Intrada is releasing a remastered edition of Basil Poledouris' complete score for the 1990 Australia-set Western QUIGLEY DOWN UNDER, directed by Simon Wincer (Lonesome Dove) and starring Tom Selleck, Laura San Giacomo and Alan Rickman.
Quartet is releasing re-mastered editions of two Ennio Morricone scores - VERUSCHKA (aka Veruschka - Poetry of a Woman), from 1971, and CUORE DI MAMMA (Mother's Heart) from 1969.
CDS AVAILABLE THIS WEEK
Quigley Down Under - Basil Poledouris - Intrada Special Collection
IN THEATERS TODAY
Captain America: Brave New World - Laura Karpman, Nora Kroll-Rosenbaum
Marcello Mio - Alex Beaupain
Paddington in Peru - Dario Marianelli
Universal Language - Amir Amiri, Christophe Lamarche-Ledoux
The Vortex - Asdru Sierra
You, Me & Her - Juan Carlos Enriquez
COMING SOON
March 7
The Lord of the Rings: The War of the Rohirrim - Stephen Gallagher - Mutant
March 21
Anthology: The Paris Concerts - Howard Shore - Deutsche Grammophon
The Apprentice - Martin Dirkov, David Holmes, Brian Byrne - Filmtrax
It's the Easter Beagle, Charlie Brown - Vince Guaraldi - LMFP
April 4
The Ministry of Ungentlemanly Warfare - Chris Benstead - Filmtrax
Coming Soon
Cuore di Mamma - Ennio Morricone - Quartet
Despite the Falling Snow - Rachel Portman - Kronos
A Fistful of Dollars - Ennio Morricone - Beat
Interstellar - Hans Zimmer - Waxwork
L'Esorciccio/Paolo il Freddo - Franco Godi - Beat
No Escape - Bert Shefter - Kronos
Pandemonio (Switch) - Guido & Maurizio De Angelis - Beat
The She Creature - Ronald Stein - Kronos
Stand By for Action! 2: Tunes of Danger - various - Silva
The Texas Chainsaw Massacre - Tobe Hooper, Wayne Bell - Waxwork
Veruschka - Ennio Morricone - Quartet
THIS WEEK IN FILM MUSIC HISTORY
February 14 - Werner Heymann born (1886)
February 14 - Elliot Lawrence born (1925)
February 14 - Merl Saunders born (1934)
February 14 - Jocelyn Pook born (1960)
February 14 - Warren Ellis born (1965)
February 14 - David Holmes born (1969)
February 14 - Ken Thorne begins recording his score for Superman III (1983)
February 14 - Frederick Loewe died (1988)
February 14 - Jay Chattaway records his score for the Star Trek: Voyager episode “Spirit Folk” (2000)
February 14 - Piero Umiliani died (2001)
February 15 - Georges Auric born (1899)
February 15 - Harold Arlen born (1905)
February 15 - Wladimir Selinsky born (1910)
February 15 - Miklos Rozsa records his replacement score for Crest of the Wave (1954)
February 15 - Stephen Edwards born (1972)
February 15 - Johnny Harris records his score for the Buck Rogers in the 25th Century episode “Space Rockers” (1980)
February 15 - Lucio Agostini died (1996)
February 15 - Pierre Bachelet died (2005)
February 16 - Alec Wilder born (1907)
February 16 - Dennis Wilson born (1920)
February 16 - Kunio Miyauchi born (1932)
February 16 - John Corigliano born (1938)
February 16 - Miklos Rozsa begins recording his score for King of Kings (1961)
February 16 - Dennis McCarthy and Kevin Kiner begin recording their score for the Star Trek: Enterprise episode “Observer Effect” (2004)
February 17 - Ron Goodwin born (1925)
February 17 - Karl Jenkins born (1944)
February 17 - Fred Frith born (1949)
February 17 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “Death Scene” (1965)
February 17 - Alfred Newman died (1970)
February 17 - Gavriil Popov died (1972)
February 17 - Bear McCreary born (1979)
February 17 - Jerry Fielding died (1980)
February 17 - Dennis McCarthy records his score for the Star Trek: Voyager episode “Ex Post Facto” (1995)
February 17 - Samuel Matlovsky died (2004)
February 18 - John Bisharat born (1964)
February 18 - Tommy Tallarico born (1968)
February 18 - Nathaniel Shilkret died (1982)
February 18 - Paul Baillargeon records his score for the Star Trek: Enterprise episode “Hatchery” (2004)
