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Next week Intrada currently plans to release two new score CDs by A-list composers, including one score never before released in any form. For those who don't mind soundtrack release "spoilers," there is more info at this link.


Franz Waxman: The Documentaries
 - Franz Waxman - Dragon's Domain
The Louis Febre Collection: Vol. One
 - Louis Febre - Dragon's Domain
Santa Barbara: A Musical Portrait 
- Joe Harnell - Dragon's Domain  
Wendy - Dan Romer, Benh Zeitlin - Milan (import) 


April 24
Lo Chiamavano Bulldozer
 - Guido & Maurizio DeAngelis - Beat
June 5
The Roads Not Taken
 - Sally Potter - Milan 
June 19
 - Simon Boswell, songs - Varese Sarabande 
Date Unknown
Doctor Who: Series 12
 - Segun Akinola - Silva
Doctor Who: The Sun Makers
 - Dudley Simpson - Silva
Doctor Who: The Visitation
 - Paddy Kingsland - Silva
Franco De Gemini Performs Ennio Morricone
 - Ennio Morricone - Beat
The Jack in the Box
 - Christoph Allerstorter - Howlin' Wolf 
Remo Williams: The Adventure Begins
 - Craig Safan - Noteforenote


April 17 - Jan Hammer born (1948)
April 17 - David Bell born (1954)
April 17 - Recording sessions begin for Bronislau Kaper's score for The Power and the Prize (1956)
April 17 - Ernest Gold wins his only Oscar, for the Exodus score (1961)
April 17 - Elmer Bernstein begins recording his score for Summer and Smoke (1961)
April 17 - John Williams begins recording his score for Stanley & Iris (1989)
April 17 - Jerry Goldsmith begins recording his score for Dennis the Menace (1993)
April 17 - Paul Baillargeon records his score for the Enterprise episode “Vox Sola” (2002)
April 18 - Miklos Rozsa born (1907)
April 18 - Tony Mottola born (1918)
April 18 - Buxton Orr born (1924)
April 18 - Mike Vickers born (1941)
April 18 - Kings Row released in theaters (1942)
April 18 - Andrew Powell born (1949)
April 18 - Miklos Rozsa begins recording his score to The King's Thief (1955)
April 18 - Ed Plumb died (1958)
April 18 - Maurice Jarre wins his second Oscar, for Doctor Zhivago's score; presumably decides to stick with this David Lean kid (1966)
April 18 - Jerry Goldsmith begins recording his score for Players (1979)
April 18 - Dave Grusin begins recording his score for The Goonies (1985)
April 18 - John Debney records his score for the Star Trek: Deep Space Nine episode “Progress” (1993)
April 18 - Recording sessions begin for Marco Beltrami’s score for Red Eye (2005)
April 18 - Robert O. Ragland died (2012)
April 19 - William Axt born (1888)
April 19 - Sol Kaplan born (1919)
April 19 - Dudley Moore born (1935)
April 19 - Jonathan Tunick born (1938)
April 19 - Alan Price born (1942)
April 19 - David Fanshawe born (1942)
April 19 - Lord Berners died (1950)
April 19 - Alfred Newman begins recording his score for David and Bathsheba (1951)
April 19 - Ragnar Bjerkreim born (1958)
April 19 - Harry Sukman begins recording his score for A Thunder of Drums (1961)
April 19 - Henry Mancini begins recording his score for The Great Race (1965)
