Film (movie) Music

[karlhenning]

Dudes, we're only offering him third-rate replies!

Let's see some more pffff's and blah blah blahs out there!

ROFL

[mc ukrneal]

Film music is a funny thing in how it seems to rub some people the wrong way. Personally, I love it and much of it seems to me a very logical extension of classical music in many ways, especially when we consider scores that use orchestras and play songs that could be played in the concert hall (ignoring for a moment whether they deserve to be there). But, in general, film music is indeed scored for a different purpose. It often gets absorbed in a different way for me. I'll discuss three examples dear to my heart, since people are clamoring for some.

Prokofiev - Alexander Nevsky. I love this score. I'm not sure there is much to say, as it has been mentioned before, but the music (from beginning to end) is outstanding.

Mancini - Pink Panther. I'm convinced that if Mozart were alive, he'd want to do either the Pink Panther opera OR a Variations on the theme. The song is simple, but extremely imaginitive. This music very much lives separate for the film for me. I've played it many times, and is always a favorite for saxophone players in general.

Menkin/Ashman - Beauty and the Beast. Ignoring the pop single that was made, this music is dreamy. The words and meanings are outstanding and he balane of the music with the words is excellent. This is a good one for the car too.

The question,'Are any of these better than classical music compositions,' doesn't mean much to me, since we haven't established any criteria. But do I prefer these pieces over many classical pieces and some classical composers? Absolutely. Of course, they come from a different starting place. I also love Broadway musicals and that type of music as well, and the last two pieces I chose are close to that side (one was even made into a musical). Just as I couldn't imagine going through life without classical music, I couldn't go through life without these other types of music either.

[karlhenning]

It is perhaps hard to imagine the music used in such a context, but (as may well have been mentioned here before), Stravinsky composed the middle of the Symphony in Three Movements, originally, with the intent of fulfillling a commission for music to accompany the George Seaton film, The Song of Bernadette.

[mc ukrneal]

It is perhaps hard to imagine the music used in such a context, but (as may well have been mentioned here before), Stravinsky composed the middle of the Symphony in Three Movements, originally, with the intent of fulfillling a commission for music to accompany the George Seaton film, The Song of Bernadette.

Stravinksy isn't one I usually think of with film (for me anyway), but I do love Shostakovich's scores in this area. Some absolute gems there.

[karlhenning]

Stravinksy isn't one I usually think of with film (for me anyway), but I do love Shostakovich's scores in this area. Some absolute gems there.

Yes, and I enjoy his range there (as elsewhere): the powerful soundscapes which underscore the Kozintsev films of Shakespeare; but also the 'lighter' incidental work for (e.g.) Alone, The Fall of Berlin, The Unforgettable Year . . . which year was it?

[Henk]

It's not a logical extension at all as far as music-making is concerned it's truly a lesser art and a vastly compromised devolution. I don't go to see a movie to listen-to or witness  seriously artistic music-making .. i can just stay home and listen to & focus on some truly amazing stuff .. that's really real .. or perhaps go to a live concert instead, where it's all about the music.

I agree. Film music is more about sounds then music.

[jochanaan]

it's a comedy show dope

But it does say something about your supposed high standards.

[Scarpia]

But it does say something about your supposed high standards.

What it says is that the only thing James recognizes is shock value, in music as well as in low-brow comedy.  Refinement eludes him.

[karlhenning]

What it says is that the only thing James recognizes is shock value, in music as well as in low-brow comedy.  Refinement eludes him.

Yes, which he practically advertises with that divertingly obtuse Gould quote about the K550.

[bhodges]

More faves:

Gato Barbieri: Last Tango in Paris (Bertolucci)
Jerry Goldsmith: Chinatown (Polanski)
Nino Rota: Amarcord (I Remember) (Fellini)
Nino Rota: Rocco e i suoi fratelli (Rocco and His Brothers) (Visconti)
Nino Rota: Il Gattopardo (The Leopard) (Visconti) - This is just gorgeous. Much of the best music is in the final ballroom scene, about 45 minutes long.

