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Quartet has announced three new soundtrack releases -- a disc pairing two previously unreleased Hollywood romantic comedy scores from 1963, WHO'S BEEN SLEEPING IN MY BED?, composed by George Duning, and WIVES AND LOVERS by Lyn Murray; the first CD release of Francis Lai's score for the 1967 comedy I'LL NEVER FORGET WHAT'S 'ISNAME, starring Oliver Reed and Orson Welles and featuring the same cues as the original LP release; and DOLOR Y GLORIA, the score for the new film from Pedro Almodovar, written by his regular composer, three-time Oscar nominee Alberto Iglesias.

One of Kritzerland's new CDs features three previously released scores (now with improved sound quality) composed for stage productions by top feature film composers -- LAURETTE by Elmer Bernstein, RASHOMON by Laurence Rosenthal, and DEATH OF A SALESMAN by Alex North


Arthur Gesetz
 - Christophe Blaser - Kronos
The Chaperone - Marcelo Zarvos - Sony 

Dr. Heckyl and Mr. Hype
 - Richard Band - Dragon's Domain 
Dolor y Gloria - Alberto Iglesias - Quartet
Hotel Mumbai
 - Volker Bertelmann - Varese Sarabande
The Joel Goldsmith Collection vol. 1
 - Joel Goldsmith - Dragon's Domain
Le Gran Promesa
 - Rodrigo Flores Lopez - Kronos
Never Look Away
 - Max Richter - Deutsche Grammophon
Si Puo Fare...Amigo
 - Luis Bacalov - Digitmovies
Who's Been Sleeping in My Bed?/Wives and Lovers
- George Duning/Lyn Murray - Quartet 

Wish You Were Here
 - Andre Matthias - Kronos


The Beach Bum - John Debney - Score CD on Milan
The Burial of Kojo - Sam Blitz Bazawule 
Diane - Jeremiah Bornfield
Dumbo - Danny Elfman - Score CD due April 5 on Disney
Ferrante Fever - Andrea Bergesio, Giorgio Ferrero, Valentina Gaia, Rodolfo Mongitore 
Flashout - Spencer David Hutchings
Making Babies - Keegan DeWitt
Maze - Stephen Rennicks
Reinventing Rosalee - Misha Segal
Sobibor - Kuzma Bodrov


April 5
Dr. Seuss' The Grinch - Danny Elfman - Backlot
 - Danny Elfman - Disney
Halt and Catch Fire: Volume 2 - Paul Haslinger - Lakeshore
Our Planet - Steven Price - Decca (import)
- Michael Abels - Backlot
Violin Concerto - Danny Elfman - Sony
April 12
The Curse of La Llorna - Joseph Bishara - WaterTower [CD-R]
Hellboy - Benjamin Wallfisch - Sony (import)
High Life
 - Stuart Staples - Milan
April 19
Under the Silver Lake - Disasterpeace - Milan
April 26
Knife + Heart - M83 - Mute
The Son - Nathan Barr - Varese Sarabande
May 10
Being Rose - Brian Ralson - Notefornote
First to the Moon: The Journey of Apollo 8 - Alexander Bornstein - Notefornote
June 14
Dragged Across Concrete - Jeff Herriott, S. Craig Zahler - Lakeshore
Date Unknown
I'l Never Forget What's 'Isname
- Francis Lai - Quartet
Laurette/Rashomon/Death of a Salesman
- Elmer Bernstein, Laurence Rosenthal, Alex North - Kritzerland
976-Evil II
 - Chuck Cirino - Dragon's Domain
The Paul Chihara Collection vol. 2 - Paul Chihara - Dragon's Domain