February 19 - Saul Chaplin born (1912)
February 19 - Shigeru Umebayashi born (1951)
February 19 - Donald Rubinstein born (1952)
February 19 - Claudio Simonetti born (1952)
February 19 - Charles Bernstein begins recording his score for Gator (1976)
February 19 - Marvin Hamlisch begins recording his score for I Ought to Be in Pictures (1982)
February 19 - David Bell records his score for the Star Trek: Voyager episode “The Killing Game, Part 2” (1998)
February 19 - David Bell records his score for the Enterprise episode “Fusion” (2002)
February 19 - Teo Macero died (2008)
February 19 - Bob Cobert died (2020)
February 20 - Toshiro Mayuzumi born (1929)
February 20 - How the West Was Won opens in Los Angeles (1963)
February 20 - Michael A. Levine born (1964)
Feburary 20 - Robert Drasnin records his score for the Voyage to the Bottom of the Sea episode “The Wax Men” (1967)
February 20 - William Lava died (1971)
February 20 - Recording sessions begin on Jerry Goldsmith's score for Alien (1979)
February 20 - Toru Takemitsu died (1996)
DID THEY MENTION THE MUSIC?
DEEP RISING - Olafur Arnalds
"Worst of all, 'Deep Rising' is tonally frazzled. The score simply makes no emotional sense. At one point, footage of an Indonesian woman crying about the terrible loss of resources and harm to the environment during a protest is overlaid with twee, lyrical music. Toward the end, the score turns triumphant during a Wall Street scene that is decidedly not. The wayward score isn’t helped by Momoa’s monotone voice, which can border on disinterested. This is a shame because he, as clearly evidenced by his United Nations work, does care deeply about this topic. Pairing his star profile with the subject also makes sense, but those factors do not immediately add up to an engaging voice."
Robert Daniels, RogerEbert.com
LAKE GEORGE - Rene Boscio
"The roll-call of supporting characters, colorful as they are, also evade stereotype. Even Armen and Harout, goons accustomed to doling out grievous bodily harm, ultimately merit a twinge of viewer pity. 'Lake George' is often amusing, but never mean-spirited, and without sentimentality, it has more heart than such genre exercises typically hazard. The deftness of Reiner’s approach is amplified by the ways in which Tod Campbell’s unfussy widescreen cinematography gradually encompasses more spectacular scenic backdrops, just as Rene Boscio finally expands upon the solo piano textures of his faintly bluesy, jazz-adjacent score. This is a story with numerous stinging ironies, albeit one told in a refreshingly nuanced, non-hyperbolic fashion that pays off very nicely indeed."
Dennis Harvey, Variety
ONCE WITHIN A TIME - Philip Glass, Sussan Deyhim
"The score, meanwhile, though recognizably a Philip Glass composition with all its minimalist interlockings and repetitions, shows just as much the influence of Iranian composer and singer Sussan Deyhim, who contributes additional music and plays the part of a singing anthropomorphic tree. Interspersed with snippets of the non-Western, multicultural instrumentation for which she’s known, the score amplifies the eclecticism of the images."
William Repass, Slant Magazine
"Reggio’s celebrated 'Koyaanisqatsi,' the first of the Qatsi Trilogy, features a similar cascade of images placed in fluid shifting juxtaposition: power plants and rain forests, rush-hour highways and crashing ocean, pollution and clouds, modernity and its ruins. The images are often beautiful, but the overall effect is anxiety-provoking, sometimes even despairing. What have we done to our beautiful world? Music holds it all together. Philip Glass composed the main score, with additional music by Iranian composer Sussan Deyhim (who also plays a 'muse' type character, half-woman, half-tree)."
