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Intrada is announcing a new release next week.


The latest CD from Notefornote is the first release of the score for the 1986 thriller THE WIND, starring Meg Foster, Wings Hauser, David McCallum, Robert Morley and Steve Railsback (now that is an eclectic cast). The film was scored by Stanley Myers (The Deer Hunter, Ulysses, No Way to Treat a Lady, Prick Up Your Ears), in collaboration with his protege, a young musician named.... (let me look this up)..oh, yes, Hans Zimmer. Mr. Zimmer has mysteriously fallen off the film music radar since the mid-1980s, so if anyone has any information about what he's been up to since, it would be most appreciated. 


The Academy of Motion Picture Arts and Sciences has announced the latest group of actors, filmmakers and publicists invited to join their membership, including the following Music Branch invitees -- score composers Jon Batiste, Amanda Brown, Len Calvo, Nora Kroll-Rosenbaum, Aska Matsumiya, Emile Mosseri, Lolita Ritmanis, Lisbeth Scott, Pinar Toprak, and Amelia Warner; songwriters Dernst Emile II, H.E.R., Janet Jackson, Meshell Mdegeocello, Leslie Odom Jr. and Tiara Thomas; and music editor Adam Milo Smalley


CDS AVAILABLE THIS WEEK

Falstaff (Chimes at Midnight) 
- Angelo Francesco Lavagnino - Quartet 
Nine Days - Antonio Pinto - Warner Classics
Red Yellow Pink - Szymon Szewczyk - Kronos  
Speer Goes to Hollywood
 - Frank Ilfman - Kronos 
Tatort: Es Lebe Der Konig! 
- Christoph Blaser - Kronos 
Zdarski Memento
 - Alfi Kabiljo - Kronos 


IN THEATERS TODAY

American 965 - Sian Elizabeth Selway
Black Widow - Lorne Balfe
Dachra - Rached Hmoaui
Death of Nintendo - Yudhi Arfani, Zeke Khaseli 
The Loneliest Whale: The Search for 52 - Alex Lasarenko, David Little
Summertime - John W. Snyder


COMING SOON

July 16 
Infinite - Harry Gregson-Williams - La-La Land
Internal Affairs - Mike Figgis, Anthony Marinelli, Brian Banks - La-La Land
Somewhere in Time - John Barry - La-La Land
Waiting for the Barbarians - Marco Beltrami, Buck Sanders - La-La Land
July 23
Formula 1 Nell'inferno del Grand Prix
 - Alessandro Alessandroni - Beat 
September 17
Without Remorse - Jonsi - Krunk
Date Unknown
Belli e rutti ridono tutti
 - Giacomo Dell'Orso - Beat 
Fuga Dal Bronx
 - Francesco De Masi - Beat
Il Giro Del Mondo Degli Innamorati Di Peynet
 - Alessandro Alessandroni - Beat 
Io So Che Tu Saiche Io So
 - Piero Piccioni - Beat 
Space: 1999
 - Barry Gray, Derek Wadsworth - Silva
Straziami Ma Di Baci Sazliami
 - Armando Trovaioli - Beat
The Taking of Pelham One Two Three
 - David Shire - Quartet
The Wind
- Stanley Myers, Hans Zimmer - Notefornote