March 29 - William Walton born (1902)
March 29 - Tito Arevalo born (1911)
March 29 - Sam Spence born (1927)
March 29 - Richard Rodney Bennett born (1936)
March 29 - Vangelis born (1943)
March 29 - Franz Waxman wins his first of two consecutive score Oscars, for Sunset Blvd. (1951)
March 29 - John Williams wins his second Oscar and his first for Original Score, for Jaws (1976)
March 29 - Jerry Goldsmith wins his only Oscar, for The Omen score; the film music community presumably exclaims “Finally!”  (1977)
March 29 - John Williams wins his third Oscar, for the Star Wars score (1978)
March 29 - Vangelis wins his first Oscar, for the Chariots of Fire score (1981)
March 29 - Dave Grusin wins his first Oscar, for The Milagro Beanfield War score (1989)
March 29 - James Horner begins recording his score for In Country (1989)
March 29 - Alan Silvestri begins recording his score for Back to the Future Part III (1990)
March 29 - Alan Menken wins his fifth and sixth Oscars, for the Aladdin score and its song "A Whole New World" (1993)
March 29 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Strange Bedfellows” (1999)
March 29 - Ulpio Minucci died (2007)
March 29 - Maurice Jarre died (2009) 
March 30 - Kan Ishii born (1921)
March 30 - Eric Clapton born (1945)
March 30 - Dimitri Tiomkin wins his third Oscar, for The High and the Mighty score (1955)
March 30 - Georges Delerue begins recording his score for Rapture (1965)
March 30 - Ennio Morricone, inexplicably, doesn't win the Best Score Oscar for The Mission, which was pretty much the only score album anyone in Hollywood listened to during the late '80s; Herbie Hancock wins Oscar for Round Midnight score instead (1987)
March 30 - Alan Menken wins his third and fourth Oscars, for Beauty and the Beast's score and title song (1992)
March 30 - John Williams begins recording his score for Jurassic Park (1993)
March 30 - David Bell records his score for the Star Trek: Deep Space Nine episode “In the Pale Moonlight” (1998)
March 30 - Dennis McCarthy and Kevin Kiner record their score for the two-part Star Trek: Enterprise episode “In a Mirror, Darkly” (2005)
March 31 - Arthur B. Rubinstein born (1938)
March 31 - Alejandro Amenabar born (1972)
March 31 - Michael Gore wins his first two Oscars for Fame's score and title song (1981)
March 31 - Cliff Eidelman begins recording his score for The Meteor Man (1993)
March 31 - Terry Plumeri died (2016)
April 1 - Winfried Zillig born (1905)
April 1 - Pete Carpenter born (1914)
April 1 - George Garvarentz born (1932)
April 1 - Matthew McCauley born (1954)
April 1 - David Raksin begins recording his score for Until They Sail (1957)
April 1 - Philip Lambro begins recording his unused score for Chinatown (1974)
April 1 - Marvin Gaye died (1984)
April 1 - Jerry Goldsmith begins recording his score for Rambo: First Blood Part II (1985)
April 2 - Serge Gainsbourg born (1928)
April 2 - Marvin Gaye born (1939)
April 2 - Marvin Hamlisch wins Oscars in all three music categories, for adapting The Sting and for The Way We Were's score and title song (1974)
April 2 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Chase” (1993)
April 2 - Jerry Goldsmith begins recording his score for The Sum of All Fears (2002)
April 2 - Mark McKenzie records his score for the Enterprise episode “Horizon” (2003)
April 2 - Clifford "Bud" Shank died (2009)
April 2 - Gato Barbieri died (2016)
April 3 - Mario Castelnuovo-Tedesco born (1895)
April 3 - Edward Ward born (1900)
April 3 - Marvin Hatley born (1905)
April 3 - Francois de Roubaix born (1939)
April 3 - Jungle Book released in U.S. theaters (1942)
April 3 - Richard Bellis born (1946)
April 3 - Philippe Rombi born (1968)
April 3 - Ferde Grofe died (1972)
April 3 - Bruce Broughton records his score for the Buck Rogers in the 25th Century episode “Testimony of a Traitor” (1981)
April 3 - Lionel Bart died (1999)
April 3 - Dusan Radic died (2010)
April 4 - Elmer Bernstein born (1922)
April 4 - Monty Norman born (1928)
April 4 - Miklos Rozsa begins recording his score for Madame Bovary (1949)
April 4 - Michel Camilo born (1954)
April 4 - Miklos Rozsa wins his third and final Oscar, for his Ben-Hur score (1960)
April 4 - Brian May begins recording his score for Cloak & Dagger (1984)
April 4 - Roberto Nicolosi died (1989)


FENCES - Marcelo Zarvos
"Washington’s direction can’t match his acting -- 'Fences' is great filmed theater but not exactly great cinema. He often shoots the dialogue scenes too close in, throwing in little slow dollies on characters during significant passages that call attention to themselves, and Marcelo Zarvos’s score is too pushy by a half. But there’s no questioning Washington’s skill as an actor’s director, and the ensemble is first-rate, particularly Davis. She plays Rose as a woman with all the frustrations of her husband, but none of his freedom; when her pain and anger finally come out, the force of that tsunami is stunning. But such firmness is always fleeting, and she has a moment of eventual surrender that’s just as shattering."
Jason Bailey, Flavorwire

GOLD - Stephen Pemberton
"The director is Stephen Gaghan, helming his first theatrical feature since 2005’s 'Syriana,' and I have no idea what the wait was for if he was waiting for this. There are, to be clear, some satisfying moments and sharp performances, and flashes of inspiration in the cutting and framing department (there are two separate scenes of fights viewed through windows, and damn if the joke doesn’t work both times.) It’s nicely shot by the great Robert Elswitt ('There Will Be Blood'), and the pulsing score by Daniel Pemberton ('Steve Jobs') works overtime to give the events an urgency that’s otherwise unearned."
Jason Bailey, Flavorwire