April 19 - John Williams begins recording his score for Fitzwilly (1967)
April 19 - Michael Small begins recording his score to Klute (1971)
April 19 - Thomas Wander born (1973)
April 19 - Ron Jones records his score for the Star Trek: The Next Generation episode "We'll Always Have Paris" (1988)
April 20 - Herschel Burke Gilbert born (1918)
April 20 - Andre Previn begins recording his score for The Sun Comes Up (1948)
April 20 - David Raksin begins recording his score for Kind Lady (1951)
April 20 - Miklos Rozsa records his score to Valley of the Kings (1954)
April 20 - Richard LaSalle records his score for The New Adventures of Wonder Woman episode “The Man Who Could Not Die” (1979)
April 20 - Bruce Broughton begins recording his score for The Monster Squad (1987)
April 20 - Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “The Die Is Cast” (1995)
April 20 - Johnny Douglas died (2003)
April 20 - Bebe Barron died (2008)
April 21 - Mundell Lowe born (1922)
April 21 - John McCabe born (1939)
April 21 - Steve Dorff born (1949)
April 21 - Franz Waxman begins recording his score to The Story of Ruth (1960)
April 21 - Jerry Goldsmith begins recording his score to Wild Rovers (1971)
April 21 - Charles Fox begins recording his score for The New, Original Wonder Woman (1975)
April 21 - Eddie Sauter died (1981)
April 21 - Georges Delerue begins recording his unused score for Something Wicked This Way Comes (1982)
April 21 - David Bell records his score for the Star Trek: Deep Space Nine episode “Soldiers of the Empire” (1997)
April 21 - Velton Ray Bunch records his score for the Star Trek: Enterprise episode “The Council” (2004)
April 22 - Isao Tomita born (1932)
April 22 - Bride of Frankenstein released (1935)
April 22 - Jack Nitzsche born (1937)
April 22 - Lalo Schifrin begins recording the soundtrack to Kelly's Heroes (1970)
April 22 - Steven Price born (1977)
April 22 - Craig Safan records his score for the Remo Williams TV pilot (1987)
April 22 - Dennis McCarthy records his score for the Star Trek: The Next Generation episode “Pen Pals” (1989)
April 22 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “Emergence” (1994)
April 22 - Brian Tyler records his score for the Enterprise episode “Regeneration” (2003)
April 22 - Jay Chattaway records his score for the Star Trek: Enterprise episode “Terra Prime” (2005)
April 23 - Sergei Prokofiev born (1891)
April 23 - Louis Barron born (1920)
April 23 - Patrick Williams born (1939)
April 23 - Alain Jomy born (1941)
April 23 - Jay Gruska born (1952)
April 23 - Andre Previn begins recording his score for The Fastest Gun Alive (1956)
April 23 - Kenji Kawai born (1957)
April 23 - Hilmar Orn Hilmarsson born (1958)
April 23 - Bernard Herrmann begins recording his North by Northwest score (1959)
April 23 - Christopher Komeda died (1969)
April 23 - Jonsi born (1975)
April 23 - Harold Arlen died (1986)
April 23 - Satyajit Ray died (1992)
April 23 - James Horner begins recording his score for House of Cards (1992)
April 23 - Robert Farnon died (2005)
April 23 - Arthur B. Rubinstein died (2018)