Sheila O'Malley, RogerEbert.com
PARTHENOPE - Lele Marchitelli
"But, of course, it’s not good for nothing -- it’s good for filmmakers like Sorrentino, who together with cinematographer Daria D’Antonio and composer Lele Marchitelli, both former collaborators on 'The Hand of God,' can use lost love to suffuse a film with a magnificent longing. 'Parthenope' gets weirder as Parthenope gets older (in what amounts to an epilogue, she’s played by veteran Italian actress Stefania Sandrelli ('Divorce Italian Style'), but it doesn’t lose its sense of loss or its sense of place."
Steve Pond, The Wrap
"Along the way, a family tragedy sends her emotionally adrift, and as she’s ushered toward becoming a star of the silver screen, her conversations with older actresses considered past their prime (owing to age, botched cosmetic surgeries and falling hair) illuminate the nature of her own desires -- romantic, academic and otherwise. Each scene unfolds in dreamlike fashion despite being tethered to reality, thanks in large part to Lele Marchitelli ‘s operatic score, and to the Neapolitan setting, whose most traditionally (and even non-traditionally) beautiful men and women weave in and out of Parthenope’s story."
Siddhant Adlakha, Variety
PORCELAIN WAR - DakhaBrakha
"Backed by a feral, driving score from Ukrainian folkloric quartet DakhaBrakha, 'Porcelain War' makes the case for art as another protective weapon against imperialism. Like Ukraine, the film concludes, the delicate but resilient sculptures may break easily -- but are very hard to destroy."
Bob Strauss, San Francisco Chronicle
"The film is often subtle about the art it represents, but that’s arguably one of its greatest, most poignant strengths. It’s not highlighted because it is ubiquitous, whether it be the patterns that Stasenko draws onto his unit’s drones, the decorations left on the endless military and civilian graces, the mesmerizing soundtrack from Ukrainian folk experimentalists DakhaBrakha, or the subtle animations built upon Leontyev and Stasenko’s ceramics."
Richard Whittaker, The Austin Chronicle
"There are aesthetic touches too that in other films might have seemed too precious, but in 'Porcelain War' feel just right, as when Anya’s detailed artwork on their figurines’ porcelain surface is made to move with subtly rendered animation, enriching the idea that these tiny sculptures aren’t just canvases -- they’re also portals for experiences that are never still. That sacred meeting place of myth and life is also fully realized by the film’s pulsing, powerful score, a knockout sampling of Ukrainian neo-folk outfit DakhaBrakha’s liberating music, which you can feel traveling from the earth and into your bones like a gathering strength."
Robert Abele, Los Angeles Times
"It’s a horrible juxtaposition in a film full of them, a film scored by the intense mix of chants and howls of DakhaBrakha (a 'Ukrainian ethnic chaos band'). And yet, there persists a lightness throughout the film, pushed by Anya and Slava. Adjacent to death, they reflect that it’s not hard to scare people, or even kill them, but it’s hard to forbid them to live. There are songs, there are paintings, there is optimistic graffiti scratched into urban wreckage. Even the endless procession of Ukrainian graves are decorated beautifully -- the logical conclusion of 'Porcelain War''s throughline. 'Porcelain War''s questions around how we cope, and what’s worth fighting for, are as vital as ever with the world still full of ignored pandemics, government-sponsored genocide and ongoing invasions. The answers, quiet and bittersweet, bring me back to Chicago, listening to a gaggle of children happily babble in Ukrainian as a tour guide shepherds them past the pysanky."
Jacob Oller, Paste Magazine
"Leontyev presents his own subjective wartime experience with vivid sensory aplomb, the dynamically roving camera (often directed by his close friend Andrey Stefanov) accompanied by a fevered, clattering score from DakhaBrakha, a self-described 'ethic chaos' band based in Kyiv. Less easily articulated anxieties give way to a focus on more poetic ideals and images. Fine porcelain figurines of woodland creatures, their bodies painted with whole bountiful pastel ecosystems, function as a hopeful, even redemptive symbolic counterpoint to the carnage and peril of his current day job. For such small, precious objects, they do rather a lot of heavy lifting. Later, Slava and Anya’s skills overlap to eerier effect when she gives a whimsical paint job to one of the bomber drones deployed by Saigon, his portentously-named military unit of scrappy volunteers: We later see it in action over pinpointed Russian foot soldiers, a colorfully striped dragonfly of death."