"Once Wells strikes it rich, both McConaughey and the movie get a substantial energy boost. Director Stephen Gaghan (writer of 'Traffic' and writer-director of 'Syriana') treats the cavalcade of newfound wealth like the spoils of a drug narrative, with some split-screen mining-production montages, caffeinated push-ins, and recurring bass patter on the score that makes it sound poised to break into 'White Lines' at any moment. (It never does, but well-chosen and less overused ’80s songs by the Pixies, New Order, and Joy Division pick up the slack)."
Jesse Hassenger, The Onion AV Club

"The screenplay by TV vets Massett and Zinman ('Friday Night Lights'), whose only previous produced feature is 'Lara Croft: Tomb Raider,' has an assured grasp of mining and finance lingo. And McConaughey excels at drawing unexpected music from his lines. But the movie leans too much on his voiceover, giving the narrative a cobbled-together feel rather than a full-throttle rush. With the accomplished cinematographer Robert Elswit at the lens and a smart, percussive score by Daniel Pemberton, that reliance on literal explanation feels like second-guessing."
Sheri Linden, The Hollywood Reporter


"Morano, a long-time cinematographer who has been heralded for directing the pilot and numerous episodes of 'The Handmaid’s Tale' has a distinct vision for a majority of 'Alone Now.'  She often has the camera directly behind Del, following him as he walks through empty streets or drags a corpse to its grave. She uses the setting sun in the library to dramatically silhouette her characters in a golden light. She uses layers of specific sound design and a brilliant score from Adam Taylor to create an atmosphere that funnels the oppressive loneliness that Del seemingly wants to feel. In many ways for Morano it feels like an artistic progression from her previous work on 'Handmaid’s.'"
Gregory Ellwood, The Playlist
"For the first 15 or so minutes of 'I Think We’re Alone Now,' the sophomore feature from acclaimed 'The Handmaid’s Tale' director Reed Morano, Peter Dinklage walks around a desolate small town cleaning up after the apocalypse. He enters abandoned homes, collects batteries and family pictures, disposes of skeletal remains, and marks a giant 'X' outside of each house to indicate that it’s counted. Morano’s gray-toned photography and Adam Taylor’s noise-driven score give an eerie vibe to the proceedings, and Dinklage’s natural screen presence goes a long way toward making his character’s “work” feel meaningful and mysterious. We don’t yet know his name or what has happened or why he’s doing this, but his actions fascinate on a pure process level. There’s power in watching someone dutifully perform a task. Plus, the most mundane routine can have existential import when it takes place in a desolate landscape marred by the remains of the human race."
Vikram Murthi, The Onion AV Club
KUSAMA - INFINITY - Allyson Newman
"Still, the tone and energy of 'Kusama - Infinity' are far from bleak. Despite the artist’s lifelong struggle with mental illness, addressed from what you might call a generous distance, it’s an openly energetic story, capturing the independence, invention, playfulness, and unabashed desire to provoke of its subject. When combined with the art, and with composer Allyson Newman’s infectious, playful score, it becomes joyful and affectionate. Those being interviewed help reinforce the tone. Even those discussing some of the darker chapters of Kusama’s life seem alight with satisfaction at her success; one speaks admiringly of her ability to 'manage madness,' adding, 'She’s used her trauma to enormously productive ends.'"
Allison Shoemaker,


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

March 29
BEYOND THE BLACK RAINBOW (Jeremy Schmidt) [Nuart]
KILL BILL - VOL. 1 (The RZA) [New Beverly]
LA STRADA (Nino Rota), IL BIDONE (Nino Rota) [New Beverly]
THE LEOPARD (Nino Rota) [Cinematheque: Aero]
TRAPPED (Sol Kaplan), THE FILE ON THELMA JORDON (Victor Young) [Cinematheque: Egyptian]

March 30
APPOINTMENT WITH DANGER (Victor Young), SHADOW ON THE WALL (Andre Previn) [Cinematheque: Egyptian]
THE BLACK STALLION (Carmine Coppola, Shirley Walker) [New Beverly]
LA STRADA (Nino Rota), IL BIDONE (Nino Rota) [New Beverly]
ROCCO AND HIS BROTHERS (Nino Rota) [Cinematheque: Aero]

March 31
THE BLACK STALLION (Carmine Coppola, Shirley Walker) [New Beverly]
DAMES (Leo F. Forbstein), FOOTLIGHT PARADE [New Beverly]
DEATH IN VENICE [Cinematheque: Aero]
THE MATRIX (Don Davis) [Arclight Culver City]
THE MATRIX (Don Davis) [Arclight Hollywood]
THE MATRIX (Don Davis) [Arclight Santa Monica]
THE MATRIX (Don Davis) [Arclight Sherman Oaks]
SUDDEN FEAR (Elmer Bernstein), THE NARROW MARGIN [Cinematheque: Egyptian]