ANNA AND THE APOCALYPSE - Original Songs and Score by Roddy Hart and Tommy Reilly

"But watching it is a cheer-along experience. McPhail and writers Ryan McHenry and Alan McDonald leave the usual anti-zombie weapons (guns, axes, chainsaws) out of the equation, make their zombies preposterously fragile, and give the characters room to dispatch them with absolutely anything that comes to hand, including a seesaw and a spatula. Roddy Hart and Tommy Reilly’s pop songs are integral, actually moving the story along as well as expressing and heightening the emotions. Genre fans will see a lot of 'Glee' mixed with 'Shaun of the Dead' in this film, but it also recalls 'Buffy the Vampire Slayer''s musical episode, with more polished pop."
Tasha Robinson, The Verge 

"A high school coming-of-age horror-comedy-musical with zombies. It’s already every Hot Topic customer’s favorite film. Admirable and charming, yet uninspired and un-engaging, 'Anna and the Apocalypse' doesn’t use its genre mash-up to subvert the respective clichés but more so brings the baggage of coming-of-age movie and zombie movie tropes with it. The characters are archetypes, but the cast does their best with the limited material, and for a musical, the songs are shockingly banal. The film has one memorable sequence (though again, not necessarily the song’s doing) where the three genres converge into something striking and offbeat, and you wish the entire film was that way. What should be a fun movie ends up being a chore, but the audience was mostly locked into the experience. For the right crowd, expect it to be a favorite when it hits theaters this winter."
Ryan Oliver, The Playlist 
"As musicals go, 'Anna” is closer to 'La La Land' or 'The Last Five Years' than to 'Moulin Rouge!': There’s only one elaborate moment of group choreography ('Hollywood Ending,' a song about adolescent disappointment), with most of the songs involving just a handful of performers. But plenty of tonal flavors are represented, from upbeat (the aforementioned 'Turning My Life Around') to the yearning ('Break Away,' 'Human Voice'). Anna’s ex Nick (Ben Wiggins) gets to fancy himself a 'Soldier at War,' as the zombie outbreak lets him put his bullying to practical use, and there’s even a saucy holiday song, 'Christmas Means Nothing Without You,' which ups the innuendo ante from 'Santa Baby.' (The music and lyrics are by Roddy Hart and Tommy Reilly.)"
Alonso Duralde, The Wrap 

"As our heroine, Hunt has sad, down-tilted brown eyes and a tragic alto. Her voice is low and clear in McHenry and co-writer Alan McDonald’s layered ballads made of overlapping, full-throat harmonies, the kind of here’s-who-I-am-and-what-I-want songs you only hear on Broadway stages and in minivans carpooling to school. Once Anna takes out the headphones and gets attacked by a costumed snowman, she’s a passionate force—a girl who’s used to being hounded by guys at school now literally fighting them off with a stick. (Technically, a three-foot candy cane.)"
Amy Nicholson, IndieWire 

"And what of the score? The eminently sing-along, stomp-along pop songs by Roddy Hart and Tommy Reilly swerve from the ridiculous ('The Fish Wrap') to the delightfully sinful ('It's That Time of Year') to the suitably schmaltzy ('Human Voice'). But the signature refrain of 'Hollywood Ending,' with its high-kicking energy and table-punching emotion, is just irresistible. It's the sweet that balances out the bitter of a film that makes it clear that this won't all end well. Anna and the Apocalypse is like biting into a candy cane and getting jabbed by those sharp, sugary shards."
Richard Whittaker, The Austin Chronicle

"This banal emotional drama is at times elevated by the film’s musical numbers, particularly 'Break Away' and 'Hollywood Ending' (the latter of which is cleverly recalled in the film’s ambiguous ending), as well as by the cast’s chemistry and generally amiable performances. But at other times, as in a sequence where four students simply line up next to one another and stare out a window as they sing about their need for connection, the music and choreography is so uninspired or the staging and blocking is so elementary that the musical numbers lose their zing before the first verse is even over. These forgettable scenes, along with the film’s mostly routine zombie kills, leaves 'Anna and the Apocalypse' feeling original only in its offbeat combination of genres but stale in the ways it employs each one of them."
Derek Smith, Slant Magazine 
"The catchy tunes by Roddy Hart and Tommy Reilly take on a grittier tone once Anna and John realize what’s happening. After meeting their pals at a bowling alley, where director John McPhail ('Where Do We Go From Here') stages some of his most creative and comedic zombie kills, the youngsters slaughter their way toward perceived safety at the school."
Richard Kuipers, Variety 

