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Home , 100 Rifles, Aaron Zigman, Alien (soundtrack), And We Were Lovers, A Patch of Blue, Brian Tyler

Volume 9, Number 7 Original for Movies and Television

Goodbye, David pg. 4 1929-2004

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7225274 93704 $4.95 U.S. • $5.95 Canada

v9n07COV.id 1 9/7/04, 3:36:04 PM v9n07COV.id 2 9/7/04, 3:36:07 PM contents AUGUST 2004

DEPARTMENTS COVER STORY

2 Editorial Jerry Goldsmith 1929-2004 Let the Healing Begin. It would be difficult to reflect on both Jerry Goldsmith’s music legacy and his recent passing without devoting an entire 4 News issue of FSM to him; so that’s what we’ve done. From fan Goodbye, David. letters and remembrances to an in-depth look at his life and 5 Record Label musical legacy, we’ve covered a lot of ground. Just as impor- Round- tant, we hope you, Jerry’s fans, find it a fitting tribute to a man What’s on the way. whose monumental work meant so much to so many. 5 Now Playing Movies and CDs in The Artist, release. 12 The Gold Standard 6 Concerts Quantifying Jerry Goldsmith’s contribution to film scoring Film music performed isn’t easy...but we’ll try anyway. around the globe. By Jeff Bond 7 Upcoming Film Assignments 19 Goldsmith Without Tears Who’s writing what The imagined, decades-long conversation with Goldsmith for whom. may be over, but his music lives on. By John S. Walsh 9 Mail Bag . 24 Islands in the Stream 10 Pukas Jerry’s industry contemporaries chime in on If Only It Were True. his life and legacy. Collected by Jeff Bond 33 Score Recent two-word titled 28 Good as Goldsmith His Movies, CDs reviewed including It didn’t get much better than 1960s-era Jerry Goldsmith. The Village, The Terminal, Here’s a closer look at four scores that helped define his style. The Punisher and The By John Takis Clearing. 42 Dear Jerry... FSM’s editor and publisher writes about the letter the never 38 FSM Marketplace penned to his favorite . By Lukas Kendall

45 Jerry Unplugged Jerry’s music wasn’t just a score for a film— it a for life. By Jason Comerford

Our Music...and More.

ON THE COVER: Illustration by Shaun Cashman ©2004

Film Score Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/AUGUST and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 AUGUST 2004

v9n07Iss.id 1 9/7/04, 4:16:47 PM EDITORIAL

Volume 9 • Number 7 Let the Healing Begin

EDITORIAL STAFF

Editor & Publisher ’m resisting the temptation to use that eral of which we’ve reprinted in this issue’s LUKAS KENDALL tired Dickens quote, but it truly has Mail Bag) from Goldsmith fans who said Executive Editor been a strange mixture of the worst and since learning of his death they have listened JONATHAN Z. KAPLAN best in film music over the past month. more closely, and with more appreciation, to Managing Editor WithI the passing of Jerry Goldsmith, Elmer his music. TIM CURRAN Bernstein and , there’s a wound And the same is happening with Elmer, Design Director in the tight-knit world of film music fandom and David, too. Maybe the best way to JOE SIKORYAK that will never fully heal. Sure, you could honor their passings and to appreciate their Supervising Content Consultant argue that neither Jerry nor Elmer was pro- contributions to film music is just to keep AL KAPLAN ducing the career-making work of his glory listening to their music, and to share it with Editor-at-Large JEFF BOND days. And David Raksin had been retired others. Perhaps we should consider it the Copyeditor for about 15 years. Still, there’s no quarrel- inheritance they have bequeathed to us. LAURA ARENDAL ing that a torch has been passed (though to Contributing Writers whom it’s unclear). These guys were the mas- s soon as we got the news of Jerry DOUG ADAMS ters. They were why we love film music. They Goldsmith’s death, we knew we JASON COMERFORD were important. And now they’re gone. would have to put a large tribute LUKE GOLJAN A Death brings us all closer to our own mor- together for this issue. We just didn’t real- ANDREW GRANADE tality. It forces us to deal with loss. It compels ize we’d have too much material to fill it. We MARK GRIFFIN us to hope. And it ultimately helps us appre- wanted to make it personal. We wanted to NICK JOY ciate what we have. In short, death brings make it interesting. More than anything, we STEVEN A. KENNEDY life. And never has that been more apparent wanted to make it matter. I hope that’s what DARREN MACDONALD KYLE RENICK than with the passing of these three men, we’ve done. We’ve tried to fill the issue with JOHN TAKIS and in particular, Jerry Goldsmith. equal amounts remembrances, anecdotes, JASON VERHAGEN Yes, people are sad, even devastated by the retrospectives and score discussion. The truth JOHN S. WALSH loss of this great artist. But his passing has is that we could probably turn the magazine CARY WONG brought a new life to his music. Let’s face into Goldsmith Score Monthly and never run it, most of us didn’t know Jerry personally. out of material. We still have to finish the BUSINESS STAFF We love to discuss what he was all about, Goldsmith Buyer’s Guide, 1999-2004, which how he did what he did, why he chose the we will do next issue. Editorial & Subscriptions he chose, or why he acted the way he And speaking of next issue, it looks like 8503 Washington Blvd. acted. The truth is, it’s none of our business. we’ll be taking a month to gather material for Culver City, CA 90232 PH. 310-253-9595 We didn’t get to know that Jerry. Instead, we our Bernstein tribute issue, which means next FAX 310-253-9588 got his music. And that’s what will live on. The month will pretty much be business as usual E-MAIL [email protected] sadness many of us feel that we will never for FSM. Then the issue after that will focus on hear another new Goldsmith score is under- the life and legacy of . Sales & Marketing Manager standable but ultimately self-serving; there’s BOB HEBERT more to his oeuvre of work than any one fan 8503 Washington Blvd. could appreciate in a lifetime. Culver City, CA 90232 So that’s what we’re doing: We’re listen- PH. 323-962-6077 ing, and with a renewed enthusiasm. I can’t FAX 310-253-9588 count the number of letters we received (sev- Tim Curran, Managing Editor

Supervising Mail Order Handler MAILMAN AL Our Website Is updated five times weekly! Point your browser at: WWW.FILMSCOREMONTHLY.COM © 2004 Vineyard Haven LLC. Printed in the U.S.A.

AUGUST 2004 2 FILM SCORE MONTHLY

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v9n07Iss.id 3 9/7/04, 4:17:10 PM Concerts Now Playing Record Label Round-Up Upcoming Film Assignments

newsprivate parties and earning Herrmann had both turned down his union card at age 15. After the chance to write the score graduating from the University for ’s romantic of , where he mystery, Laura—Herrmann told studied composition while Newman “Laura wouldn’t lis- earning his tuition through ten to Herrmann, she’d listen to his performing and conducted Debussy.” Raksin had to persuade jazz music for school football Preminger not to use the games, he moved to “” as Laura’s and arranged for dance bands. theme, finding it inappropriate for Raksin’s of George the character; Raksin was given a Gershwin’s “I Got Rhythm” weekend to create a suitable new was widely played and led to a theme—or else Preminger would rejected all submissions—until publishing contract, thanks to a use the song. Stuck for inspiration, wrote the words recommendation from Gershwin Raksin read a letter from his wife, that would forever be associated himself. who was out of town dancing with Raksin’s melody. Arrangers Herbert Spencer in a show, and realized that she Raksin worked steadily on (who would become John was essentially telling him the films through the rest of the ’40s Williams’ principal orchestrator marriage was over. The melody and ’50s, but despite his facility for his great ’70s and ’80s that Raksin’s heartbreak inspired with melody, his sensibility scores) and Edward Powell became one of the most beloved was more modern than that of recommended Raksin to Alfred movie themes of all time, and composers like and Newman, who hired him to after the film’s release, the studio , who represented work with actor-writer-director- decided to add lyrics to it. Raksin the dominant forces in film composer Charles Chaplin music at the time. In addition, DAVID RAKSIN on the score for Modern Times. his scores were often sparsely 1912–2004 Chaplin would hum or whistle spotted, though his first Oscar- his melodies, and Raksin would nominated score, for 1947’s avid Raksin died on August arrange them into the score. Forever Amber, was a lengthy work D9, 2004, at his home in Van Though Raksin’s youthful dominated by a gorgeous main Nuys, , after a brief ill- bluntness led to Chaplin firing theme. He scored everything ness. He was 92. He is survived him mere weeks into their from romantic comedy (the by his son, daughter and three relationship, Newman convinced Tracy-and-Hepburn vehicle Pat grandchildren. Chaplin to rehire him. (Raksin and Mike) to tragedy (Carrie), from Raksin was born on August appears as a bit character in noir (Force of Evil) to animation 4, 1912, in Philadelphia, PA. His Richard Attenborough’s film (James Thurber’s A Unicorn in the father, a clarinet player for the Chaplin, played by Michael Garden). Philadelphia , ran a Blevins). music store and conducted the ne of his classic scores was orchestra for silent films shown aksin contributed uncredited Ofor the wonderful at the House Rscoring for a large num- ELMER BERNSTEIN The Bad and the Beautiful, in Philadelphia, which inspired ber of B movies in the late ’30s 1922–2004 and no less a talent than Stephen Reserved. All Rights the young Raksin to pursue a and early ’40s, frequently in the Sondheim proclaimed it one of career as a film composer in an thriller genre, and studied under lmer Bernstein died August the finest movie themes ever era when composers tended to the tutelage of renowned concert E18, 2004, at his home in written. Raksin later reworked his end up in the profession rather composer , Ojai, California, after a long ill- music for the film Two Weeks in than seek it out. who was living in ness. He was 82. Another Town. Raksin studied the at the time. Despite its eventual FSM will feature an extensive Raksin received his other as a child, taught himself to classic status, his breakthrough obituary in an upcoming issue Oscar nomination for the drama play organ and percussion, film was not considered a dedicated to the legacy of Separate Tables, which earned David and formed a dance band at project by its studio, 20th Century Elmer Bernstein. Niven a Best Actor Oscar, but the

the age of 12, performing at Fox. and Bernard experience was an unsatisfying . Waldron D’Lynn courtesy Dr. Bernstein portrait