April 1
CITY THAT NEVER SLEEPS (Dale Butts), 99 RIVER STREET (Emil Newman, Arthur Lange) [Cinematheque: Egyptian]
DAMES (Leo F. Forbstein), FOOTLIGHT PARADE [New Beverly]
THE MATRIX (Don Davis) [New Beverly]
THE PINK PANTHER (Henry Mancini), A SHOT IN THE DARK (Henry Mancini) [Laemmle NoHo]
THE PINK PANTHER (Henry Mancini), A SHOT IN THE DARK (Henry Mancini) [Laemmle Royal]

April 2
BOB & CAROL & TED & ALICE (Quincy Jones) [LACMA]
PLAYGIRL, HELL'S HALF ACRE (Dale Butts) [Cinematheque: Egyptian]
THE TRIP (The Electric Flag), THE WILD ANGELS (Mike Curb) [New Beverly]

April 3
THE BIG COMBO (David Raksin), BAD DAY AT BLACK ROCK (Andre Previn) [Cinematheque: Egyptian]
DRIVE, HE SAID (David Shire), THE COWBOYS (John Williams) [New Beverly]
RIFIFI (Georges Auric) [New Beverly]

April 4
DEFENDING YOUR LIFE (Michael Gore) [Laemmle NoHo]
DRIVE, HE SAID (David Shire), THE COWBOYS (John Williams) [New Beverly]
A KISS BEFORE DYING (Lionel Newman), THE HARDER THEY FALL (Hugo Friedhofer) [Cinematheque: Egyptian]
NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [Cinematheque: Aero]

April 5
AKIRA (Yamashiro Shoji) [Nuart]
THE HATEFUL EIGHT (Ennio Morricone) [New Beverly]
THE MIDNIGHT STORY, MONKEY ON MY BACK (Paul Sawtell, Bert Shefter) [Cinematheque: Egyptian]
NAKED (Andrew Dickson), MEANTIME (Andrew Dickson) [Cinematheque: Aero]
SILENT RUNNING (Peter Schickele), THE INCREDIBLE 2-HEADED TRANSPLANT (John Barber) [New Beverly]

April 6
THE 'BURBS (Jerry Goldsmith) [New Beverly]
THE EAR (Svatopluk Havelka) [UCLA]
NATIONAL LAMPOON'S ANIMAL HOUSE (Elmer Bernstein) [New Beverly]
SECRETS & LIES (Andrew Dickson), VERA DRAKE (Andrew Dickson) [Cinematheque: Aero]
SEVEN BRIDES FOR SEVEN BROTHERS (Gene De Paul, Adolph Deutsch, Saul Chaplin) [Laemmle Ahrya Fine Arts]
SILENT RUNNING (Peter Schickele), THE INCREDIBLE 2-HEADED TRANSPLANT (John Barber) [New Beverly]
TOUCH OF EVIL (Henry Mancini), ELEVATOR TO THE GALLOWS (Miles Davis) [Cinematheque: Egyptian]

April 7
THE 'BURBS (Jerry Goldsmith) [New Beverly]
I WANT TO LIVE! (Johnny Mandel), CRY TOUGH (Laurindo Almeida) [Cinemathque: Egyptian]
LIFE IS SWEET (Rachel Portman), HIGH HOPES (Andrew Dickson) [Cinematheque: Aero]
THE VICTORS (Sol Kaplan) [New Beverly]


Heard: Assassin's Creed (Kurzel), Rabbit and Rogue (Elfman), Meet Me in St. Louis (1944 soundtrack), Battlestar: Galatica: Season 2 (McCreary), Kiss Me, Kate (1953 soundtrack), Tom at the Farm (Yared), A Boy Named Charlie Brown (McKuen, Guaraldi, Trotter), Mosaic (Holmes)

Read: Backflash, by Richard Stark (not yet finished, but I'm reading it for the third time)

Seen: Dragged Across Concrete, Hotel Mumbai, Knife + Heart, Ash Is Purest White, Giant Little Ones

Watched: Mystery Science Theater 3000: The Time Travellers, Avalanche & The Beast of Hollow Mountain

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Comments (2):Log in or register to post your own comments
Very curious to hear your reaction to Dragged Across Concrete, as well as Elfman's "Rabbit and Rogue."

Zahler's an interesting filmmaker. I found both of his previous two films fascinating, for different reasons. I had no expectations for Brawl in Cell Block 99, yet it's stayed with me ever since. The slow build of tension, the stark change in story direction, and those last 15 minutes are quite something. Vince Vaughan was actually very good, much better than I expected. Tough movie.

Gotta disagree with Jason Bailey on Fences...everything about that film was perfect IMO, including Washington's direction.


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