THIS WEEK IN FILM MUSIC HISTORY

July 9 - Richard Hageman born (1882)
July 9 - Elisabeth Lutyens born (1906)
July 9 - Earle Hagen born (1919)
July 9 - Paul Chihara born (1938)
July 9 - Harald Kloser born (1956)
July 9 - Conrad Salinger died (1961)
July 9 - Dickon Hinchliffe born (1967)
July 9 - Joseph Mullendore records his score for the Land of the Giants episode “Terror-Go-Round” (1968)
July 9 - Jerry Fielding begins recording his score for The Outfit (1973)
July 9 - James Horner records his score for the Amazing Stories episode "Alamo Jobe" (1985)
July 9 - Ken Thorne died (2014)
July 9 - Michael Masser died (2015)
July 10 - Jimmy McHugh born (1893)
July 10 - Don Costa born (1925)
July 10 - Bruce Fowler born (1947)
July 10 - Paul Glass records his score for Lady in a Cage (1963)
July 10 - Recording sessions begin for Richard Rodney Bennett’s score for L’Imprecateur (1977)
July 10 - Georges Delerue begins recording his score for The Pick-Up Artist (1987)
July 10 - Robert Mellin died (1994)
July 11 - George Gershwin died (1937)
July 11 - David Baerwald born (1960)
July 11 - John Williams begins recording his score for Not With My Wife, You Don’t (1966)
July 11 - Alexei Aigui born (1971)
July 11 - Georges Delerue begins recording his score for Maxie (1985) 
July 12 - Yasushi Akutagawa born (1925)
July 12 - Fred Steiner's score for the Star Trek episode "Who Mourns For Adonais?" is recorded (1967)
July 12 - Fred Steiner's score for the Star Trek episode "Elaan of Troyius" is recorded (1968)
July 12 - Michael Small begins recording his score for Marathon Man (1976)
July 12 - Eddy Manson died (1996)
July 12 - James Bernard died (2001)
July 12 - Benny Carter died (2003)
July 13 - Ruby Raksin born (1917)
July 13 - Ernest Gold born (1921)
July 13 - Per Norgaard born (1932)
July 13 - Richard Markowitz’s score for The Wild Wild West episode “The Night of Jack O’Diamonds” is recorded (1967)
July 13 - You Only Live Twice opens in New York (1967)
July 13 - Roger Edens died (1970)
July 13 - Maurice Jarre begins recording his unused score for Jennifer 8 (1992)
July 14 - Michel Michelet born (1894)
July 14 - Jan Krenz born (1926)
July 14 - Elliot Kaplan born (1931)
July 14 - J.A.C. Redford born (1953)
July 14 - Nicholas Carras records his score for Missile to the Moon (1958)
July 14 - Harry Geller records his score for the Land of the Giants episode “The Inside Rail” (1969)
July 14 - Benny Golson records his score for the Mission: Impossible episode “Blind” (1971)
July 14 - Joe Harnell died (2005)
July 15 - H.B. Barnum born (1936)
July 15 - Geoffrey Burgon born (1941)
July 15 - Walter Greene begins recording his scores for The Brain from Planet Arous and Teenage Monster (1957)
July 15 - Paul Sawtell begins recording his score for The Hunters (1958)
July 15 - Lalo Schifrin begins recording his score for The Cincinnati Kid (1965)
July 15 - Bill Justis died (1982)
July 15 - Dennis Wilson died (1989)
July 15 - Derek Hilton died (2005)

DID THEY MENTION THE MUSIC?

AKILLA'S ESCAPE - Saul Williams, 3D [Robert Del Naja]
 
"Reggae’s slow-grooving resilience, and its most prominent practitioners’ use of both militant and spiritual forms of resistance, makes it a natural fit within Officer’s film, which charges its story’s menace with a woozy, neon-bathed surrealism, turning the drug dens and backrooms of Toronto into a metaphorical hell. With soundtrack cuts from ’60s balladeer Jackie Edwards, ’70s roots reggae group The Gladiators and modern EDM duo Zeds Dead, Williams’ choices study the history of Jamaican reggae while mapping its diasporic connections. His collaboration with Del Naja on the score’s skittering, eerily distended synths, meanwhile, underlines the crime-noir elements of the story and lends these reggae selections a warped, almost polluted quality."
 
Isaac Feldberg, Paste Magazine 

"Williams, meanwhile, isn’t merely content to be the film’s MVP in a performance capacity: In collaboration with former Massive Attack member Robert Del Naja (here credited as 3D), he contributes an unusual, unsettling score of discordant electronic wisps and rumbles, sparking off scraps of beatboxing and alien vocal chatter. In his first significant screen role since Senegalese director Alain Gomis’ bewitching 2012 day-in-the-death journey “Today,” Williams’ effortless, near-otherworldly presence gives 'Akilla’s Escape' all the grace and mystique it requires; the film strains a little too hard for its own."
 
Guy Lodge, Variety
 
"As he tries to track Cutty down and retrieve what was stolen, Akilla is called upon by Sheppard’s aunt Faye (Donisha Prendergast) to get the boy out of the trouble he’s in. The restraint shown in emotional scenes between the two (we don’t get the expected pre-showdown sex scene) is one of many ways 'Escape' differs from the usual gangster pic. Another is the soundtrack. Williams created the film’s score in collaboration with Massive Attack’s 3D, and it’s tempting to wish Officer had relied more heavily on their driving music. But blanketing the picture with unifying beats would likely have undercut the honesty of its drama, and turned Akilla (like Forest Whitaker’s character in the RZA-scored 'Ghost Dog') into something more than a man. That’s not at all what Officer is after, and 'Escape' is better for it."
 