"'Anna and the Apocalypse' grew out of 'Zombie Musical,' a 2011 short written and directed by Ryan McHenry, who tragically died of cancer in 2015 at just 27. Working from a script co-written by McHenry, director John McPhail expands the darker original into a sunny, sing-along, flesh-chomping zom-com romp. The 97-minute running time feels a little baggy while the songs, by Roddy Hart and Tommy Reilly, are serviceable foot-stompers rather than memorable show-stoppers. All the same, this schlocky horror picture show combines a zesty young cast with an infectious comic energy. It opens in both U.K. and North American theaters on Friday, with Orion handling the U.S. release."
Stephen Dalton, The Hollywood Reporter 
"Ultimately, it’s not a performance problem (it’s hard to fault any movie that gets such engaging work out of the often-blank Aaron Taylor-Johnson, here a feral delight as one of Scotland’s best, bloodiest brawlers) so much as 'Outlaw King' lacks a strong center. The film moves along at a decent clip, its two-hour runtime substantially scaled back from a longer version that premiered at the Toronto International Film Festival two months ago. The heroes are noble but believable, the villains appropriately loathsome, and the violent clashes, particularly a turning-point castle infiltration, are exciting without indulging in a Gibson-style wallow in torture and gore. But the moments of offbeat personality that animate Mackenzie’s best work are fewer and farther between, leaving just scraps, as when he abruptly cuts off swelling romantic-reunion music for a well-timed slap. Even that show-off single take at the front of the movie gives way to well-chosen but more workmanlike battlefield imagery, and a lingering question about what drew the director to this material in particular. For a historical epic that probably looks even better on the big screen, it’s oddly well-suited to Netflix: spectacle, yes, but nothing too specific about it."
Jesse Hassenger, The Onion AV CLub 
OVERLORD - Jed Kurzel
"The story is also much more artful than the premise suggests, playing with the concept of monstrosity and asking what separates good from bad in times of war. How far is each side willing to go? Who are the real monsters here? Be prepared for blood, guts and gore. The violence, both in the high-octane opening scenes and the more monstrous body horror, is squirm-inducing at points, bolstered by Jed Kurzel’s thundering score. Don’t be fooled by its B-movie trappings: Amid all the carnage, 'Overlord' has more to say than you might think."
Joseph Walsh, Time Out New York 

"'Overlord' is produced by J.J. Abrams, who likes to make films with twists that are never quite as surprising as he thinks. Even at its most suspenseful, when Jed Kurzel’s cello score stabs at the eardrums, 'Overlord' feels familiar, a collage of cinematic nightmares checking off its influences: a woman wielding a flamethrower like Ripley in 'Aliens,' a cruel SS officer (the terrifically hissable Pilou Asbæk) who grins like a Batman villain, and enough of a 'Castle Wolfenstein' video-game vibe that its fans may find themselves reaching for the controls out of habit. Perhaps 'Overlord' is for them, the GamerGate trolls who mistakenly think white supremacy is a lark. If it peels a few away from buying tiki torches, it deserves a Nobel Peace Prize. Otherwise, it’s junk food patriotism -- but there’s a grumbling hunger for it."
Amy Nicholson, Variety 

STAN & OLLIE - Rolfe Kent
"Ceding the flash to its cast for the most part, 'Stan & Ollie' is otherwise content to be a quiet class act, made with cozy care and affection in all departments from Rolfe Kent’s balmy score right down to costume designer Guy Speranza’s wittily character-specific neckwear choices. Indeed, the film’s confidence falters only when it transposes the hapless slapstick of the duo’s screen act to their everyday reality. If a couple of labored gags around hauling luggage don’t fully land, that rather proves how much more art went into Laurel and Hardy’s craft than they ever chose to let on."
Guy Lodge, Variety 
WOMAN AT WAR - Davíð Þór Jónsson 

"The film’s next-best asset is its quirky manipulation of the fourth wall, which is often being kicked down by a jolly man wielding a tuba. Original music by Davíð Þór Jónsson is almost always diegetic, with winking cues played in and out by actual on-screen musicians as Halla walks by (or, on occasion, directly prompts them to play). Far from wearing out its Wes Andersonian welcome, this device becomes an endearing earmark as the plot strides on. A trio of female Ukranian vocalists duets with a three-piece Icelandic band, each of them reflecting Halla’s warring desires for environmental justice and motherhood. By the end of the film, stamping down your emotional reaction to their haunting warbles or stirring percussions is about as easy as paying $10 for dinner in Reykjavík."
Lena Wilson, The Playlist 