Guy Lodge, Variety
"It’s my sense that in the absence of that voiceover, none of the documentary’s themes would be lost or weakened. It would be so much easier to marvel at Stefanov’s photography, to have your heart break at the tragic juxtapositions made by the editors, to celebrate the animation that flows out of Anya’s tiny paintings, to wait breathlessly through a harrowing sequence shot on a military body-cam. Or just to get carried along by the score from Ukrainian quartet DakhaBrakha as Frodo frolics obliviously on the edge of war."
Daniel Feinberg, The Hollywood Reporter
VERMIGLIO - Matteo Franceschini
"The editing by Luca Mattei is evocative through economy: simply by cutting from Adele superstitiously wrapping her ailing infant son in cabbage leaves, to a shot of the falling snow, we understand -- even before we see Adele, already pregnant again, grieving at a little cross -- that in the interim, the child has died. But then, economy is the watchword of this deceptively formalist film: every aspect of the filmmaking, from Krichman’s immaculate compositions, to the worn, neat costuming from Andrea Cavalletto to the simplicity of Matteo Franceschini’s spartan piano-based score, speaks to the restraint that Delpero exercises in playing on our feelings. Not because she herself does not feel, but because, like her stoic characters, she is holding herself in check with an almost brutal degree of self-discipline. It contributes to a fascinating narrative remove, which is belied by the close-up clarity of the imagery, but then, up here in the clean alpine air, no matter how distant your vantage point, you can see forever."
Jessica Kiang, Variety
WOLF MAN - Benjamin Wallfisch
"Technically, “Wolf Man” operates in the opposite way from 'The Invisible Man,' where any shot could conceivably include the eponymous psycho, leaving audiences to scan every frame for signs of him. Meanwhile, 'Wolf Man' works best when its monsters are on-screen, and for this reason, the film’s assorted werewolves needed to appear more intimidating. That puts a heavy burden on sound designers P.K. Hooker and Will Files, whose intrusive mix of creepy noises is often indistinguishable from Benjamin Wallfisch’s discordant score."
Peter Debruge, Variety
"The actors keep us invested in their fates for the duration, even if the script is psychologically a little thin. There’s nothing to match the nerve-rattling foundation of domestic abuse that made 'The Invisible Man' remake so chilling. Even so, it’s gripping enough -- a mid- rather than top-tier Blumhouse entry, bolstered by regular Whannell DP Stefan Duscio’s whirling camera and disorienting angles, by a juddering soundscape of elemental menace and a bowel-churning orchestral score by Benjamin Wallfisch, which is its own kind of savage beast. It also helps that the emphasis is on practical effects, not CG."
David Rooney, The Hollywood Reporter
THE NEXT TEN DAYS IN L.A.
Screenings of older films in Los Angeles-area theaters.
February 14
BEFORE SUNRISE [New Beverly]
THE BIGAMIST [UCLA/Hammer]
BROADCAST NEWS (Bill Conti) [Los Feliz 3]
CASABLANCA (Max Steiner) [Aero]
DJANGO UNCHAINED [New Beverly]
