ideal of everyday romantic happiness. And yet something jars here, and that’s the characterization of Laura -- a wildly productive creative spirit, but the one figure in a film sensitive to human oddity who never remotely feels like a living person. Glamorous, tender, endlessly creative, she comes across like a whirlpool of agitated eccentricity: the film constantly returns to her at home, experimenting with various riffs on her signature black-and-white decorative art, whether daubing streaks on a dress she’s making, or punching holes in ribbons, or painting a door frame black. Either that or she’s pursuing other paths of whimsical goofiness: like making a pie with cheddar cheese and brussels sprouts, or setting her heart on a black-and-white Harlequin guitar advertised on TV by faux-Spanish musician Esteban: 'In no time at all,' she enthuses, parroting ad-speak, 'I could be playing away and realizing my dream -- to be a country singer… I have a very strong visual style, as you know.'"
Jonathan Romney, Film Comment

"Appropriately for one so austere, 'Paterson' is a film driven less by music than Jarmusch’s other works. Composer Carter Logan provides a fine minimalist background score, but it’s the silence, and the constant faint clattering of the streets one notices. This is a deeply human film, one that uses sound to remind us that there are always other stories happening, other lives being lived out there. Paterson is a man fascinated by the people all around him, like the two students who ride his bus and discuss anarchism, or the young girl who recites to him a poem as he makes his way home one Thursday. When he isn’t silently observing the world, Paterson ponders his own poetry, beautifully mundane observations written for the film by Ron Padgett and spoken in matter-of-fact voiceover by Driver. These speak of Blue Tip matches and the fourth dimension; they reveal Paterson’s nostalgic bent and, crucial to this story, his fathomless love for his partner."
Brogan Morris, The Playlist
"The movie is about finding the beauty in everyday things (Ohio Blue Tip matches should do awfully well out of it) and the understated cinematography from Frederick Elmes certainly does that, complemented by a score from sound designer Drew Kunin* that feels, with its hopeful electro drones and washes, like having your head cradled and your hair gently smoothed back from your temples. But it’s equally about the things that irritate us, a leaning mailbox, a pessimistic supervisor, a dog with a dark agenda, and how we can overcome or accept those setbacks. And maybe, how to even find the beauty in them, too -- like emptying a pebble from your shoe and discovering it’s a diamond. Forgive the whimsy, you’ll understand when you see 'Paterson' --  possibly the smallest film ever to make poets of us all."
Jessica Kiang, The Playlist
*more than one early review lists Drew Kunin, the film's sound mixer, as the film's composer. It is not known if this is due to an error in credits, or if he wrote an early score that was ultimately replaced.


Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightArena CineloungeLACMALaemmleNew Beverly, Nuart and UCLA.

March 15
EVIL DEAD 2 (Joseph LoDuca) [Nuart]
HIGHWAY PATROLMAN, WALKER (Joe Strummer) [Cinematheque: Egyptian]
KILL BILL: VOL. 1 (The RZA) [New Beverly]
YOUNG FRANKENSTEIN (John Morris), DEAD MEN DON'T WEAR PLAID (Miklos Rozsa) [New Beverly]

March 16
GOODBYE TO LANGUAGE [Cinematheque: Aero]
THE MAN FROM SNOWY RIVER (Bruce Rowland) [New Beverly]
REPO MAN (Steven Hufsteter, Humberto Larriva) [Cinematheque: Egyptian]
TUNNEL VISION (Dennis Lambert, Brian Potter) [New Beverly]
VIVA VILLA! (Herbert Stothart), VIRTUE [UCLA]
YOUNG FRANKENSTEIN (John Morris), DEAD MEN DON'T WEAR PLAID (Miklos Rozsa) [New Beverly]

March 17
DARBY O'GILL AND THE LITTLE PEOPLE (Oliver Wallace), THE QUIET MAN (Victor Young) [New Beverly]
THE MAN FROM SNOWY RIVER (Bruce Rowland) [New Beverly]
ROAD HOUSE (Michael Kamen), POINT BREAK (Mark Isham) [Cinematheque: Egyptian]