John Defore, The Hollywood Reporter 

CENSOR - Emilie Levienaise-Farrouch
 
"Bailey-Bond, who explored this world with her 2015 short film 'Nasty', plots Enid’s descent expertly as she tries to find out what happened to her missing sister. The lines between reality and fiction first blur, then disappear entirely. There’s a strange unease in watching this moral guardian drift off her axis and Censor exploits it to its fullest with canny transitions and shifts in aspect ratios and film stock. 'Rocks'' composer Emilie Levienaise-Farrouch’s eerie soundscapes compete with screeches and screams as it heads towards its creepy payoff."
 
Phil De Semlyen, Time Out 

"There are some nice subtle flourishes, as when a projector beam turns red implying the bloodiness of the image -- indeed Summerson’s excellent framing and moody color blocking is a sophisticated pleasure throughout. And with Saffron Cullane’s precise, subtly heightened ’80s costuming, and composer Emilie Levienaise-Farrouch’s cleverly referential yet non-derivative score, 'Censor' is a stylish calling card for all involved, one that certainly demonstrates an impressive level of directorial control for a debut filmmaker."
 
Jessica Kiang, Variety 

"Meanwhile, Tim Harrison’s sound design, full of eerie creaks and just audible screams, bleeds seamlessly together with Emilie Levienaise-Farrouch’s original score of synthesizer rumbles and John Carpenter-style sustained chords. Bailey-Bond and the producers have assembled a fine team to deliver a convincing-looking ersatz time capsule. It’s just a shame there’s not something more startling or original enclosed inside."
 
Leslie Felperin, The Hollywood Reporter 

THE FOREVER PURGE - The Newton Brothers
 
"The film opens with Adela and Juan making that journey in reverse, trekking across unforgiving desert land to cross from Mexico to America underground. The towering border wall has telltale words like 'NFFA' (short for the New Founding Fathers of America, the political party that came up with the Purge in the first place) and 'These colors don’t run' scrawled across its face. It’s an omen of the on-the-nose writing to come, confirmed by a credits sequence that rushes by in a flurry of political talking-head sound bites -- 'The country is at a boiling point… white supremacy on the rise… The United States of Hate' -- accompanied by the warning tones of The Newton Brothers’ horn-heavy compositions. The score complements the ever-expanding scope of this franchise’s thematic focus, but that expansion has become a problem for DeMonaco and for new director Everardo Gout, whose characters get lost in the increasingly prominent social commentary."
 
Anya Stanley, The Onion AV Club 

HOLLER - Gene Back
 
"Despite the tribulations of Ruth’s life, Riegel and cinematographer Dustin Lane always find some beauty in the world, from the neat (if empty) storefronts that dot the high street to the cold beauty of a pack of dripping icicles on the side of Ruth’s house. An original score by Gene Back strikes the same chord: beauty, laced with pain, both possible even in tough times. There’s no artifice here, and Riegel easily sidesteps anything that might resemble 'poverty porn,' such is the benefit of lived experience and real care behind the camera."
 
Kate Erbland, IndieWire 

NO SUDDEN MOVE - David Holmes

"The result is a ride that feels smooth and bumpy in all the right places. You are pulled along by the seductive glide of Soderbergh’s filmmaking, by the jazzy riffs of David Holmes’ score and the suavity of the camerawork, only to be jolted into high alertness by the nasty, bloody surprises in Solomon’s script. While Soderbergh’s mastery of the crime caper can hardly be doubted at this point, the noirish cynicism of 'No Sudden Move' suggests a grim tonal and moral reversal of his earlier ensemble thrillers, chiefly the 'Ocean’s' movies and the marvelous, underappreciated 'Logan Lucky.' Rather than leaving behind a warm glow of camaraderie, the movie’s trapdoor-springing final scenes leave us pondering the vagaries of ill fortune, the futility of greed and a few bluntly articulated lessons about how capitalism builds and destroys."
 
Justin Chang, Los Angeles Times 
 
"Once again pseudonymously acting as his own DP, Soderbergh uses a lot of fish-eye lenses, keeping his central characters in crisp focus while the background dwarfs them and distorts. When he’s shooting more directly, post-war Detroit -- from mansions to row houses, oak-lined meeting rooms to seedy motels -- is recreated with beauty and specificity by a hard-working art direction and set decoration team. (And while David Holmes’ score is stirring and exciting, it frequently paraphrases Henry Mancini’s music for 'Charade.')"
 