GHOST (Maurice Jarre) [Alamo Drafthouse]
HAROLD AND MAUDE (Cat Stevens) [Vista]
I AM LOVE (John Adams) [BrainDead Studios]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [Nuart]
JENNIFER'S BODY (Theodore Shapiro, Stephen Barton) [BrainDead Studios]
PARTY GIRL (Anton Sanko) [Vidiots]
PORTRAIT OF JENNIE (Dimitri Tiomkin) [Egyptian]
VERTIGO (Bernard Herrmann) [Vista]
WHAT'S UP, DOC? (Artie Butler), NOISES OFF (Phil Marshall) [New Beverly]
WILD AT HEART (Angelo Badalamenti) [Academy Museum]
THE YOUNG GIRLS OF ROCHEFORT (Michel Legrand) [Academy Museum]
February 15
BEVERLY HILLS NINJA (George S. Clinton) [Egyptian]
DEVIL IN A BLUE DRESS (Elmer Bernstein) [Vidiots]
FRANK (Stephen Rennicks) [Los Feliz 3]
GONE TO EARTH (Brian Easdale) [Egyptian]
HAROLD AND MAUDE (Cat Stevens) [Vista]
IN THE MOOD FOR LOVE (Michael Galasso, Shigeru Umebayashi) [Aero]
MARCH OF THE PENGUINS (Alex Wurman) [Vidiots]
THE MATRIX (Don Davis) [Academy Museum]
MEET ME IN ST. LOUIS (Ralph Blane, Hugh Martin, George Stoll) [Egyptian]
THE ODD COUPLE (Neal Hefti) [Vista]
ON THE WATERFRONT (Leonard Bernstein) [Vidiots]
RASHOMON (Fumio Hayasaka) [BrainDead Studios]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
ROMEO AND JULIET (Nino Rota) [Aero]
SNOWPIERCER (Marco Beltrami) [BrainDead Studios]
SULLIVAN'S TRAVELS (Leo Shuken, Charles W. Bradshaw) [New Beverly]
VALENTINE (Don Davis) [New Beverly]
VERTIGO (Bernard Herrmann) [Vista]
THE WEDDING SINGER (Teddy Castellucci) [Alamo Drafthouse]
WHAT'S UP, DOC? (Artie Butler), NOISES OFF (Phil Marshall) [New Beverly]
WILD AT HEART (Angelo Badalamenti) [Los Feliz 3]
February 16
BURST CITY [BrainDead Studios]
DANCER IN THE DARK (Bjork) [BrainDead Studios]
DOCTOR DOLITTLE (Richard Gibbs) [Vidiots]
THE FOUR HORSEMEN OF THE APOCALYPSE (Andre Previn) [Vidiots]
GHOST (Maurice Jarre) [Alamo Drafthouse]
GIGI (Frederick Loewe, Andre Previn [Vidiots]
NO WAY OUT (Alfred Newman) [UCLA/Hammer]
THE ODD COUPLE (Neal Hefti) [Vista]
PORTRAIT OF JENNIE (Dimitri Tiomkin) [Egyptian]
SULLIVAN'S TRAVELS (Leo Shuken, Charles W. Bradshaw) [New Beverly]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Los Feliz 3]
VERTIGO (Bernard Herrmann) [Vista]
WESTWARD THE WOMEN (Jeff Alexander) [Los Feliz 3]
WHAT'S UP, DOC? (Artie Butler), NOISES OFF (Phil Marshall) [New Beverly]
February 17
ABOVE THE RIM (Marcus Miller) [Vidiots]
BODY CHEMISTRY (Terry Plumeri), DANGEROUS LOVE (Paul Hertzog) [New Beverly]
CRASH (Howard Shore) [Los Feliz 3]
GHOST (Maurice Jarre) [Alamo Drafthouse]
KINGDOM OF THE PLANET OF THE APES (John Paesano) [Aero]
TOTAL RECALL (Jerry Goldsmith) [Culver]
VERTIGO (Bernard Herrmann) [Vista]
THE WEDDING SINGER (Teddy Castellucci) [Alamo Drafthouse]
February 18
THE DEPARTED (Howard Shore) [Landmark Pasadena]
GHOST (Maurice Jarre) [Alamo Drafthouse]
HELL OR HIGH WATER (Nick Cave, Warren Ellis) [Alamo Drafthouse]
THE LOST MAN (Quincy Jones), THE ANDERSON TAPES (Quincy Jones) [New Beverly]
VERTIGO (Bernard Herrmann) [Vista]
THE WEDDING SINGER (Teddy Castellucci) [Alamo Drafthouse]
February 19
BLUE VELVET (Angelo Badalementi) [Vidiots]
EASY RIDER [Academy Museum]
GHOST (Maurice Jarre) [Alamo Drafthouse]
THE LOST MAN (Quincy Jones), THE ANDERSON TAPES (Quincy Jones) [New Beverly]