--Bruce

[Mirror Image]

Jerry Goldsmith: Chinatown (Polanski)

A very fine score indeed. In fact, I'm having problems locating a copy on CD. I've looked on Amazon, but it's out-of-print and the third-party sellers prices are through the roof, any suggestions Bruce? Thanks.

[Grazioso]

It's not a logical extension at all as far as music-making is concerned

Why?

it's truly a lesser art

How so?

and a vastly compromised devolution.

How?

I don't go to see a movie to listen-to or witness  seriously artistic music-making .. i can just stay home and listen to & focus on some truly amazing stuff .. that's really real .. or perhaps go to a live concert instead, where it's all about the music.

And from earlier posts in this thread:

It really is just a byproduct of popular culture showbiz, it's not really deep musically artistic material.

I go to a movie because I buy into to the concept/premise of the story, that's why I go ... so that's what I'm primarily focused-on and interested in. So the set-up to have a mind blowing experience on purely musical grounds is a non-starter because it's not really about the music.

The clear implication of these statements is twofold: first, that you habitually confuse your personal preferences and experiences with objective, universal truths. Second, that you don't understand film as an art form. How on earth can you comment on the music involved when, by your own admission, you're not focusing on it and how it works?

You sound like someone going to a ballet for the first time, just to see the women flitting around, and then smugly insisting that "the music by that Tchaikovsky or Gorbachev or whoever was boring crap."

[jochanaan]

we're on a music forum, i was referring to standards with regards to music. stay focused on the topic for chrissakes.

Oh, was I digging too close to the bone? But you set yourself up for that dig by including Stern (that's Howard, not Isaac) among your listening--an error that I see you have now corrected.

[jochanaan]

Every Monday to Thursday  I'm listening to Howard. 

That explains a lot, actually.

[jochanaan]

yea i like comedy and i like to laugh ..

That's good, because you've given some of us a few good laughs.

[snyprrr]

I was thinking of this Thread whilst watching Brooklyn's Finest last night. Very spare and moody soundtrack. Anyone?


Also, I noticed I have an SQ by Donald Davis, whom I imagine is the Don Davis who scored The Matrix.


Also, saw Jaws II,... love that theme!

[Szykneij]

Elmer Bernstein's soundtrack to "To Kill a Mockingbird" is one of my all-time favorite musical works of any genre. This is the only available version on CD, released in 1997. Bernstein recorded this with the Royal Scottish National Orchestra. He wasn't happy with the original 1962 release that accompanied the film, and the 1976 version he recorded with the Royal Philharmonic had been long out of print.



This is the 1976 version I have. The same recording exists with another cover.



This is the original release Bernstein was unsatisfied with because it omitted some of the material. Still a good listen, though.

[Philoctetes]

I actually have some soundtrack shit stashed away in my collection too despite what I've said here; but I certainly hear it for what it is & don't have an inflated view of the stuff. .. recently I listened to Clockwork Orange (Wendy Carlos) and Naked Lunch (Ornette Coleman/Howard Shore) ..

Why would one own a film soundtrack?

[Jaakko Keskinen]

My favorite work from Bernstein is actually his score with the magnificent seven. Eargasmic music.

[Szykneij]

My favorite work from Bernstein is actually his score with the magnificent seven. Eargasmic music.

That one was great, too. He composed the scores to an incredible number of films. If only more of them had done better at the box office, Bernstein's work would be even more widely known. 