AUGUST 2004 4 FILM SCORE MONTHLY

v9n07Iss.id 4 9/7/04, 4:17:14 PM RECORD LABEL ROUND-UP

one for the composer, as the dominated by adaptations of filmmakers rejected Raksin’s ’s The River. His original version of the score and final score was for 1989 TV movie had him take a warmer, more Lady in the Corner, starring Loretta conventional approach. Over Young and . his career he worked with an Even when he wasn’t scoring ARRIVEDERCI, : Home at Last Music in Ashland. unusual variety of directors, from for the big and small screens, (Carrie) to Nicholas Raksin stayed creatively active, Due to our extensive tribute to Intrada (Bigger Than Life), from John writing concert pieces as well as Jerry Goldsmith in this issue, Now shipping—and already sold Cassavetes (Too Late ) to Jerry ballets and three stage musicals. we’ve had to limit our Record Label out—is Intrada Special Collection Lewis (The Patsy). Like many of He taught classes in film scoring Round-Up. We’ll return to the Vol. 16, Bandolero! (1968; Jerry the major composers of the at the University of Southern usual listings next issue. Goldsmith, cond. ). era (including Herrmann and California from 1956 to 2003, www.intrada.com Waxman), Raksin worked in TV taught “Urban Ecology” in USC’s Chandos as well as in features, writing School of Public Administration Due late Sept. is Vaughan Williams JOS episode scores for such programs from 1968 to 1989, and hosted a Film Music Vol. 2 (Ralph Vaughan Now available from John Scott’s as Wagon Train, G.E. Theatre and 64-part radio series, The Subject Is Williams, cond. label is his 2002 score for Time of Medical Center (the first episode), as Film Music. In 1975 he recorded the BBC Philharmonic Orchestra), the Wolf. well as the theme for the hit Ben an RCA of suites from his featuring the complete version Casey and the TV-series versions classics Laura, Forever Amber and of The Dim Little Island and the Percepto of the films Father of the Bride and The Bad and the Beautiful, and in premiere suites of 49th Parallel and Due imminently is David 5 Fingers. the 1990s each of those scores The of Elizabeth. Newman’s complete score for The received a CD release of the Brave Little Toaster (1986). ike many of the Golden Age original score tracks. He compiled Decca Lgreats, Raksin found himself in a series of essays entitled David Available now is Vanity Fair Screen Archives Entertainment less demand during the ’60s and Raksin Remembers His Colleagues: (). Forthcoming are Foxes of Harrow ’70s, especially due to the growing Hollywood Composers. The series is (David Buttolph) and Son of Fury (A. influence of on film available to order for members FSM Newman). www.screenarchives.com scoring soundtrack production, of , of We offer a coincidental salute to but Raksin himself admitted that which he was a former president. the late Jerry Goldsmith with our Sony such were the appropriate In 1996, Ekay Music published releases this month. Our Golden Available now is 2002’s Hero (Dun choice for films like Easy Rider and a sheet-music collection entitled Age release is I’ll Cry Tomorrow Tan), featuring —just not for every The Timeless Melodies of David Raksin, (1955), an early but accomplished and the KODO Drummers of movie. One of his final feature with each piece preceded by score by Jerry’s favorite fi lm Japan, along with the China scores was a memorably harsh an introduction from Raksin composer, . Our Silver Philharmonic Orchestra and and unsettling score for the psy- himself humorously discussing Age release is a 2-CD set, The Man Chorus. chological What’s the the genesis of each composition; From U.N.C.L.E. Volume 3, featuring Matter with Helen?, starring Debbie the cover has the classic movie music by Goldsmith and seven Sony Classical Reynolds and . still of Dana Andrews looking others, including ’s Due imminently is Sky Captain In 1983 he scored the acclaimed, at the portrait of Laura, with scores from The Girl From U.N.C.L.E. and the World of Tomorrow (Ed controversial TV movie The Day the photo doctored so that it is (1966). Shearmur). After, about the aftermath of Raksin wearing the fedora and Next month: Another unplanned nuclear war in Lawrence, Kansas, trench coat, not Andrews. He tribute with an alternate score Varèse Sarabande but though director Nicholas also wrote an autobiography, If (paired like saddlebags) and Due Sept. 28: Resident Evil: Meyer was normally a great sup- I Say So Myself, which is awaiting something suitably special for our Apocalypse (Jeff Danna); The Final Cut porter of film music (his first fea- publication. —Scott Bettencourt 100th Classic release. (). Due Oct. 5: The Cutting ture was scored by , Edge (Patrick Williams). and he gave important early The second edition of ’ Hip-o www.varesesarabande.com opportunities to book Music for the Movies was an Available now is Collateral (four and Cliff Eidelman), ultimately especially invaluable source of informa- cues [7:43] from James Newton Please note: much of Raksin’s score was dialed tion for this article. Howard, various). Please bear with us if are out, and the final product was not released as announced. FSM

FILM SCORE MONTHLY 5 AUGUST 2004

v9n07Iss.id 5 9/7/04, 4:17:16 PM CONCERTS Film Music Played Live Around the Globe

Colorado Goodwin, Mancini, Bernstein. Memorial Concerts Oct. 16, South Bend S.O.; Lectures and other events will be for Jerry, Elmer & David Philadelphia Story, A Place in the organized around this concert. For Sun (Waxman). more details visit www.cso.org. Germany Nov. 9, Greeley Philharmonic Oct. 9, Flanders Film Festival, Orchestra, Sunrise at Campobello Indiana Ghent, Elmer Bernstein (Waxman), Vertigo (Herrmann). Oct. 28, N.W. Indiana S.O., Taxi Tribute Concert, Dirk Brosse, Driver (Herrmann). cond., , frequent Florida lyricist collaborator and Nov. 12-14, Tampa, Florida, Kentucky friend, will be speaking; The S.O., Richard Kaufman’s first Nov. 13, Louisville S.O.; The Ten Commandments, Magnificent concert as principle pops Godfather Suite (Rota). Seven, To Kill a Mockingbird, conductor; E.T. (Williams), The The Great Escape. The evening High and the Mighty (Tiomkin), Ohio concludes with encore of The Spirit of St. Louis (Waxman), Oct. 29, 30, Columbus S.O., David Raksin’s Laura. 633 Squadron (Goodwin), The , cond.; Sleuth Oct. 15, Flanders Film Tuskegee Airmen (Holdridge), (Addison), (Herrmann). Festival, Ghent, Goldsmith “Spitfire Fugue” from The Battle concert, Dirk Brosse, cond.; of Britain (Walton), Victory at Sea Pennsylvania Mrs. Goldsmith is scheduled (Rogers), The Generals Suite, Star Nov. 6, Butler County to be in attendance. Trek: First Contact (Goldsmith). S.O.; How the West Was Won (Newman). Illinois Nov. 19, S.O., Richard Tennessee Kaufman, cond.; “Golden Nov. 5, 7, Knoxville S.O.; Psycho California Age of Hollywood”: Steiner, (Herrmann). Oct. 29, 30, Pacific S.O.; The Gold, Waxman, Newman, Magnificent Seven (Bernstein), Raksin, Jarre, Korngold, Peyton Place (Waxman). Barry, Herrmann, Tiomkin, Oct. 9, 10, Dallas S.O., Richard, Kaufman, cond.; 633 Squadron (Goodwin), The Boy Who Could Fly (Broughton), The NOW PLAYING: Films and scores in current release Tuskegee Airmen (Holdridge), vs. HARALD KLOSER Varèse Sarabande The Last Starfighter (Safan), E.T. Anacondas: The Hunt For the Blood Orchid NERIDA TYSON-CHEW Varèse Sarabande (Williams). The Brown Bunny TED CURSON, ET AL. Tulip** (Japan) The Burial Society GEORGE BLONDHEIM n/a Code 46 THE FREE ASSOCIATION Koch International Collateral Hip-O* Italy Exorcist: the Beginning n/a Oct. 10, Rome Sinfonietta, Garden State CHAD FISCHER Sony* Parco della musica (New Hero Sony Classical Auditorium of Rome), Last Life in the Universe HUALAMPONG RIDDIM n/a Scott Dunn, cond.; Leonard Little Black Book CHRISTOPHE n/a Rosenman Birthday Concert: Mean Creek TOMANDANDY n/a Chamber Symphony No. 1, Star Nicotina FERNANDO CORONA BMG (import) Trek IV, Jurij Suite, for Open Water TVT** and Orchestra, world Paparazzi BRIAN TYLER Varèse Sarabande premiere of Explosion and The Princess Diaries 2: Royal Engagement Disney* Extinction/Dirge for Dinosaurs Sky Captain and the World of Tomorrow Sony Classical (1999), Rebel Without a Cause. Superbabies: Baby Geniuses 2 PAUL ZAZA, HELMUT ZERLETT n/a Suspect Zero n/a Spain We Don’t Live Here Anymore MICHAEL CONVERTINO n/a Oct. 22-24, Dec. 1-4, Barcelona Without a Paddle n/a S.O.; : First Contact Vanity Fair MYCHAEL DANNA Decca (Goldsmith), Fahrenheit 451 Yu-Gi-Oh! The Movie: Pyramid of Light ELIK ALVAREZ, ET AL. RCA (Herrmann), Mary Shelley’s Frankenstein (Doyle). FSM *Song compilation with less than 10% underscore; **Mix of songs and score____

AUGUST 2004 6 FILM SCORE MONTHLY

v9n07Iss.id 6 9/7/04, 4:17:18 PM UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