THE NUTTY PROFESSOR (David Newman) [Alamo Drafthouse]
OKJA (Jung Jae-il) [BrainDead Studios]
VERTIGO (Bernard Herrmann) [Vista]
THE WEDDING SINGER (Teddy Castellucci) [Alamo Drafthouse]
February 20
THE ANNIHILATION OF FISH (Laura Karpman) [Los Feliz 3]
TOKYO TWILIGHT (Takanobu Saito) [New Beverly]
TOUKI BOUKI [Vidiots]
VERTIGO (Bernard Herrmann) [Vista]
February 21
THE ANNIHILATION OF FISH (Laura Karpman) [Los Feliz 3]
BUFFY THE VAMPIRE SLAYER (Carter Burwell) [BrainDead Studios]
COLLATERAL (James Newton Howard) [Vidiots]
CRAWL (Max Aruj, Steffen Thum) [Vista]
DJANGO UNCHAINED [New Beverly]
DOLEMITE IS MY NAME (Scott Bomar) [Alamo Drafthouse]
MULTIPLE MANIACS [Vidiots]
ONLY LOVERS LEFT ALIVE (Josef van Wissem, Squrl) [BrainDead Studios]
OUT OF SIGHT (David Holmes) [New Beverly]
PUNCH-DRUNK LOVE (Jon Brion) [Nuart]
ROPE [Egyptian]
TOKYO TWILIGHT (Takanobu Saito) [New Beverly]
VERTIGO (Bernard Herrmann) [Alamo Drafthouse]
February 22
THE ANNIHILATION OF FISH (Laura Karpman) [Los Feliz 3]
ARMY OF DARKNESS (Joseph LoDuca) [New Beverly]
BEAVIS AND BUTT-HEAD DO AMERICA (John Frizzell) [BrainDead Studios]
THE BLACK STALLION (Carmine Coppola, Shirley Walker) [Vidiots]
CRAWL (Max Aruj, Steffen Thum) [Vista]
E.T. THE EXTRA-TERRESTRIAL (Basil Poledouris) [New Beverly]
FAREWELL AMOR (Osei Essed) [Vidiots]
GIRLS TRIP (David Newman) [Vidiots]
HIGH SCHOOL II [Los Feliz 3]
THE OLD FASHIONED WAY [Vista]
PREDATOR 2 (Alan Silvestri) [Vidiots]
RACE FOR YOUR LIFE, CHARLIE BROWN (Ed Bogas) [Aero]
THE ROCKY HORROR PICTURE SHOW (Richard O'Brien, Richard Hartley) [Nuart]
SUSPIRIA (Thom Yorke) [BrainDead Studios]
TARGETS (Charles Greene, Brian Stone), TWO-MINUTE WARNING (Charles Fox) [New Beverly]
February 23
THE BOONDOCK SAINTS (Jeff Danna) [BrainDead Studios]
CRY-BABY (Patrick Williams) [Alamo Drafthouse]
E.T. THE EXTRA-TERRESTRIAL (John Williams) [New Beverly]
THE GOONIES (Dave Grusin) [Aero]
THE GREAT MUPPET CAPER (Joe Raposo) [Vidiots]
THE HOLDOVERS (Mark Orton) [Academy Museum]
HOLLYWOOD STORY [Los Feliz 3]
KWAIDAN (Toru Takemistu) [BrainDead Studios]
LOVE & POP (Shinkichi Mitsumune) [Los Feliz 3]
MEET ME IN ST. LOUIS (Ralph Blane, Hugh Martin, George Stoll) [Egyptian]
THE OLD FASHIONED WAY [Vista]
PARIS BLUES (Duke Ellington) [Vidiots]
ROPE [Egyptian]
TARGETS (Charles Greene, Brian Stone), TWO-MINUTE WARNING (Charles Fox) [New Beverly]
THE THIRD MAN (Anton Karas) [Vidiots]
THE UNHOLY THREE [Egyptian]
THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY
Heard: Star Trek: First Contact (Goldsmith/Goldsmith); Virtuosity (Young); The Secret Service (Gray); Virus (McNeely); Movements for percussion instruments and piano (Delerue); Ghost in the Shell 2: Innocence (Kawai); Bob Dylan (Dylan); Scent of a Woman (Newman)
Read: The Woman Who Fell from Grace, by David Handler
Seen: Dune: Part Two; Sugarcane; Parthenope; Heart Eyes; Alien: Romulus; Bring Them Down; Judas and the Black Messiah; Queen's High; Angel on Fire; Grand Theft Hamlet; September 5
Watched: The Taking of Pelham One Two Three; Legion ("Chapter 8"); The Office ("The Interview"); Columbo ("Swan Song")
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