Intrada Soundtrack Forum

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DavidinBerkeley

"Ask [the director] where the camera comes from and I'll tell him where the music comes from" (David Raksin)

I add Lalo Schifrins Prime Cut, which is unavailable on CD or LP. His score fits perfect the strange, almost surreal feeling of the movie.

I'm gonna have to add "Assualt of Precient 13" by John Carpenter, very effective 70's scoring.

Great, now i've got the theme in my head again...

Matt

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Additional 1970's scores:

Charley Varrick by Lalo Schifrin
Harry in your Pocket by Lalo Schifrin
The Parallax View by Michael Small
The Anderson Tapes by Quincy Jones
The New Centurions by Quincy Jones
Un homme est mort by Michel Legrand

It seems like the 1970's were more-or-less defined by that Jerry Fielding, Lalo Schifrin, Michael Small 'sound'. Jerry Goldsmith had it, too. Something about the collective dissonance and complexity joined with a 'cool' beat that just works for those seventies paranoia and thriller pictures.
--Doug

Oh yeah, and I'd also like to add Grusin's "Three Days of the Conder". Classic 70's film music.

Back at ya later

Great thread. Here are ten of my absolute favorites!


Images John Williams: one of the most unique film scores ever. Visceral, haunting, alien. Are masters really lost or may we someday expect a legitimate release of this masterpiece ?

The Hellstrom Chronicles Lalo Schifrin: once again a very unusual score from Lalo.

The Other Jerry Goldsmith: Americana mixed with liberal doses of dissonance and eerie sadness all rolled into one unforgettable musical statement. The folksy main theme gradually reveals hidden layers of ambivalence, all the more fitting Robert Mulligan's macabre masterpiece. The Waltons on acid, in a way.

Klute Michael Small: for all the many good reasons stated above by other fellow posters. A fascinating score begging for a proper CD release.

The Nightcomers Jerry Fielding: a weird but nonetheless fascinating sort of prequel to Henry James' Turn of the Screw. A rare instance of elegant, pastoral writing from the pen of the great Jerry Fielding. I love the score's very classical, almost English feel and reserve hiding in fact the true nature of the plot. The evil ones are not who we think. Children can be deadly and manipulative as the doomed lovers are soon to learn. Great example of scoring gainst the picture. A practice that has almost vanished in these days of mostly interchangeable scores. Shame!

Papillon Jerry Goldsmith: one of his (numerous!) outstanding achievements of the seventies. A time when every new Jerry Goldsmith score was topped by another Jerry Goldsmith score. Antonio's death is probably his most visceral piece of action writing. Awesome coda with overlapping horns glissandi (or are they clusters?). Almost playing like a scream of agony. The lenghty end title cue playing over shots of the decaying prison camp is among the composer's most powerful creations. A solemn marche funèbre building to an almost incredible level of agony and anger.

1900 Ennio Morricone: one of the most beautiful scores ever written. Period. Violence, love, and a sense of time and place perfectly captured by the composer. Director Bertolucci reportedly said Ennio Morricone had written enough national anthems for Italy in this particular score. The main titles starting with solo bassoon gradually opening into the most lyrical melodies ever is only the tip of the iceberg. Mandatory listening, if there ever was one.

Obsession Bernard Herrmann. The composer's own requiem. A profoundly moving worked mixing large orchestra, organ, women's voices a la Debussy (Sirènes). The movie plays like the ultimate Benny Herrmann concert set to accompanying images by Brian DePalma. The final reunion between father and daughter and Herrmann's glorious valse lente is one of the high point of the seventies.

Equus Richard Rodney Bennett: very sad, Bach inspired string dirges add real gravitas to Peter Shaffer's brilliant yet sometimes very esoteric monologues. The composer ignored the very psychological nature of the film and grim tone of the story and instead went straight for the implicit sadness of Peter Firth's sad, tortured psyche. Truly an unforgettable score from a master composer sadly neglected on CD!

Julia Georges Delerue. The movie may be very sparsely scored but what a beautiful score! The composer doesn't really score the drama per se but instead seems to score the passage of time, the sense of loss and remembering felt by the Jane Fonda character. The many nuances in Fred Zinnemann's direction are all exquisitely handled by the composer. The DRG LP omits quite a few dramatic cues in favor of forgettable source cues. Maybe a future released by Intrada?

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