Anne Dudley Tristan & Isolde. Joseph LoDuca Saint-Ange, Boogeyman. Conan: Crown of Iron. Surviving Christmas, Because of Winn-Dixie. Stealth (co-composed w/ BT), Son of M-N John Powell Mr. and Mrs. Smith. the Mask, Miss Congeniality 2. The Reckoning (w/ Willem The Beautiful Country. Charlie and the Chocolate Dafoe; co-composed w/ ). Karl Preusser Spymaster USA. Factory (dir. ), The Corpse Richard Marvin Eulogy (w/ Ray Romano). Bride (animated; dirs. Tim Burton, Mike Noel (dir. Chazz Palminteri). R Johnson). Richard G. Mitchell A Good Woman (w/ Trevor Rabin The Great Raid, Mr. ’s A-B Helen Hunt, Tom Wilkinson). Return. Shall We Dance? (co- F-G Libertas, Fateless, composed w/ ). Stage Beauty, Hitch, Sportman van de Eeuw. S-T Alejandro Amenábar Mar Adentro (dir. The Regulators, Bewitched (dir. Nora Mark Mothersbaugh The Life Aquatic (dir. The Bridge of San Luis Rey Amenábar). Ephron). Wes Anderson), Lords of Dogtown. (w/ Robert De Niro, Kathy Bates). Craig Armstrong Ray ( biopic). Claude Foisy Snake King, White Noise. Ira Newborn E-Girl. Team America: World Bond 21, Return to Sender. Lisa Gerrard Layer Cake. I Married a Witch (dir. Police (dirs. , Matt Stone). The Dust Factory, Sea of . Danny DeVito). Ed Shearmur Skeleton Key (dir. Iain Dreams]. Vincent Gillioz Frost. (animated). Softley). Evilenko, Napola Undertow, Partition. The Cinderella The Tollbooth. (themes), A Very Long Engagement, Nick Glennie-Smith Love and Honor, Man (dir. ; w/ Russell King Kong (dir. Peter Dark Water. Lauras Stern (animated; co-composed Crowe), Lemony Snicket’s A Series of Jackson), The Aviator (dir. Martin Being Julia. w/ ). Unfortunate Events. Scorsese). Christophe Beck The Pink Panther, Harry Gregson-Williams Bridget Jones: The Adam Nordén The Defender. The Polar Express (dir. Without a Paddle. Edge of Reason (w/ Renée Zellweger), The Libertine (w/ Johnny ). Cursed. Madagascar (DreamWorks, animated), Depp). James Stemple Bukowski: Born into This. Chris Boardman In Her Shoes (dir. Curtis Chronicles of Narnia: The Lion, the William Susman Oil on Ice, Native New Hanson). Witch & the Wardrobe (Disney). O-P Yorker. Jon Brion I Heart Huckabees. Imaginary Heroes (main Brian Tyler The Big Empty (w/ Jon BT The Underclassman, Stealth (co-com- H theme); House of Wax; Kiss, Kiss, Bang, Favreau), Sahara. posed w/ Randy Edelman). Howl’s Moving Castle (Disney, Bang; X-Men 3. Kinsey. animated). 3, King V-W David Holmes Ocean’s Twelve (dir. Steven (dir. Oliver Stone). C Soderbergh). James L. Venable The Year of the Yao. Unstoppable (w/ Wesley James Horner The Da Vinci Code (dir. Ron The Hot Sheet The Oyster Farmer. Snipes). Howard). Brighton Rock ( Alan Williams Crab Orchard. Jeff Cardoni Siete Días (aka 7 Days), Love James Newton Howard The Interpreter. stage musical). : Episode III— for Rent. Christophe Beck Elektra, The Revenge of the Sith. George S. Clinton Mortal Kombat: I-J-K Perfect Man, Taxi. Debbie Wiseman Freeze Frame, Arsène Domination, A Dirty Shame (dir. John Crash, Racing Stripes, Duma. Marco Beltrami The Flight of the Lupin. Waters), Glory Days. Jan A.P. Kaczmarek Finding Neverland (w/ Phoenix, XXX: State of the Union. Johnny Depp, Kate Winslet). Teddy Castellucci The Longest Yard Y-Z D-E Tuomas Kantelinen Mindhunters (dir. (w/ Chris Rock, Adam Sandler). Gabriel Yared Shall We Dance? (w/ John Mychael Danna Black. Renny Harlin). Bobbé Gipson The 3rd Crime Altman). John Debney The Pacifier (Disney; w/ Vin (dir. Alexander Interlude, Unlawful Gain. Christopher Young Hide and Seek, An Diesel), Christmas with the Kranks, Payne), The Last . George Fenton Valiant (Disney, Unfinished Life (dir. Lasse Hallström). Chicken Little. David Kitay Elvis Has Left the Building. animated). Aaron Zigman Raise Your Voice, The Hostage, The Upside of Penka Kouneva The Connecticut Kid. Joseph LoDuca Devour. Wendell Baker Story. Anger, Birth. Aeon Flux (w/ Hans Zimmer Spanglish, Over the Hedge, Ramin Djwadi : Trinity (w/ Wesley L Charlize Theron). A Good Year, The Weather Man (dir. Snipes; co-composed w/ RZA Adrian Lee The Reckoning (w/ Willem Brian Tyler Constantine (w/ Keanu Gore Verbinski). Toyer (dir. ; Dafoe; co-composed w/ Mark Reeves). w/ Juliette Binoche). Mancina). Hans Zimmer Lauras Stern Get Listed! Nanny McPhee (w/ Emma The Deal (w/ Selma (animated; co-composed w/ Nick Composers, send your info to Thompson, Colin Firth), Man to Man, Blair), Sledge: The Story of Frank Glennie-Smith). [email protected] FSM New (dir. Jean Beaudin). Sledge.

FILM SCORE MONTHLY 7 AUGUST 2004

v9n07Iss.id 7 9/7/04, 4:17:22 PM Be enthralled by 2 wonderful concerts in Ghent, Belgium

World Tribute to Soundtrack Jerry Goldsmith Awards

Saturday 9 October 2004 – 20h Thursday 14 October 2004 – 20h Flemish Radio Orchestra National Belgian Orchestra conductor: Dirk Brossé conductor: Dirk Brossé Stedelijke Concertzaal De Bijloke Flemish Opera Ghent, Belgium Ghent, Belgium Presented by Tommy Pearson (BBC)

World Soundtrack Awards Ceremony with guests Antonio Pinto, WSA Discovery 2003 & Sioen • Lifetime Achievement Award to Alan & Marilyn Bergman Tickets:

World Soundtrack Awards Film Concert www.teleticketservice.com • Wim Mertens in concert or call (B) 070 345 345 • Tributes to David Raksin, (NL) 0900 45 000 45 and Elmer Bernstein (other countries) +32 34 0000 34

Programme under reserve

For more information: www.filmfestival.be www.worldsoundtrackawards.com

AUGUST 2004 8 FILM SCORE MONTHLY

v9n07Iss.id 8 9/7/04, 4:17:24 PM A Very Special Collection Of Tributes & Salutes From FSM’s Readership

Themail following is but a small could write a goodbye as wellbag as creating it all is merely a mortal. It was a very surreal sight (but sampling of the letters we many of these “kids” did. And when word comes in the nice to think of Jerry as a go-for- received in commemoration of Bill Finn form of some antiseptic news it, active senior citizen). Has he Jerry Goldsmith’s passing. [email protected] link on a web page that the ever referred to doing anything man—a complete stranger, some like this in any interviews/ Lonely Are the Brave name on an album jacket—has conversations with you guys? Or ow—this man basically has ersonally, Jerry Goldsmith’s died, the news resonates with as is this just the start of a Virgin- Wscored my life. His music Pdeath has left me feeling much sadness and loss as if he Mary-esque trend of seeing Jerry is such a part of me that I feel a quite cold and hollow. I don’t were family. Goldsmith in unlikely places? part of me has died. I know that think a day ever passes without But, in a way, he was Truly saddened, sounds melodramatic, but I think me reaching for a piece of the family. For me, his incredible Chris Cooling there are a lot of film score fans man’s work to listen to. I always compositions underscored more [email protected] out there who know exactly what dreaded this day would come, than just countless Hollywood I mean. This has been a terrible and I still can’t seem to get my films. It underscored much of The Sum of All Fears year in terms of incredible people head around the fact that I’ll my life. It played behind long his morning I was shocked and dying. Michael never see him conduct again. I car rides and during active Tto learn of the death of Jerry Kamen and Jerry Goldsmith in was blessed with seeing him on afternoons of cleaning the Goldsmith. I had just bought the the same year? I am very sad three occasions, something I will house. It played behind my SACD of his 2000 London concert right now. I am looking forward carry in my heart for all times. own lesser films I made in with the LSO. I see this now as to seeing the commemoration in I’d always hoped I would get high school. It played in my my last memory of this incredible Jerry’s honor. to meet the man one day—not head when it wasn’t playing composer. This is also because in Eric Wemmer to take up too much of his anywhere else. 2000 he mentioned the making [email protected] time—simply shake his hand And because the man’s music of this CD and praised the qual- and maybe ask if he would be is immortal, even though the ity of the SACD system. And he’s ou probably have gracious enough to sign his man himself is not, his exquisite right. SACD is the very best as a Ymore than 200 posts on name for me, something I could melodies, bold listening experience. It really is as your message board called treasure for all my days. and confounding rhythms will though you’re in the concert hall “R.I.P. Jerry Goldsmith.” (See: That’s the end of that dream, continue to play for a long, long listening to a live performance. www.filmscoremonthly.com/board/posts right? I guess a little of us all died time. He will never meet my It’s something to recommend to .asp?threadID=21198&forumID=1) last Wednesday… children, but my children will everyone. Having been to most This is one of the most genuine Darren Allison hear his music—and they will of Goldsmith’s London concerts, and heartfelt threads I’ve ever Herts, know who he was. I found each and every one of seen on any net board. It is Here’s to you, Jerry, for them a delight and will remem- the real tribute to a composer erry Goldsmith was one of the offering up so much original ber them dearly. so many people thought of as Jtrue musical geniuses of the artistry, sharing it in such Flip Jansen family. You should really consider 20th century. I just want to let volume with the entire [email protected] bottling this and printing it and you know that we at Colonne Sonore world and leaving us such a mailing it to your subscribers/ send a special thought out to Jeff magnificent and lasting a gift. Forever Young clients in some way. Or at least Bond, who has written the most No mortal man could done have hen I was growing up, sending it to the Goldsmith intelligent and deepest things I’ve better. WJerry Goldsmith’s music family. ever read about Jerry’s music. Glenn Garvie was all around me…music that Just read some of these posts— Maurizio Caschetto Hawthorne, NJ I loved, and I didn’t even know you can’t get far without your [email protected] his name at the time: Dr. Kildaire, eyes starting to tear. I have found wo or three summers ago, I , , Police Story, the messages sad but at the Six Degrees of Separation Twas stunned to see a famil- the alternate Voyage to the Bottom same time comforting. Overall, didn’t know him. I never spoke iar-looking older gentleman of the Sea, and my very favorite, the thread is a true compliment Ito him, I never met him, I with a distinctive silver ponytail, The Man From U.N.C.L.E. And who to Goldsmith. Being an old fart, never shook his hand. But I know rollerblading (!) along Dockweiler knows how much he did for I at times felt superior to all that I will miss him. Beach south of Playa Del Rey. He episodes of other shows. It wasn’t you young folk who were only Being aware of an artist whose was with two younger gentlemen until 1978-79 when I learned his discovering Jerry with Star Trek or work is so timeless, it’s tough flanking him for support, one of name with the Alien and Star Trek: . No more. I only wish I to learn the truth that the man whom could have been his son. The Motion Picture scores. Since