Alonso Duralde, The Wrap
 
"There are elements of 'No Sudden Move' that taken together almost feel like a Soderbergh Greatest Hits. Not only does it have his sharp cultural insight but it’s a reunion with stars of 'Traffic,' 'High Flying Bird,' and the TV version of 'The Girlfriend Experience,' as well as composer David Holmes of 'Out of Sight,' doing great work again here. Of course, it’s also an ensemble crime picture, a genre that Soderbergh returns to every few years and rarely disappoints. It’s a pure joy to watch an expert filmmaker doing what he does so well. 'No Sudden Move' is like watching a musician return to the themes and ideas explored throughout a career but with the renewed insight that comes after decades of success."
 
Brian Tallerico, RogerEbert.com 

"We first meet Curt Goynes (Don Cheadle, in top form) making his way from the crumbling Black Bottom neighborhood to a fancier white district, backed by the uneasy rhythms of David Holmes’ jazz-inflected score. Curt walks in the dead center of the street, for reasons that don’t need explaining; as a Black man in a gentrifying city—a man, we soon learn, who has just been released from prison -- he can’t afford to let down his guard by getting caught in the shadows. Nor can he afford to turn down the $5,000 fee he is offered by the mysterious Jones (Brendan Fraser) to do what’s billed as a three-hour job for an unnamed local crime boss."
 
Dana Stevens, Slate.com 

"Solomon’s script is quite clever at continually upping the stakes and shifting the terms of the deal until a wide-reaching conspiracy is exposed -- a shocking case of corporate collusion lifted from the history books. As each new wrinkle comes to light, Soderbergh keeps the action wound tight, zigging and zagging like a well-oiled machine. Like Cheadle in the fabulous opening, in which Curt walks from the historic Black Bottom neighborhood into increasingly gentrifying (read: white) suburbia, the film saunters along to the coolly propulsive sounds of regular collaborator David Holmes’ score, a slinky evocation of period jazz with percussive elements to up the intensity."
 
David Rooney, The Hollywood Reporter  

WEREWOLVES WITHIN - Anna Drubich
 
"Ruben previously made his mark with the micro-budget horror 'Scare Me,' and shows again that he has an inspired touch for the pitch of 'it was a dark and stormy night.' The films of Edgar Wright ('Hot Fuzz' in particular) are clearly an influence here, and Ruben uses some of Wright's sharpest tools for instant, economical world-building: playful soundtrack choices (like the soda pop ditties that introduce us to Beaverton, juxtaposed with Anna Drubich's straight-up horror strings); whooshes in the sound design that ramp up one scene to a sudden cut; characters that suddenly pop into the camera's frame for comedic effect. All of these elements slightly elevate the world of 'Werewolves Within,' so that when everyone is stuck inside a hotel (owned by Catherine Curtin's Jeanine, whose husband is werewolf food in the beginning), it’s unmistakable what kind of horror this is. That is, a goofy and skillful one, with a lot of charisma across the board to paper over its shortcomings."
 
Nick Allen, RogerEbert.com 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

July 9
DRACULA, BLACK SUNDAY (Les Baxter) [New Beverly]
KILL BILL: VOL. 1 (RZA) [New Beverly]
NIGHTMARE ALLEY (Cyril J. Mockridge), THE BIG CLOCK (Victor Young) [Hollywood Legion]
THE PRODUCERS (John Morris), BAMBOOZLED (Terence Blanchard) [American Cinematheque: Aero]
VALERIE AND HER WEEK OF WONDERS (Lubos Fiser, Jan Klusak) [Fairfax Cinema]

July 10
DRACULA, BLACK SUNDAY (Les Baxter) [New Beverly]
THE JERK (Jack Elliott), THE GREAT McGINTY (Frederick Hollander) [American Cinematheque: Aero]
KING KONG VS. GODZILLA (Akira Ifukube) [New Beverly]
MICROCOSMOS (Bruno Coulais) [Fairfax Cinema]
MILDRED PIERCE (Max Steiner), THIEVES HIGHWAY (Alfred Newman) [Hollywood Legion]

July 11
DRACULA, BLACK SUNDAY (Les Baxter) [New Beverly]
LOOPHOLE (Paul Dunlap), CRY DANGER (Emil Newman, Paul Dunlap) [Hollywood Legion]
MODERN TIMES (Charles Chaplin) [American Cinematheque: Aero]
THE NARROW MARGIN [Hollywood Legion]
POLICE STORY (Siu-Tin Lai) [American Cinematheque: Aero]
STRANGER THAN PARADISE (John Lurie) [Fairfax Cinema]
TABU: A STORY OF THE SOUTH SEAS [Fairfax Cinema]