FILMOGRAPHY

Saturday's Hero (1951)
Boots Malone (1952)
Sudden Fear (1952)
Battles of Chief Pontiac (1953)
Cat Women of the Moon (1953)
Dieppe Raid (1953)
Never Wave at a WAC (1953)
Robot Monster (1953)
Make Haste to Live (1954)
Miss Robin Crusoe (1954)
Silent Raiders (1954)
The Bar Sinister (1955)
The Eternal Sea (1955)
The Man with the Golden Arm (1955) -- AAN
Storm Fear (1955)
The View from Pompey's Head (1955)
The Ten Commandments (1956)
Drango (1957)
Fear Strikes Out (1957)
Men in War (1957)
The Sweet Smell of Success (1957)
The Tin Star (1957)
Anna Lucasta (1958)
The Buccaneer (1958)
Desire Under the Elms (1958)
God's Little Acre (1958)
Kings Go Forth (1958)
Saddle the Wind (1958)
Some Came Running (1958)
The Miracle (1959)
From the Terrace (1960)
The Magnificent Seven (1960) -- AAN
The Rat Race (1960)
The Story o­n Page o­ne (1960)
By Love Possessed (1960)
The Comancheros (1961)
Summer and Smoke (1961) -- AAN
The Young Doctors (1961)
Birdman of Alcatraz (1962)
A Girl Named Tamiko (1962)
To Kill a Mockingbird (1962) -- AAN, GG
Walk o­n the Wild Side (1962) -- AANs
The Caretakers (1963)
The Great Escape (1962)
Hud (1962)
Kings of the Sun (1962)
Rampage (1963)
Baby the Rain Must Fall (1964)
The Carpetbaggers (1964)
Love with the Proper Stranger (1964)
The World of Henry Orient (1964)
The Hallelujah Trail (1965)
The Reward (1965)
Seven Women (1965)
The Sons of Katie Elder (1965)
Cast a Giant Shadow (1966)
Hawaii (1966) -- AANs, GG
Return of the Seven (1966) -- AAN
The Silencers (1966)
Thoroughly Modern Millie (1967) - Academy Award Winner
The Bridge at Remagen (1968)
I Love You, Alice B. Toklas! (1968)
The Scalphunters (1968)
Guns of the Magnificent Seven (1969)
The Gypsy Moths (1969)
The Midas Run (1969)
True Grit (1969) -- AANs
Where's Jack? (1969)
Cannon for Cordoba (1970)
The Liberation of L. B. Jones (1970)
A Walk in the Spring Rain (1970)
Big Jake (1971)
Doctors' Wives (1971)
See No Evil (1971)
The Amazing Mr. Blunden (1972)
The Magnificent Seven Ride! (1972)
Cahill: United States Marshal (1973)
Deadly Honeymoon (1974)
Gold (1974) -- AANs
McQ (1974)
The Trial of Billy Jack (1974)
Mr. Quilp (1975)
A Report to the Commissioner (1975)
From Noon Till Three (1976)
The Incredible Sarah (1976)
The Shootist (1976)
Slap Shot (1977)
Animal House (1978)
Billy Jack Goes to Washington (1978)
Blood Brothers (1979)
Meatballs (1979)
Zulu Dawn (1979)
Trust Me (1980)
Airplane! (1980)
The Blues Brothers (1980)
The Great Santini (1980)
Saturn III (1980)
An American Werewolf in London (1981)
The Chosen (1981)
Going Ape! (1981)
Heavy Metal (1981)
Honky Tonk Freeway (1981)
Stripes (1981)
Five Days o­ne Summer (1982)
Genocide (1982)
Class (1983)
Spacehunter: Adventures in the Forbidden Zone (1983)
Trading Places (1983) -- AAN
Ghostbusters (1984)
Marie Ward - Zwischen Galgen und Glorie (1984)
Prince Jack (1984)
The Black Cauldron (1985)
Spies Like Us (1985)
Legal Eagles (1986)
Three Amigos! (1986)
Amazing Grace and Chuck (1987)
Leonard Part 6 (1987)
Da! (1988)
Funny Farm (1988)
The Good Mother (1988)
A Night in the Life of Jimmy Reardon (1988)
My Left Foot (1989)
Slipstream (1989)
The Field (1990)
The Grifters (1990)
Cape Fear (1991)
Oscar (1991)
A Rage in Harlem (1991)
Rambling Rose (1991)
The Babe (1992)
Mad Dog and Glory (1992)
The Age of Innocence (1993) -- AAN
The Cemetery Club (1993)
The Good Son (1993)
Lost in Yonkers (1993)
Devil in a Blue Dress (1995)
Frankie Starlight (1995)
Roommates (1995)
Search and Destroy (1995)
Bulletproof (1996)
Buddy (1997)
Hoodlum (1997)
The Rainmaker (1997)
Twilight (1998)
Bringing Out the Dead (1999)
The Deep End of the Ocean (1999)
Wild Wild West (1999)
Keeping the Faith (2000)
Far From Heaven (2002) -- AAN