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v9n07Iss.id 9 9/7/04, 4:17:26 PM MAIL BAG

then, I don’t think there’s been a music, and rarely has a day gone Motion Picture score. I hadn’t recognizing him in this way? single week that I haven’t listened by when one of his themes didn’t known until then that a score Brad Clay to something of his. Right now, go through my head. could be real music. [email protected] his Extreme Prejudice soundtrack is His death has had a great From that point on I followed on again, providing the perfect impact on me, but I know that his every step and every rumor The Vanishing background to reading Tony his music will always have the about any movie he might be brilliant light has gone out Hillerman’s latest novel. I can’t greatest impact. His contribution scoring. Usually I was at the store Aon this earth. Jerry, I will believe there won’t be another to my life, and to the culture, will getting his new albums the first miss you so much. I’m glad I got new Goldsmith work. live on. day or the first week they were to meet you in in 2000. Jay Kirkland Nathaniel Scott released. Sometimes I would go You have been my muse. Your [email protected] [email protected] to see the movies just to hear his music has been the soundtrack to score. my life. When I was down, your he news of Jerry Goldsmith’s Film Score Monthly has played an artistry would lift me back up and have been inspired by Jerry Tpassing hit me like a ton important part in my knowledge give me courage. When life felt IGoldsmith’s music all my life. of bricks. I knew he was old of film music culture for the mundane, your enchanted music I had always hoped I would and often sick in recent years. past several years. I especially and imagination would remind get to meet him some day, and Nonetheless, I was hoping that appreciated the several issues in me that the world is full of magic. being a young composer myself, I the master might recover his 1999 where the Goldsmith catalog When my heart was so full with dreamed of studying under him. health and go on to compose was compiled and reviewed [The affection, your sweeping majestic His film scores have had more well into his ’80s. Buyer’s Guide]. themes would only fill it further, influence on my music than that I will miss Jerry’s craftsmanship I would like to see the showing me that emotion has no of any other composer. His music and the peculiarity of his scores finally give limits. I thank you for all your has been such an integral part in this world of increasingly Goldsmith a posthumous life- brilliance and talent. I thank you of my life for so long, I feel like homogenous film music achievement award next year. for giving an adolescent so much I have lost a close friend. I don’t wallpaper (fill in the list of names). (They stiffed him so many times.) company and so much hope. And think I have ever gone an entire I originally became enchanted Can something be done to now this adult will forever cherish week without listening to his with Goldsmith’s Star Trek: The some weight in the direction of your gifts to the world.

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v9n07Iss.id 10 9/7/04, 4:17:28 PM My sadness runs so very deep watches the latter? Boys From Brazil or make your right now. My heart goes out to Extreme Prejudice Jerry Goldsmith was not only own version of Capricorn One Jerry’s family and friends. I think I a successful film and television to travel with—to the advent will play “Everywhere” from Powder, FSM’s regular critics chime in music composer; he also of compact discs with better one of Jerry’s favorites (according with a few thoughts... became a celebrity, frequently sound and the glory days of to him when he signed it for me). mobbed by fans and concert Varèse Sarabande and Film Score And to all who knew him and patrons during his occasional Monthly, his music has always loved his music, my heart goes One for the Ages appearances as a conductor, been with me. This legacy of out to you as well. Our collective ore than my favorite com- as much to his amusement as brilliant dramatic, comedic and love for this man and his music Mposer, Jerry Goldsmith sometimes to his dismay. And his often classic music left to us— is a mighty sign of just how was the name in movie credits fans could be famously annoying listened to, enjoyed, admired and powerful an effect his art had on that really mattered to me—not for obsessing over the lack of collected throughout the world all our lives. the name of a star or of a direc- a CD of The Vanishing instead of as well as being increasingly This very sad day is also a day tor. When I went to a Jerry enjoying the dozens of available performed in concert halls to be thankful that we have so Goldsmith movie, I knew no scores. Or showing up with piles and festivals—qualifies Jerry much of his work preserved on matter what failings ruined of LPs and CDs and tastelessly Goldsmith to be considered CD. My children will know the the story or the style, no mat- asking for dozens of autographs, one of the most important genius and the heart of this great ter how terrible the movie, the something I witnessed at the and admired composers in the 20th century film composer. They music would tell a story often Career Achievement Award history of music. too will get the chance to love much better than the one on the Dinner honoring Jerry given by Kyle Renick Jerry Goldsmith. screen. In the dozens of examples the Society for the Preservation Nick Zarvis in his distinguished career where of Film Music in 1993. Attendees Large Shoes to Fill [email protected] his music not only supports and at that event received one of the ilm music fans may miss Jerry highlights the action, but also now-classic pieces of Goldsmith FGoldsmith, but directors like n the Friday night after Jerry often transcends the visual to and OGoldsmith’s death, I invited take us to a different world of will miss him even more. all my friends to gather in his aural pleasure, Jerry Goldsmith Goldsmith’s sound has helped honor. Thank you, Jerry, for your leaves an unparalleled legacy pushed many films from good to wonderful music. Your legend- of some of the greatest works great, and from not so good to ary work has defined the true art of contemporary music: Lilies of quite enjoyable. In remembrance form of music for modern motion the Field, In Harm’s Way, A Patch of of the man who arguably has pictures. You will always be the Blue, The Sand Pebbles, Planet of the influenced modern film music greatest and will be remembered Apes, Patton, Chinatown, The Wind more than any other, perhaps as such. and the Lion, , Coma, Star other composers could stop rip- Jordan R. Stoitchkov Trek, The Secret of NIMH, Under Fire, ping him off for a year. Granted Buenos Aires, Argentina The Russia House, L.A. Confidential. that’s not an easy request—when The catalog is simply staggering, someone dabbles in every con- ’s Last Gleaming even including titles whose only ceivable genre, they leave foot- just learned of Jerry Goldsmith’s point of interest is the music. prints. Anyhow, I’m sure we’ll be Ideath. The article said that he Imagine The Swarm without memorabilia, a CD with a photo hearing Jerry again… suffered with cancer in his last Jerry’s buzzings, or the remake of Jerry and excerpts from four Luke Goljan years. Funny how art sometimes of Stagecoach without Jerry’s clas- scores otherwise unavailable shows nothing of the declining of sic Americana. Does at the time: The Flim-Flam Man, Case in Point the artist. I want to offer a kind of make any sense without Jerry’s Take a Hard Ride, Magic and Baby: f I were to make the claim— prayer here to Jerry: sneaky, sinuous theme that lets Secret of the Lost Legend. For Jerry Iand I am—that Jerry Goldsmith Thank you, Jerry, for The Sand us know right away there is nas- Goldsmith has always inspired is the finest composer to ever Pebbles, —the list tiness afoot? Is The Blue Max any- a fanatical following among come out of Hollywood, I would goes on and on. The world is thing more than an overheated soundtrack collectors, among submit his score for as a better place because of your Ursula Andress/George Peppard whom I include myself. From my strongest evidence. compositions—at least mine is. romance without the drama and weekly trips as a kid to the “What?!” you cry. “What about Rest in peace, Requiescat in Pace. danger of World War I aviation record department of the local , Patton, The Wind Dcn. Greg Zoltowski created by Jerry’s orchestra? The store—delighting in the new and the Lion, Alien or any other of [email protected] legacy even includes a famous Mainstream release with the his orchestral masterworks? Flint example of different versions of beautiful artwork and the lousy is fluff. Flint is…pop!” Exactly! The Write us at: FSM Mail Bag a bad movie, Legend, recording quality or the brief score to this 1967 spy adventure/ 8503 Washington Blvd. scored first by Jerry Goldsmith reign of cassettes that made it spoof has it all: adventure, Culver City, CA 90232 and later by Tangerine Dream. Is possible to carry around little romance, exoticism and humor! Or email us: (continued on page 48) [email protected] there anyone who listens to or versions of Logan’s Run or The

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v9n07Iss.id 11 9/7/04, 4:17:30 PM The Gold Standard Quantifying Jerry Goldsmith’s Contribution to Film Music Isn’t Easy

By Jeff Bond

For many readers of this magazine it must be difficult to accept the fact that there will no longer be

new Jerry Goldsmith scores to look forward to each

year. It’s worth asking whether Film Score Monthly

would exist without Jerry Goldsmith, regardless of

the composer’s known antipathy for the magazine.