"The middle-aged ecoterrorist then flees across the gentle hills, as music from a small combo plays in the background -- literally in the background, because when she stops to catch her breath, we see the three musicians who are playing the score standing on the heath behind her. That’s a wry touch that continues through the film: When Halla, played by Halldóra Geirharðsdóttir, gets some news on the phone that makes her emotional, a gentle piano melody begins playing on the soundtrack -- and it’s only a matter of time before she walks in the living room and we see the piano player tinkling the ivories in the corner. By the end of the movie, Halla is being cued to upcoming events by the presence of her musicians: When she’s in a security line at the airport and there’s a drummer in the car outside pounding an insistent beat, she’s seen enough suspense movies to know she might be in trouble. Director Benedikt Erlingsson could be commenting on how film scores can be their own kind of spoilers or acknowledging that we all need a band to serenade our lives -- or perhaps this filmmaker has both a great eye and a great fondness for silliness."
Steve Pond, The Wrap
"Then there’s the music. Oddly, it’s performed live within the diegetic space of the film image, even though none of the characters can see or hear the performers. At first, there’s just a three-man combo playing drums, tuba, and accordion or sometimes piano. Later, they are interspersed with a Ukrainian choral group of costumed female folk singers. These groups seem to be a manifestation of Halla’s emotions, or maybe they’re a Greek chorus speaking to their Artemis. The music adds a comical touch and a constant awareness of the artifice of movies and the ways in which human beings are often guided by feelings that are just out of reach. Despite its probe of deep moral questions, Woman at War (a multiple award winner on the festival circuit as well as having been Iceland’s entry for Oscar consideration last year) maintains a light feel and concludes with a sense of uplift as we watch human beings forge ahead despite the floodwaters rising around them. The tide is up to their kneecaps but they soldier on until they reach the end of their song."
Marjorie Baumgarten, The Austin Chronicle 
"This is clearest in the case of the soundtrack. All of the film’s music is diegetic, performed by musicians whom only Halla can see and hear. At first, she’s accompanied by an Icelandic trio (drums, tuba, harmonium), to whom she occasionally issues cues. Later, when she begins to mull over the possibility of adoption, these are joined by a trio of Ukrainian folk singers. The score, then, serves to emphasize the quasi-magical interaction between Halla and the world of the film, that the world is responsive to her inner life, and that she, in turn, is unusually at home in and perceptive of the world. Having finally decided to go through with the adoption of the Ukrainian girl, Halla goes to catch a flight to Ukraine, and arriving at the airport, she sees the Icelandic trio’s drummer sitting by himself in the parking lot. She pauses, realizing the implication. What kind of scene requires only percussion? She’s been warned by the score before the score even plays. She won’t be getting on that plane."
Ben Lambert, Slant Magazine 

"Having no interest in making a straightforward genre film, Erlingsson doesn’t stop at creating anxiety-inducing tension and braids in an eccentric musical detail to his unique package. A fourth-wall-breaking live band (that includes composer Davíð Þór Jónsson, musicians Magnús Trygvason Eliasen and Ómar Guðjónsson on keys, drums and sousaphone) and later on, a Ukrainian a cappella trio, accompany Halla in almost every scene to both comedic and unsettling effect. Slowly, we get to know this well-intentioned and modestly equipped crusader more intimately. Living in a handsomely appointed home where pictures of Nelson Mandela and Gandhi decorate her workspace, Halla rides her bike to work, wears a congenial smile and leads a responsible life ... that is of course when she isn’t climbing up rooftops and dropping exposé leaflets to help turn civic opinion against the government’s evil ecological plans. Given the nickname 'Mountain Woman' by the media, Halla slowly finds herself at life-threatening odds with the authorities and their intensifying efforts to hunt her down. And this couldn’t be happening at a more inconvenient time for her—all of a sudden, her long-awaited child adoption plans start looking like a real possibility, after the adoption agency finds her an orphaned little girl in the Ukraine."
Tomris Laffly,
"'Woman at War' is vaguely unreal from the very beginning, not only because of Bergsteinn Björgúlfsson’s hyper-saturated cinematography, but also because of what his camera stumbles upon in the first scene. As Halla runs for cover in the countryside, a slow pan reveals that the ominous squelches we hear over the soundtrack are actually coming from a three-piece band who are standing in a field behind the film’s heroine and looking every bit as confused as we are. Along with a trio of Ukrainian folk singers, these musicians show up in the background throughout the film, invisible to the world but often standing mere inches away from Halla as they express the conflicting rhythms inside her mind and give shape to the idea that her activism is somehow tethered to a world of strangers who are just beyond her reach. That population includes her twin sister, a dippy yoga instructor (also played by Geirharosdottir) whose inner peace reflects Halla’s outer panic."
David Ehrlich, IndieWire 
"'Of Horses and Men' deliciously played with narrative conventions even as it astonished with pictorial surprises that continue to induce smiles five years later. Erlingsson’s sophomore feature tells a more straightforward story yet here too he invents unexpected visual pleasures, in the form of three musicians (Davíð Þór Jónsson, Magnús Trygvason Eliasen, Ómar Guðjónsson) and three Ukrainian singers (Iryna Danyleiko, Galyna Goncharenko, Susanna Karpenko) who appear in key moments on screen as melodic commentators, fellow conspirators, and sympathetic bystanders offering accompaniment to some of the action. Their appearances pierce through the fourth wall in ways that respect both the characters and the audience, which is just one of numerous delightful feats in this mature crowd-pleaser. Grounding everything is Geirharðsdóttir’s splendid performance(s), fleshing out Halla’s character as a grassroots Robin Hood with warmth and quiet determination. Juan Camillo Roman Estrada makes a welcome comeback from 'Of Horses and Men' as a luckless Spanish-speaking tourist whose foreign-ness makes him an instant target of police suspicion in the insular Icelandic countryside. All three musicians, playing piano, accordion, trumpet, tuba and percussion, contrast detached yet supportive glances with an almost organic presence in each of their scenes, while the Ukrainian singing trio, on the one hand out of place, lend a sense of global cohesion with their distinctive harmonies.
Jay Weissberg, Variety