March 18
DARBY O'GILL AND THE LITTLE PEOPLE (Oliver Wallace), THE QUIET MAN (Victor Young) [New Beverly]
HITCHCOCK/TRUFFAUT (Jeremiah Bornfield), SABOTEUR (Frank Skinner) [Cinematheque: Aero]
RAVENOUS (Michael Nyman, Damon Albarn) [New Beverly]
WHEN HARRY MET SALLY (Marc Shaiman) [Arclight Culver City]

March 19
GUMMO, JULIEN DONKEY-BOY [Cinemathque: Egyptian]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Sherman Oaks]
SHAKESPEARE IN LOVE (Stephen Warbeck) [Arclight Hollywood]

March 20
FORT APACHE (Richard Hageman), ULZANA'S RAID (Frank DeVol) [New Beverly]
THE 400 BLOWS (Jean Constantin) [Laemmle Royal]
THE THREE FACES OF EVE (Robert Emmet Dolan) [New Beverly]
TRASH HUMPERS, SPRING BREAKERS (Cliff Martinez, Skrillex) [Cinematheque: Egyptian]

March 21
BATHTUBS OVER BROADWAY (Anthony DiLorenzo) [Cinematheque: Egyptian]
FORT APACHE (Richard Hageman), ULZANA'S RAID (Frank DeVol) [New Beverly]

March 22
KILL BILL: VOL. 2 (The RZA, Robert Rodriguez) [New Beverly]
POLYESTER (Chris Stein, Michael Kamen) [Nuart]

March 23
NATIONAL VELVET (Herbert Stothart) [New Beverly]
NOSFERATU THE VAMPYRE (Popol Vuh), THE AMERICAN FRIEND (Jurgen Knieper) [Cinematheque: Egyptian]

March 24
THE MEPHISTO WALTZ (Jerry Goldsmith), SPECIAL DELIVERY (Lalo Schifrin) [New Beverly]
NATIONAL VELVET (Herbert Stothart) [New Beverly]
WINGS OF DESIRE (Jurgen Kneiper) [Cinematheque: Egyptian]

One of my many film music-related hobbies is making mix CDs, and my current project is making CDs that focus on every Oscar-nominated score and song, year by year, which had led me down some strange collecting paths -- such as buying an LP by the forgotten band "Springfield Revival" just to obtain their version of The Little Ark's nominated song "Come Follow, Follow Me."

One of the perks of this is getting the chance to listen to Golden Ages scores I was not as familiar with, and one thing I've come to realize in replaying the Oscar-nominated music from 1936 to 1952 (so far) is that Erich Wolfgang Korngold was an absolutely amazing composer. I know, this should be obvious to anyone who has ever heard his music, but though my favorite Golden Age composer will always be Bernard Herrmann, Korngold's scores truly exemplify what is best about the more traditional Golden Age style. There is something genuinely joyful about his music that makes it still fresh, more so than with some of his colleagues.

In the modern era, one of the scores and composer choices that disappointed me the most was Rob Reiner's selection of Mark Knopfler for The Princess Bride, especially since (if memory serves) Reiner wrote in the liner notes that Knopfler was the only composer he could imagine scoring that film. I don't think is score is all bad -- I like Diego Montoya's theme -- but his distinctly non-symphonic approach seemed to be the exact opposite of what the film needed. Given the film's delicate balance of humor, romance and adventure, I can understand Reiner's desire to have a score that wouldn't overwhelm the film, that wouldn't constantly nudge the audience about how hilarious and romantic everything is, but overall the tech elements are consistently disappointing -- it's a surprise that a film shot by Adrian Biddle (Aliens, Willow) and designed by Norman Garwood (Brazil, Glory) should be so dull looking.

As a huge fan of author William Goldman, I'm happy that the film has developed such a devoted following, which I think is due both to the strength of the material and some of Reiner's better casting choices, especially Cary Elwes, Mandy Patinkin and Wallace Shawn, who bring everything those roles require and more (Robin Wright is perfectly fine in the title role, but I would not have guessed she'd be capable of the kind work she's done on House of Cards). But it only just occurred to me recently who would have been the ideal choice to score the film -- Georges Delerue. Delerue had a strong melodic sense that lasted literally until the very end of his life -- Rich in Love is as beautiful as any of his scores, and he passed on almost immediately after finishing it -- and though he could write in a large-scale symphonic vein, there was always a lightness of spirit about his music that would have been perfectly suited to Goldman and Reiner's mix of comedy and genuine romantic spirit.

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