Sometimes FSM could seem more like Jerry Goldsmith

Monthly, as the composer’s efforts were endlessly

analyzed, discussed, argued over and anticipated by a large percentage of readers. Among fans Goldsmith was a bit like for a certain generation, even coming into prominence around the same time in the mid-’60s. Like any influential artist, Goldsmith was both embraced and derided before he became an institution. He was threatening to those who had grown up listening to composers of Hollywood’s Golden Age, while children of the ’50s and ’60s inherently “got” his style to the point where his trademark devices and approaches came to define the very sound of motion picture music for them. And like any artist with a career that spans almost half a century, Goldsmith himself evolved from being the vanguard of the cutting edge of film music experimentation to one of the “grand old men” who more and more represented the traditional way of doing things. His greatest strength as a composer—his incredible adaptability—brought him the most criticism later in his career as he changed and evolved so as to remain useful when the precepts of movie scoring had been irreparably altered. Jerry Goldsmith’s career took shape during a period when film music was arguably forming its most distinct modes of expression, during the late 1950s and early 1960s. Prior to this, the wallpaper, lush sound of Hollywood’s Golden Age dominated film, and while the composers of this period—Max Steiner, , ,

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v9n07Iss.id 12 9/7/04, 4:17:36 PM , Dmitri Tiomkin—were all American composer’s, but he was also so flexible that for a long spectacular individual artists, the aesthetics of period throughout the ’60s and ’70s each main title he wrote for the period still leaned toward a more unified, a film seemed shockingly new—that the same man could have 19th-century romantic sound. By the late ’50s, written the jaunty, witty music for ’s 1979 The Great was beginning to creep into film Train Robbery along with the darkly threatening waltz of The Boys scoring, and important new voices were being From Brazil, the hammering overture of the thriller Capricorn One or heard, including Alex North, Elmer Bernstein the metallic nervousness of and . Film music began to Crichton’s Coma all within splinter into more varied territory as new artists about a year of each other arrived on the scene, people like , is almost inconceivable. In , Ennio Morricone, Lalo Schifrin interviews Goldsmith could and John Barry. By the mid-’60s, the biggest seem a sentimentalist with film composers had such distinct individual a surprisingly wry sense of styles that a careful listener might be able to humor, but one seemingly call the composer after hearing just the first incapable of or disinterested few bars of a main title theme. The old practice in describing his work in of filling up every minute of a film with lush mere words. music had given way to a more careful and Asked about how he spare approach, making the presence of music approached his rapturous far more effective in what it could achieve. to the third Omen That Goldsmith was able to stand out among movie, The Final Conflict, in this incredible company is a testament to his which a titanic mix of work, his unique voice and his longevity. He and brass accompanies did not spring forth from whole cloth, and he nothing less than the often cited his influences, including Bela Bartók Second Coming of Christ, (whose astringent writing for strings can be Goldsmith once replied “I Goldsmith became a defining voice in heard in Goldsmith’s Freud, in his Twilight Zone don’t know; I just did it.” scores, and in Logan’s Run, Coma and several Asked about a disturbingly sci-fi, fantasy and horror genres because other works), , anthropomorphic string he was a man of ideas who could and presumably pianist Jacob Gimpel, whose effect he used during a think of the orchestra and its possible distinctive staccato playing style became a key moment in Chinatown, trademark of Goldsmith’s work. Goldsmith dismissed any applications in unconventional terms. Goldsmith also learned from and built notion that there was a on the work of his predecessors and symbolic meaning behind the sound. “I just had the orchestra contemporaries in the film scoring world. He recreate the sounds I heard inside my head,” he explained. was a friend of Alex North, and the lean, fragile Sometimes he had his own reasons for downplaying his efforts; emotional modernism that North applied to on Ridley Scott’s 1979 Alien, the composer wrote a score that was film became a strong element of Goldsmith’s easily as experimental and shocking as his work for Planet of the writing. Goldsmith learned from the exotica of Apes a decade earlier, but Scott never fully communicated what he scores from Friedhofer and Kaper, the rhythmic wanted from Goldsmith, and the result on film was a patchwork drive of Miklós Rózsa and the keening, smooth of original Goldsmith cues and temp-track leftovers from his string writing of Alfred Newman. And while 1962 score for Freud and ’s Romantic Symphony No. his music was markedly different in style, 2. Ironically, it was Goldsmith who wanted his score to be more Bernard Herrmann’s orchestrational daring romantic, at least in the main and end titles he originally wrote, and his innate understanding of the needs of which built from a lonely trumpet theme to a majestic, melancholy genre and suspense films found a natural heir statement. But Scott and editor disliked some of the in Goldsmith. score’s bigger moments and emphasized an ethereal, creepy tone Goldsmith’s early work in radio and the for the score. Goldsmith responded with a main title sequence crucible of live television spurred his ability that he claimed took him five minutes to write—a mix of ghostly to work to exacting standards and with low flutes and echoing percussion, something that seemed to echo remarkable speed, often scoring several from the remains of a dead, ossified culture. Yet one critic noted episodes of different TV shows in the space of that the main title “defeats musically everything that Goldsmith a week. And his early efforts quickly became has previously written.” iconic even though the composer was just Goldsmith dismissed the score for years after as a “bunch of beginning to explore his style. In particular, effects,” saying, “…it gets boring when you’re just writing fear all the his memorable scores for Rod Serling’s The time.” Yet while the score is undeniably one of the most frightening Twilight Zone helped develop new approaches ever written, Goldsmith achieved an extra level by using blown to horror and suspense, areas that Goldsmith shells, didgeridoos and medieval serpents to give a ghastly, would dominate for the next few decades. truly alien “voice” to the film’s silent creature, creating music that Goldsmith’s voice was as distinctive as any really seemed to come from another world.

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v9n07Iss.id 13 9/7/04, 4:17:38 PM Despite his protestations to the contrary (always insisting that he score written (and rewritten) under impossible simply reacted to film emotionally and then wrote the appropriate circumstances that seemed fated to stand in the music), Goldsmith became a defining voice in the , shadow of John Williams’ earlier Star Wars music. fantasy and horror genres because he was a man of ideas who But Goldsmith managed to bring the project was able to think of the orchestra and its possible applications in the martial fire and scope that Williams had unconventional terms. supplied for the Lucasfilm epic while striking The litany of imaginative out in his own direction. A brassy march for effects he was able to apply the film’s title music was almost obligatory, but to films of unusual subject Goldsmith’s was more driving and American matter is legion: the electric in character than Williams’ intentional nod to gong that played like a Hollywood’s Golden Age. Goldsmith not only to the Seaview’s got to write an elegant, spectral love theme for sonar ping in his short-lived the film, he also adapted it for the last “road- theme to the television series show” pre-credit overture ever to be written Voyage to the Bottom of the Sea; for an American movie. But while his majestic, the electronic motif that noble theme perfectly encapsulated the Star added a high-tech element Trek franchise (so much so that it was later used to the thriller score The Satan as the title music for the popular Star Trek: The Bug and the exotic-sounding, Next Generation TV series, leading a few young almost Middle Eastern Trekkies to accuse Goldsmith of ripping the melody Goldsmith applied theme off when he reprised it in Star Trek V), it to the film’s germ-warfare was Goldsmith’s approach to the film’s science- bug, which contributed to the fiction aspects that showed the composer at his Goldsmith was a master at processing film’s xenophobic, paranoid most ingenious and adaptable. He reworked atmosphere; the Lorelei a recurrent open-fifth fanfare—developed in exotic, ethnic sensibilities musically— soprano voice that book- earlier projects like Papillon and The Wind and but he had a special talent for Americana ended The Illustrated Man with the Lion—into an exciting theme for the film’s a sense of destiny and fate Klingons, which helped reposition these original foretold; the upside-down villains from the ’60s into a new, compellingly use of acoustic instruments barbaric role. And his use of the percussive Planet of the Apes that musically depicted blaster beam to herald the film’s mysterious -down civilization, and the wild alien menace, V’ger, was more effective in f a Brazilian cuika that put simian characterizing this incomprehensible entity than the middle of the orchestra; the the film’s special effects. animal howls and screeches It was typical of Goldsmith’s positioning ed the demons of hell itself in throughout the late ’70s and ’80s that the Star o Waltz; the submerged electronic Trek movie series became the also-ran of sci-fi The Reincarnation of Peter Proud to franchises, a series of reliable money-makers the memories of a drowned man that never managed to attain much respect. m beyond the grave; the three- Goldsmith wasn’t asked to work on the two ato that symbolized an entire most successful entries in the film series, The opia in Logan’s Run. Wrath of Khan and The Voyage Home. William th wrote one of his most Shatner asked him to return to the franchise gorgeous love themes for the psychological thriller Magic, for the disastrous Star Trek V: The Final Frontier, then smashed it headlong against his seesawing, maddening and just as on bombs like Damnation Alley and harmonica motif for the ventriloquist dummy “Fats.” He created The Swarm, Goldsmith came out smelling like a horror trademark by transforming the pseudo-religious Latin roses while the film tanked (in an unusually of Carl Orff and Stravinsky into the demonic voices of sympathetic review, Newsweek’s David Ansen the Omen series. For Poltergeist, Goldsmith focused on a world of said “…the film owes much of its dramatic pull childhood nightmares, pitting soothing lullabies and spectral to Jerry Goldsmith’s big, hard-working score.”). awe against a feral, carnivorous malice so convincingly written Goldsmith’s Trek V score was less experimental and performed that the composer was able to suggest a than his TMP magnum opus—but it was still malevolence that is never really given visible shape or form. rich with new themes even while it returned When he scored Joe Dante’s “It’s a Good Life” segment of Twilight to material from the first film to give the Zone—The Movie, he took an antique comic device—an old-time score the feeling of a new movement in an car horn—and turned it into a spine-chilling horror . ongoing symphony. Goldsmith returned to the franchise for First Contact, working with Star Trek…and Beyond son Joel to underscore the TV menace of the For many, Goldsmith’s masterpiece was his 1979 score to Star Trek: Borg; for Insurrection, where he characterized The Motion Picture (even Goldsmith cited it as one of his favorites), a a peaceful agrarian culture with one of the

AUGUST 2004 14 FILM SCORE MONTHLY

v9n07Iss.id 14 9/7/04, 4:17:44 PM gentlest themes ever produced for the movie franchise; and filmmakers had depicted the American West in broad for the moribund Star Trek Nemesis, one of the last scores in romantic strokes, Goldsmith approached the genre Goldsmith’s career. While Nemesis showed some fatigue in its from its dark and dangerous underside, depicting melodic material, Goldsmith threw himself into creating some the wilderness of the frontier in spare, brutally of the most thunderous space-battle music of the franchise, percussive terms into which heroic folk tunes with enough percussion to put listeners in mind of some of his intruded cautiously in minor registers before they memorable war music from The Blue Max. could declare themselves fully. Rio Conchos and 100 While he was capable of scoring in a delicate, emotional Rifles were as tough and aggressive as any mode, Goldsmith’s music seemed to appeal to men more than score ever written, while Take a Hard Ride—a bizarre women, and he had a special knack for action, violence and blaxploitation gamble—was approached almost tension—often sketching out the persona of the lonely male hero wistfully. Goldsmith’s contemporaries on the with a spare, isolated trumpet solo while the abrasive snarling prairie of the ’60s were Ennio Morricone and Elmer

aggression (that said, Goldsmith —Bernstein embracing the wide- still tackled his share of “women’s pictures”—like The Stripper, Angie, Not Without My Daughter, Medicine Man and A Patch of Blue—with sensitivity and passion). He loved working on projects like Rudy or Legend that gave voice to his romantic, emotional side Take a Hard Ride or by out-Elmering Elmer with a and often dismissed his action and horror scores as exercises in effect; Rio Lobo. But for the most part but somehow Goldsmith’s grasp of the dark side of human psychology was

contemporaries (his agent Richard Kraft described him as a “blue collar composer”); self-deprecating and wryly funny, Goldsmith seemed like the kind of guy you could have a beer with, while with someone like John Williams you’d expect a glass of claret.