"Right off the bat, Erlingsson establishes the film's vibrant and offbeat tone through his carefully calibrated imagery (a mix of extreme wide shots and close-ups), as well as the way he employs David Thor Jonsson's score by having the composer and other musicians appear within the scenes themselves. It comes across as a bit gimmicky at first -- if not something already seen in a film like 'Birdman' -- but as the story progresses and grows increasingly intense, Jonsson's presence winds up adding another layer of feeling to the action. Alongside the stunning camerawork and eclectic onscreen music -- the latter a mix of accordion, piano and choral numbers performed by a cast of recurring characters -- editing by David Alexander Corno keeps a steady pace but allows room for moments of deadpan humor and visual bliss."
Jordan Mintzer, The Hollywood Reporter


Heard: Ocean's 8 (Pemberton), Get Out (Abels), Star Trek: The Next Generation: Encounter at Farpoint/The Arsenal of Freedom (McCarthy), The Family Fang (Burwell), Passion (Donaggio), Don't Breathe (Banos), Seussical (Flaherty), Logan (Beltrami), La tentation d'Isabelle (Sarde), Arias & Barcarolles/Songs & Duets (L. Bernstein), Star Wars: The Last Jedi (Williams), Alatriste (Banos), Finian's Rainbow (Lane/Heindorf), Crisis on Earth-X (Neely/Blume/Chan/Chung), The Foreigner (Martinez), The Serpent (Morricone), Wild Geese II (Budd), Themes and Cues for Movies & Televison (J.J. Johnson), The Prisoner of Zenda (Mancini), Star Trek: The Next Generation: The Naked Now/Where No One Has Gone Before/Lonely Among Us (Jones), The Hunt (Price), Big Miracle (Eidelman), Nine [2003 cast] (Yeston), Singin' in the Rain (Brown/Hayton), Mindhunter (Hill), 3 in the Cellar (Randi), The Carmen Ballet (Bizet/Shchedrin), Waterworld (Howard), Aladdin ballet (C. Davis) Arrow: Season 6 (Neely), Elevated (Lang), Quando L'Amore E Sensualita (Morricone), Peter Gunn [Harmonie Ensemble recording] (Mancini), Phantom Thread (Greenwood), Coco (Giacchino), Star Trek: The Next Generation: The Battle/Datalore/11001001 (Jones) Die Sister, Die! (Friedhofer), The Last 5 Years [original cast] (Brown)

Read: The Laughing Policeman, by Maj Sjowall and Per Wahloo

Seen: If my count is correct, it's been 33 days since I saw a movie in a theater.