July 12
BOOGIE NIGHTS (Jon Brion) [Arena Cinelounge]
HARD TICKET TO HAWAII (Gary Stockdale) [Alamo Drafthouse]
HOW TO TRAIN YOUR DRAGON: THE HIDDEN WORLD (John Powell) [Alamo Drafthouse]
ONCE UPON A TIME IN CHINA (Romeo Diaz, James Wong), ONCE UPON A TIME IN CHINA II (Gam-Wing Chow, Johnny Njo, Richard Yuen) [New Beverly]

July 13
ALLIGATOR (Craig Huxley), JACKIE BROWN [New Beverly]
THE EXORCIST [Arena Cinelounge]

July 14
WATERWORLD (James Newton Howard) [Fairfax Cinema]

July 15
FITZCARRALDO (Popol Vuh) [Fairfax Cinema]
SOME LIKE IT HOT (Adolph Deutsch) [American Cinematheque: Aero]

July 16
KILL BILL: VOL. 1 (RZA) [New Beverly]
THERE WILL BE BLOOD (Jonny Greenwood) [Fairfax Cinema]
WAYNE'S WORLD (J. Peter Robinson), BLACK SHEEP (William Ross) [American Cinematheque: Aero]

July 17
MONTY PYTHON'S LIFE OF BRIAN (Geoffrey Burgon), GREASER'S PALACE (Jack Nitzsche) [American Cinematheque: Aero]
SAFETY LAST [Hollywood Legion]
SCOOB! (Tom Holkenborg) [Alamo Drafthouse]
SORCERER (Tangerine Dream) [Fairfax Cinema]
THE WARRIORS (Barry DeVorzon) [New Beverly]

July 18
THE AFRICAN QUEEN (Allan Gray) [Fine Arts]
DEAD MAN (Neil Young) [Fairfax Cinema]
DEFENDING YOUR LIFE (Michael Gore)  [American Cinematheque: Aero]
LONG WEEKEND (Michael Carlos) [Fairfax Cinema]
TO BE OR NOT TO BE (Werner R. Heymann) [American Cinematheque: Aero]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal) [Alamo Drafthouse]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard:
Better Watch Out (Cachia), A Clockwork Orange (Carlos), The Card Player (Simonetti), Tron (Carlos), Identity Thief (Lennertz), Rediscovering Lost Scores Volume One (Carlos), Ganja & Hess (Waymon), Rediscovering Lost Scores Volume Two (Carlos), Via Mala (Morricone), Miriam Cutler Film Music (Cutler), Doctor Zhivago (Einaudi), Ethel (Cutler), Scary Stories to Tell in the Dark (Beltrami/Drubich), The Alfred Hitchcock Hour Volume One (Herrmann), Dora and the Lost City of Gold (Debney/Franco), Travelogue Volume 1 (Giacchino), The Insider (Gerrard/Bourke), Ali (Gerrard/Bourke), Gladiator (Zimmer/Gerrard), Lost in Space (Broughton), Knight Moves (Dudley), Company (Sondheim), The Crying Game (Dudley), The Henry Brant Collection Vol. 6 (Brant), Hollow Reed (Dudley), Oh, Come On (Cross), The Full Monty (Dudley), A Date with Bob Hope (Hope), American History X (Dudley), Beyond Re-Animator (Capellas), Pushing Tin (Dudley), The Battle of Algiers (Morricone/Pontecorvo), Monkeybone (Dudley), Vera Drake/All or Nothing (Dickson), Tristan & Isolde (Dudley)

Read: A City on a Hill, by George V. Higgins

Seen: No Sudden Move, Werewolves Within, The Forever Purge, I Carry You with Me, The Sparks Brothers, Peter Rabbit 2: The Runaway

Watched: Ball of Fire; Star Trek ("Mirror, Mirror); The Night Manager ("Episode 3"); The Nickel Ride; Octopussy; Black Sails ("II."); Queer as Folk ("Babylon Boomerang")

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Comments (2):Log in or register to post your own comments
It’s Prick Up Your EARS (1987), not EYES.


It’s Prick Up Your EARS (1987), not EYES.

Thanks for catching that. Especially embarrassing since I've read the book, seen the movie, and own the LP. Will fix.

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