Master of Genres Goldsmith’s mastery of the action genre produced some of the most exciting movie scores ever written. From the beginning he favored jagged, idiosyncratic rhythms that gave many of his action cues the feeling of some kind of infernal machine that unwound with increasing power and freneticism, gathering orchestral forces together into explosive finales. He developed the percussive piano playing he had employed in an early chase in the black-and-white thriller Shock Treatment into the unforgettable action showpieces of Planet of the Apes, fashioned elaborate action finales for battle sequences in The Blue Max and The Sand Pebbles and Asked about how he approached his rapturous finale THE FINAL CONFLICT, brought a crazed, desperate mania to the foot chases of Papillon. with its titanic mix of choir and brass for the Second Coming of Christ, He had a knack for bringing out vibrant performances, like the wild trumpet volley that climaxes the furious “Raisuli Attacks” cue Goldsmith once replied “I don’t know; I just did it.” in , and his scores remained both percussion- driven and expressive long after most big-budget movies had theme for an ill-fated military train in , creating the turned to a kind of indistinct orchestral mush—his last action chilly, lonely snowscapes of the folk-driven Wild Rovers or the score, Timeline, was as drum-heavy as ever. spare, romantic feeling of ’s The Ballad of Cable Hogue. Goldsmith managed to showcase this kind of confidence and The virtual disappearance of the genre left Goldsmith without power on his earliest film projects, two westerns: Black Patch and one of his most reliable vehicles for strong melodic themes, Face of a Fugitive. Goldsmith never scored a classic western but although he contributed one of his better tunes to the western did provide highly effective scores for character-driven pieces TV pilot Hollister in 1990. A few years later a scheduling conflict like Hour of the Gun, The Ballad of Cable Hogue andWild Rovers; his lost fans of the composer’s work a tremendous opportunity other western projects were action-oriented programmers. But when Goldsmith dropped out of scoring duties for Tombstone, a he brought a new perspective to the “oater” that seemed in a surprisingly good return to the genre from the usually moribund strange way to anticipate the death of the genre that would director George P. Cosmatos. There’s no telling what Goldsmith occur by the mid-1970s. Where previous composers and might have done with Tombstone’s thunderous, masterfully edited

FILM SCORE MONTHLY 15 AUGUST 2004

v9n07Iss.id 15 9/7/04, 4:17:52 PM unfights and chases (ultimately scored by Bruce the Waterfront. Goldsmith’s tango approach to Six Degrees of Separation Broughton), but a hint arrived a year later in 1994 was so slight that the had to be padded out when Goldsmith scored the inferior Bad Girls. The with dialogue from the film, but his timing of the score’s final lm about four prostitutes turned bank robbers moments in the film is masterful. was a joke without a punch line, but Goldsmith’s mbunctious score was as fiery as some of his Bad Films, Good Goldsmith arlier western efforts. As for Goldsmith’s “bad” films, even he once admitted that he Goldsmith was a master at processing exotic, couldn’t tell whether a movie was good or bad by the time he hnic sensibilities through his own musical looked at a final cut (he thought Nemesis, arguably the worst of rsonality, making him a natural for epics and the Star Trek films, was the best one yet). Whatever he thought of obe-spanning stories like The Spiral Road, The Sand the messes he was handed, Goldsmith almost always seemed to bles, The Chairman, Papillon, The Wind and the Lion be scoring some perfect version of the film in his head and thus d Islands in the Stream. He could employ those created musical dramaturgies that handily defeated the films for me skills in war films like Tora! Tora! Tora! and which they were written. In doing so he created an indelible Inchon or tackle character in a masterpiece like Patton, a score that part of his legacy and probably a good deal of the fandom journeys from the heights of military hubris to the ugly realities he felt so conflicted about. For the casual filmgoer, buying a of war in the time between the beginning and end of its main movie soundtrack meant some kind of attempt to recreate the title cue alone. He had a special talent for a delicate Americana feeling or experience of viewing a film they admired. With sound that favored small ensembles for an almost folk/chamber Goldsmith projects like Shamus, , High Velocity, approach, heard in projects like Lilies of the Field, A Patch of Blue, the Players, Caboblanco, The Salamander, Damnation Alley, The Swarm, The TV movie The Red Pony, the horror film The Other and the Sissy Final Conflict, Supergirl, Runaway, Baby, Leviathan, Congo, , Spacek drama Raggedy Man; he could leap instantly from the most The Haunting, Link, King Solomon’s Mines, Lionheart, Rent-A-Cop, Not fragile Americana tune to jarring dissonant strokes and lurching, Without My Daughter, Sleeping With the Enemy, Medicine Man, Mom devilish dances of evil, seamlessly crossing between heartfelt and Dad Save the World, Mr. Baseball, The Vanishing, Bad Girls, The beauty and inspired ugliness in the space of a few notes. Shadow, I.Q., Chain Reaction, U.S. Marshals and Along Came a Spider, In the first half of Goldsmith’s career you certainly wouldn’t want to relive the film experience—but he was probably doing as many A- most of Goldsmith’s scores from these movies stood on their list pictures as any other composer own as fascinating soundtrack albums. Goldsmith got annoyed working—films like Freud, Lonely Are the at fans who collected his scores “like bottlecaps,” but his work Brave, A Patch of Blue, The Sand Pebbles, Planet showed such amazing continuity and detail that they seemed to of the Apes, Patton, Papillon, Chinatown and engage the listener in a kind of organic relationship. Collectors The Great Train Robbery were the Oscar were driven to own as many Goldsmith albums as they could bait projects of their day and more because they all seemed to form some kind of immense tapestry, often than not earned the composer and any one of them might be the Rosetta stone that allowed a Academy Award nominations. But fan to see the context for his other works. the blockbuster mentality of the post- If there was one genre Goldsmith didn’t conquer (and in his Star Wars era turned the A/B picture career he must have written music for just about every type of aesthetic on its head as prestige pictures film imaginable), it was probably comedy. He did them: Take Her, began to pile up at the end of the year She’s Mine, S*P*Y*S, The Flim Flam Man, The Trouble With Angels, Mr. and boast lower budgets and more Baseball, Mom and Dad Save the World, I.Q.…but his music’s innate subdued production values, in many energy sometimes seemed to compete with onscreen humor, cases, than the sci-fi and action pictures and one might have assumed he didn’t have a particularly that had once been the B films of the sharp personal sense of humor. But in fact Goldsmith could be past. Goldsmith’s track record in those quick-witted and funny in person. During a tribute to his work Whatever he thought of his assignments genres was impeccable, and he became at the Museum of Radio and Television, Goldsmith—interviewed (good or bad), Goldsmith almost always more and more in demand for sci-fi a few months before he premiered his specially commissioned and action throughout the ’80s and Fireworks composition at the —was asked how seemed to be scoring some perfect ’90s. You could argue that Goldsmith far along he was on that work. Goldsmith did a take worthy of version of the film in his head—handily sought these assignments out and that Jack Benny and said “Gee…I mean, what’s the rush?” He kept his defeating the films’ shortcomings. he lavished more effort and attention concert performances enlivened with banter from the podium, on his blockbuster scores than he did although at the request of his wife he eventually eliminated on the few “personal” pictures he was a line about how working on Basic Instinct made him feel like able to score. In fact, there was simply more that music could “a gynecologist after a hard day at the office.” Most of his best accomplish in the “bad” films than in the good, as the aesthetics wisecracks were charmingly offhand: On his commentary to the of A films had less and less use for music. Goldsmith’s A-list Hollow Man DVD, Goldsmith noted the simplicity of a transitional films of the ’90s—The Russia House, City Hall, Six Degrees of Separation cue that played over an aerial shot of the nation’s capital by and L.A. Confidential—were mostly subdued, conceptual efforts. saying “It’s Washington; what am I supposed to do, play ‘Hail to The Russia House may have established the current fetish for the the Chief?’ ” , while the urban landscapes of City Hall and L.A. Confidential Goldsmith took some flack from critics and fans in later years seemed to be Goldsmith’s dual salute to ’s On for streamlining his style and de-emphasizing the expressive