Watched: Columbo ("Lovely But Lethal," "Any Old Port in a Storm," "Candidate for Crime," "Double Exposure"), Hannibal ("Buffet Froid"), Alias ("The Coup")

Continuing an on-going series looking back at the remarkably verbose movie poster texts from the early 1980s at Columbia and Universal under studio executive Marvin Antonowsky.

This man needs the best lawyer in town.
But the problem is…
He is the best lawyer in town.

[...And Justice for All, 1979]

She was
born into a
world where
they called
it seduction,
not rape
What she did
would shatter
that world
She was a
poor man’s daughter,
an aristocrat’s
mistress and a
gentleman’s wife.
She was Tess,
a victim of her
own provocative
Columbia Pictures
is proud to present
a film by
Roman Polanski,
based on the classic
Thomas Hardy

As timely today
as the day it was written. 

[Tess, 1980]

Suppose you picked
up this morning’s
newspaper and
your life was a
front page headline…
And everything they
said was accurate…
But none of it was true.
The D.A., the Feds,
and the Police set
her up to write the
story that explodes
his world.
Now he’s going to
write the book on
getting even.

[Absence of Malice, 1981]

It took one reasonable man
to defeat the British Empire and
free a nation of 350 million people.
His goal was freedom for India.
His strategy was peace.
His weapon was his humanity.
His triumph changed the world forever.

[Gandhi, 1982]

Tom Courtenay is The Dresser.
The wardrobe man devoted to The Star.
Albert Finney is The Star.
The actor devoted to himself.
The story is about their friendship.
The tears. The heartbreaks. The joys.
The fears. The devotion. The dreams…
What happens backstage is always true drama.
And often pure comedy.
[The Dresser, 1983]

For years, he had everything
he could ever ask for.
The love of his parishioners.
The respect of his superiors.
And the smoothest golf
swing in his district.
Then, the Church sent him
someone he didn’t ask for –
a rebellious young deacon
named Dolson. And he’s
been given just one month
to whip him into shape.
Somewhere between laughter and tears,
they found something to believe in.
[Mass Appeal, 1984]



Tom and Mae Garvey.

The river runs through their land,
their love and their lives.

It will bring them together.
It will tear them apart.
It’s where they’ll make their stand.

Alone they will fail.

Together they may find the strength
to keep their way of life alive.

[The River, 1984]

They told 16 year old
Rocky Dennis he could never
be like everyone else.
So he was determined
to be better.
Sometimes the most unlikely people become heroes.

[Mask, 1985]

It happened in 1983.
It was a rare and remarkable theatrical experience.
Controversial. Provocative. And shocking.
Now, two Academy Award-winning actresses make the 
Pulitzer Prize-winning play the motion picture event of the year.

['Night, Mother, 1986]
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Comments (1):Log in or register to post your own comments
Gagh- for all of this poster copy all you have to do is keep the first paragraph, the title, and the tag. These are all vastly improved by taking out everything in the middle.

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Today in Film Score History:
January 26
Alfred Newman begins recording his score for Take Care of My Little Girl (1951)
Bruce Broughton begins recording his score for Mickey Donald Goofy: The Three Musketeers (2004)
Christopher L. Stone born (1952)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Far Beyond the Stars” (1998)
Dennis McCarthy records his score for the Star Trek: Deep Space Nine episode “Q-Less” (1993)
Elmer Bernstein begins recording his score for The Miracle (1959)
George Bassman records his score for Ride the High Country (1962)
Gustavo Dudamel born (1981)
Hugo Riesenfeld born (1879)
Ken Thorne born (1924)
Marc Fredericks born (1927)
Michel Legrand died (2019)
Miklos Rozsa begins recording his score for All the Brothers Were Valiant (1953)
Recording sessions begin for Jerry Goldsmith’s score for Damnation Alley (1977)
Ron Jones records his score for the Star Trek: The Next Generation episode "A Matter of Honor" (1989)
Stephane Grappelli born (1908)
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