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v9n07Iss.id 16 9/7/04, 4:17:56 PM counterlines and dynamic effects that like Runaway, Psycho II, First While other composers of his generation dominated his scores, but he was really Blood and The Challenge, which adapting to a sonic environment in might have received showier had succumbed to a kind of Hollywood which there was less and less room openings in earlier years. exile by the 21st century, Goldsmith for music to make a contribution. In remained at the center of the industry. fact, he was the only composer of his The Synth Years generation (beginning in the late 1950s) The mid- to late-’80s marked to remain viable and in demand well a particular upheaval in into the new millennium. Given the sheer Goldsmith’s style. After years of number of notes Goldsmith must have experimenting with electronic written over the course of his career, the recording techniques and overall level of quality, sophistication , Goldsmith pushed and experimentation in his work stands them to the forefront, writing as a truly remarkable achievement. The his first all-electronic score (for evolution of Goldsmith’s style has been Michael Crichton’s Runaway) a topic both fascinating and controversial and favoring electronics in to fans, and it’s a phenomenon almost scores like Link, Extreme Prejudice, unique to the composer. A careful Hoosiers and Rent-a-Cop. For the listener stands a good chance of being first time, Goldsmith began able to guess the year any Goldsmith to retreat from the growing composition was written in: His music complexity and thickness of of the late ’50s and early ’60s features his orchestral scores, making Rent-A-Cop, The ’burbs and Leviathan almost somewhat less developed melody and unrecognizable as the work of the man who’d written some of the most frequently bears resemblance to his note-heavy scores of the past two decades. But also, he was facing works in approach (although first time in which a Jerry Goldsmith score wasn’t a slam dunk for every those could vary from the Bartók and movie project he signed onto. His elaborate, romantic score for Ridley Schoenberg-influenced “The Invaders” Scott’s Legend became one of the highest-profile rejected scores in history and “Nervous Man in a Four Dollar and led to a permanent falling-out with the director. He withdrew from Room” to the delicately brittle Americana a collaboration with Oliver Stone on Wall Street and had scores replaced of “The Big Tall Wish” or “Dust”); the more on Alien Nation and The Public Eye. Goldsmith was still very much in the elaborate action cues and showmanship game; his score for Total Recall—his first collaboration with director Paul that were to be a hallmark of his work Verhoeven—was a masterpiece of complex action writing and one that began to make themselves heard toward the composer was particularly proud of. But it was also a warning shot the middle of the decade in scores like Rio in the new wave of bone-crunching ’90s action films in which music Conchos and . The modernistic, played second fiddle to sound effects. “Nobody really gave a damn,” strident sound of his ’60s work climaxed Goldsmith said when asked about his Total Recall score. in spectacular scores like The Blue Max, The day in which elaborate action scores could receive Oscar The Sand Pebbles and The Chairman, while nominations had seemingly passed, and Goldsmith swore off action his experimental leanings found their movies in the aftermath of Total Recall, preferring to focus on personal heights of expression in Planet of the Apes, pictures like The Russia House, Not Without My Daughter, Sleeping With the and Logan’s Run. By the Enemy, I.Q., Powder, and Love Field. His electronic-driven score end of the ’70s, Goldsmith was already to Hoosiers had earned an Oscar nomination and remained a personal beginning to lean in a more romantic favorite; the follow-up, Rudy, took his sentimental approach to sports direction, and you can hear the collision films even further and became an inspirational movie- staple. of his earlier modernistic sensibilities in Goldsmith did return to action scores, continuing his predilection for scores like Star Trek: The Motion Picture and scoring bad films (The Shadow, Congo, Chain Reaction) but also tackling films Poltergeist; Goldsmith was exploring a fuller that stood up better under scrutiny (, The Edge). orchestral palette in his scores of the early Big projects still came Goldsmith’s way—Paramount’s period thriller ’80s (compare the leaner ’70s sound of, say, The Ghost and the Darkness, the Harrison Ford adventure Air Force One, the 1978’s Capricorn One score and its richer- Star Trek hit First Contact. And after several lean years, Goldsmith earned sounding album rerecording). Where his back-to-back Academy Award nominations for his tough, percussive scores of the ’60s and ’70s often featured score to L.A. Confidential and his energetic, sweeping work on the dynamic, aggressive showpieces for animated adventure . He had a huge summer blockbuster hit in their main title pieces (1981’s Inchon, The ’ , but Goldsmith reportedly disliked the Salamander and Night Crossing were some of film and refused to work on its sequel (robbing us of a Jerry Goldsmith Goldsmith’s final statements in this vein), Van Helsing score). Moviegoers were often treated to Goldsmith’s music Goldsmith seemed to learn a lesson from even when they were least aware of it: he wrote the now-familiar the subdued approach of his Poltergeist Universal and Carolco logo themes, he composed a propulsive piece score’s opening and thereafter wrote of music for the trailer for Judge Dredd that became almost as familiar to reflective main titles even on projects action-movie trailers as James Horner’s , and he wrote a fanfare

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v9n07Iss.id 17 9/7/04, 5:51:57 PM for the Academy Awards that is still played during the broadcasts. film’s action with the call of an electronic effect that was halfway Goldsmith reunited with Paul Verhoeven for the last time on Hollow between a serpent and a ram’s horn. Unfortunately the drastic recutting Man. It was a failure as a film, but his muscular, foreboding score showed of the film also made Timeline Goldsmith’s last rejected film score. that he had found a collaborator in the dark-minded Verhoeven, who On his last score, Goldsmith returned to work for director Joe Dante, inspired him almost as much as his old friend Franklin Schaffner. His with whom he’d first collaborated on 1983’s Twilight Zone—The Movie. haunting choral title music for The Sum of All Fears proved that he could : Back in Action was a slight, marketing-driven comedy, but still find original and effective approaches to familiar genres. Richard Goldsmith used its visual energy to revisit his glory days of the ’60s and Donner’s Timeline proved the same: Before 1987’s Lionheart, Goldsmith ’70s, writing a brightly humorous and busy score bursting with notes had never scored a medieval epic. After Lionheart, and and full of in-jokes (only he could have conceived of colliding the Looney , the composer seemed to have exhausted everything he Tunes signature melody “The Merry-Go-Round Broke Down” with the had to say on the subject, and, with its interchangeable characters and stabbing string strokes of Herrmann’s Psycho). His health had been failing underdeveloped time travel plot, Timeline didn’t seem like the most for some time by 2003, but Timeline and Looney Tunes showed no signs of inspirational vehicle for Goldsmith’s talents. But he rose to the occasion, being written by anyone but a composer in top form. Goldsmith passed writing his last, great, rousing action score for the movie, igniting the the baton to composer John Debney in the final stages of the Looney Tunes project, and Debney finished the film, after which Goldsmith privately retired. While some were aware of Goldsmith’s failing health, it’s indicative of Jerry Goldsmith’s continuing vitality and adaptability that fans were guessing at and anticipating his next projects right up until the moment of his death. There was a new David Anspaugh sports film, a television project, talk of another Star Trek film, all discussed under the assumption that Goldsmith would be writing the music. While other composers of his generation had largely succumbed to a kind of Hollywood exile, Goldsmith remained at the center of the industry. In some ways he was a victim of his own success—standards for a new Jerry Goldsmith score were always stratospheric, yet Goldsmith could usually be depended on to take unusual approaches to new projects that often frustrated fan expectations. Collectors were always looking forward to the next Goldsmith score, certain that this one would be THE one— the masterpiece that would define his career. But in fact, Goldsmith really wrote one long masterpiece, and the few lulls in his output—the “lesser” scores that weren’t appreciated at the time of their release—were just variations in a 47-year sine wave. Thankfully, there are still “new” Goldsmith works to discover, and hopefully we’ll see this great composer appreciated, reinterpreted, re-recorded and A collection of Ennio Morricone’s classic explored just as other great masters of the film scores performed by Yo-Yo Ma, past like Bernard Herrmann, Miklós Rózsa conducted by the legendary composer. and Alex North have been. Goldsmith’s music always seemed to have a life of its own; no Featuring music from “,” “Cinema Paradiso,” matter how often he downplayed some of his “The Untouchables” and “The Good, The Bad and The Ugly.” scores—insisting they weren’t “special” enough to warrant their own albums—virtually all of the sonyclassical.com yo-yoma.com music Goldsmith wrote for film and television stands as an individual work of art, something c and “SONY CLASSICAL” Reg. U.S. Pat. & Tm. Off. Marca Registrada./© 2004 Sony BMG Music Entertainment that engages and involves the listener long after the projects they were written for have Available at been forgotten. In that sense, Jerry Goldsmith is still very much alive, and we can look forward to a rewarding relationship with the man and his music for a long time to come. FSM

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v9n07Iss.id 18 9/7/04, 4:18:00 PM Even though literally hundreds of “stars” came and Goldsmith went while he continued working, Jerry Goldsmith was “below the line” Without Tears talent, to use one of those accurate yet slightly cruel Hollywoodisms. Memories of an Imaginary Conversation When below-the-line talents die, By John S. Walsh their bios have a sameness, as if the

obituary writers are cribbing off ’s agent’s website. We hear repeatedly about the ’s early beginnings in live TV, the Oscars won, the famous spouse. The bios for Jerry Goldsmith always seemed to mention that he was a clerk/typist for CBS; that he won one Oscar, for The Omen; that he wrote the TV themes for The Waltons and Star Trek: The Next Generation; and that he had started in live TV and had written scores for over four decades. The sameness of these background pieces tells us less about the subject than about the writers. What it tells us is they don’t care much about the death of someone who writes “background” music for bad movies. As is the case with all of the dead, what strangers perceive is very different from the truth. When one discusses a director or writer, one can describe images or quote words, but how does one write about music without knowing the trade? Music is its own language and resists translation into words. Harder still is how to describe how this music touches the lone fan, sitting in his or her home, putting on a record or CD of music intended to be heard in a theater with hundreds of strangers sharing a experience, the music only one part of the whole. Every other form of music is a piece of work in itself—even ballet music and Broadway musicals are aimed at a listener. Yet many believe a film score fails if someone notices it. (I believe this is one of the most ridiculous and ignored concepts in all of film theory, but that is for another time.) Yet music certainly does speak to us. Just as certainly, it speaks about the film music composer in a way a description of the artist or his life cannot. His is among the most compromised of the high arts, as he may have to score the projects offered to him and may not get the kinds of films he would prefer. This results in a tension between the ILLUSTRATION BY JAMES GOODRIDGE composer and the film to be scored. I’m not

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v9n07Iss.id 19 9/7/04, 4:18:02 PM describing emotional tension but the auteur theory First Words tension between the director and the — My imaginary conversation with Goldsmith began the according to one aspect of the theory, the “art” in a film summer I bought my first soundtrack—to Star Wars. I comes from the director dealing with the script. His like loved it, it was thrilling, and I was not surprised that the or disdain for the product may influence his approach composer was the same man who had scored those Lost and the results. in Space episodes that first introduced me to the thrills The orchestrator, copyist or ghostwriter are the of music for film and television. After listening to it equivalent of sculptor’s assistants; they may do quite a bit repeatedly, I decided to look for more such music. of the cutting, but in the end the composer is the one who Earlier in the summer I’d noticed the soundtrack decides how to address the film, often with a lot of other album to Logan’s Run. I held the album numerous times, people putting in their ideas. Whether the assignment is wondering if I should spend that kind of money—$5.99. a joy or drudgery, all scoring is a conversation between Being a child of Creature Double Feature and Harlan Ellison, the , director, producer et al in one camp I was very interested in the subject matter. Emboldened and, in the other, the lonely composer who comes in at by the pleasures of Star Wars, I bought the Logan’s Run the end and addresses what the others have wrought. album, and was immediately…confused. It had some The production team may have intended Shakespearean interesting moments—well, there was one really good drama but come up with mere melodrama—how does moment: “You’re Renewed,” which was more propulsive the composer reconcile the finished product with the and violent than the action music in the Star Wars score. intentions behind the labor? (The Star Wars music was nicely exciting; this was rough.) The answer is, he listens. Not to intentions, but to the I went back to listening to Star Wars, and then Close final product. The finest film music artists are the ones Encounters of the Third Kind, though I occasionally listened who have the most-developed voice as well as the ability to the Goldsmith score. I found the romantic selections to listen. syrupy and the electronic material just weird. But a friend who listened to punk music—a 7th-grader on the The Road Less Traveled cutting edge—found the electronic selections funny yet Take the two scores for Legend. Jerry Goldsmith and the interesting. members of Tangerine Dream reacted very differently to I didn’t buy another Goldsmith until Damien: The Omen the versions of the film they had to work with. I believe II, but that was it. It sounded like a different person wrote Tangerine Dream decided to try to mold the film so it it, yet that drive was there—as well as the truly creepy would be seen as being something it was not, an adult scary moments. fantasy film with surfaces that enchant but are not to Shortly thereafter, I was looking forward to the new be taken as true, as if the fairy tale world depicted was film Alien, which my mother was on the verge of allowing a sham that the characters had best become aware of if me to go see with some adult friends. I was reading about they wished to survive. the movie in Starlog and Cinefantastique, which I bought I believe that Goldsmith dove much deeper and on adventurous trips into Boston and Cambridge. In revealed what made him perhaps the greatest American the Alien print ad, I noticed that Jerry Goldsmith had practitioner of composition for films. Think of it this way: written the music. (An odd credit, I thought—just “Music The members of Tangerine Dream seem to have watched Jerry Goldsmith,” no “by” or “composed by,” just that the film, then sat at their keyboards and said “Okay, THIS appropriate combination of words.) is what you are.” Goldsmith seems to have watched the Finally, sitting in the Sack Charles theater—where the film and asked, “What ARE you?” Then he wrote a score film played exclusively—I was entranced by that opening that helped the film be what it tried to be. that Goldsmith later dismissed so casually when asked The resulting score contains some ill-chosen synth about it. I think now, how could he think so little of a moments (did it occur to Goldsmith that some of the communication that meant so much to me? synth sounds he used in dramatic films were perilously As I went through high school, my friends found my close to those he used for comic effect in S*P*Y*S and interest amusing and joked that they thought of me , for example?), and an almost embarrassing whenever they saw Goldsmith’s credit. I began haunting fireside dance that shows whimsy was not one of record stores daily every time a new film of his came out the composer’s stronger suits. But the score is a rich (it says “album available on Polydor,” so why isn’t the embroidery of what is present in the material. One record OUT yet?). I became a regular customer of Boston’s cannot make a classic film with a score alone, but a record stores, new and used, picking up Chinatown at score can make a film the best it can possibly be. Nuggets, The Boys From Brazil at Strawberries, Star Trek: The Music composition, like writing, is part Motion Picture at Good Vibrations, where I later worked. autobiography. Each artist tells you something of I picked up Outland the same day I got Raiders of the Lost himself because he cannot help but put part of himself Ark, got Inchon through the mail (warped…just like the into the work. When you listen to the music of Jerry other two copies I bought—to this day I don’t have it on Goldsmith, what is he telling you? Is there more of the CD or playable record); Twilight Zone was like getting four man in a piece of his music than in all the articles that at once…Legend came through an album importer who began “Oscar-winning composer Jerry Goldsmith died made it his goal to get it for me because it was so obvious in his sleep…”? I wanted everything I could grab by Goldsmith…

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v9n07Iss.id 20 9/7/04, 4:18:04 PM The first opportunity I skipped was The Lonely Guy—Jerry, I are Star Trek groupies). To me, Goldsmith’s music had thought, what are you doing scoring that kind of thing? Back to a manic-depressive quality, and I can think of few action, man! I picked it up used and did not think much of it. Link composers who write such frantic action music yet had annoying drums, but even that did not really bother me—he so excel in frightening or sad scoring. Considering the was trying new things, and that was what I liked about him. dark energy that is Goldsmith’s trademark, is there At some point I wrote a fan letter. I never received a reply, but any wonder this music becomes important to many I figured he just never received it. Busy guy. of his fans when they are teenagers? (It may seem odd Film Score Monthly and Soundtrack! were the first real connections that some of these young people find a connection to the man himself, in interviews, reports and reviews. As the ’80s with a man who just died at the age of 75, while their became the ’90s, I found more of those “experiments” that did not moshing friends are similarly united with musicians work for me, and as the ’90s continued, I felt he was phoning it one-third his age.) Heavy metal, gothic rock, and in. Subsequent listens often proved to me I just hadn’t initially horror and scores are attractive connected with what Goldsmith was saying at first. But there was to angst-plagued teenaged boys seeking some kind a tough string there: Mom and Dad Save the World (1992), Mr. Baseball of feedback from art, some validation that these (1992), Love Field (1992)—not bad at all, but no Total Recall—Forever sometimes unspeakable passions have been felt by Young (1992), Matinee (1993)—which I grew to appreciate—Dennis others. The violence and anger and misery depicted the Menace (1993)—what was going on here? Why was Goldsmith in these genres are reflections of the turmoil—real or scoring such crap? To be different? To stretch? Because there was heightened—boys feel when they are not part of the nothing better? popular crowd, boys who find women intimidating Rudy (1993) was a partial return to form, not like the great, and who retreat into horror fiction and violent films. tough days—Goldsmith has always struck me as a most masculine Boys hear this exciting music on episodes of science composer who secretly was a romantic but could not square his fiction television shows and in horror movies, those soft inside with the places his talent took him. most easily accessible of forbidden fruits. The last decade was spotty. The lion who wrote and Star Trek V: The Final Frontier seemed to have mellowed. I am not entirely Jerry and Johnny convinced that his later scores are not just different, but right now John Williams is frequently the first escort into the they feel thin. Certainly the ability was there, but the fire seemed world of film music, though some find themselves missing. Maybe he was just tired of fighting the sound design and drawn to the darker, edgier material. Star Wars and effects, which began to envelop films (and overwhelm the picture) are beautiful and exciting works, but they are during this era. also inherently palatable. Star Trek: The Motion Picture and Alien are also Undeniably Jerry beautiful and exciting works, but they are challenging I’ve often said that every Goldsmith score surprised me, that each in ways the other two are not. The Goldsmith scores main title was far from what I’d guessed it would be considering aren’t just orchestral and attractive; they include Goldsmith’s talent and the film’s subject matter. The man could moments of awe-inducing power and terror—not the write something that revealed new elements after repeated “fun horror” of Jaws’ shark theme, but the disturbing listenings yet also supported the films on first viewing. music for V’ger and the alien planet, which arouse One subject that may have annoyed Goldsmith is the fan sensations of both fear and wonderment at once. dialogue about his later scores lacking that peculiar serious power Those cues don’t just address the scenes for which that was noticeably his. Be it age, personal matters or a lack of they were written; they inspire thoughts about the interest in the films available, it is undeniable that the Goldsmith terror and sheer scale of the universe and man’s place of the late ’90s and early 2000s is not as vibrant as the Goldsmith in it—feeling powerless being something known of the ’60s through the late ’80s. It’s too easy to say “Hey, what a to young outcasts. Williams writes for a room- run!” (though that is true). One need only compare the complex temperature universe, Goldsmith for the ice-cold of and beautiful Alien to the not-bad-but-not-great Leviathan to the space and the heat of pumping blood. flat Deep Rising to see that his interest or passion faded—though Reading interviews and listening to some of his never completely. Why should this particular artist be immune to more romantic scores, you have to grapple with the forces that affect every person? the composer’s desire but ultimate inability to What matters is not that Goldsmith lost power, or even that write the mainstream ear candy other great film he continued to work long after he had to in order to attain his composers like Williams and Mancini were capable place in the . Some believed he never attained any of. In the interest of expanding his palette, Goldsmith distinction—film critic John Simon called him a hack, and a recent could attempt to work against what he seemed book on great aural moments in film history never mentions temperamentally meant to do. But he never had a Goldsmith at all. The average American does not know his name. Star Wars or “Pink Panther Theme.” Fans knew what What matters is that even in those later, less-vivid works, one he was best at—how many of them bought Angie in can detect the artist’s voice and work backward through his comparison to the number of vinyl copies of Star Trek: catalogue and thus hear it in its full power. That the voice is quieter The Motion Picture they’ve worn out? but still audible only proves its strength in the decades before. Though it’s the mark of a composer who has Goldsmith’s is a voice that touches a relatively small group of arrived in the public consciousness in a big way, fans who have the tenacity of Star Trek groupies (many of whom the “big theme” was not for him. When one listens

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to Williams, the contemporary with whom he is most a flop. But it must be taken on a case-by-case basis: A bad contrasted, one hears the exuberance and fun. I think movie may need so much help that it opens up a great Goldsmith equals Williams in energy, but, generally opportunity for the composer to create subtext that is not speaking, can anyone say his music is “fun?” He has present otherwise. Roughly 80% of the films Goldsmith been given the second-place prize by many because scored were junk, in my estimation, and as much as 50% of Williams’ ability to write music that touches and of those were utter garbage. Yet he was able to watch these also pleases. In this musical field, sentimentality always cinematic failures and detect something, a fragment of wins. what was intended emerging. Maybe his method-acting I think it’s like comparing Edgar Rice Burroughs style of choosing films without reading the script was what with William Burroughs. Williams writes music for doomed him, but it was his way. I can almost imagine him pretending to be flying through space in impossible sitting in a theater watching Damnation Alley and listening to machines, rescuing the damsel. Goldsmith’s music is it, ideas coming to him, addressing the needs of the action made of tougher stuff. Star Wars is the romantic, happy as well as the atmosphere, even as a part of him had to vision of space, complete with bloodless mass-murder face that gnawing, depressing reality that he was about to when a space station explodes; Star Trek: TMP is the embark on another three months of labor at the service of extremely flawed and doomed attempt, as with Legend, yet another cinematic abomination. He may have wished to make something for adult audiences out of something he was watching a serious drama, but he wasn’t; this was essentially childish. Williams wrote one of the most the hand he was dealt, and he played it. The results were perfect film scores, its genius in his recognition of it bold, strange and exciting. being an updating of Captain Blood, not 2001. Goldsmith, But what kind of anger or resentment must build when on the other hand, had something that attempted to one has busted his hump writing great music for a movie follow in the path of 2001 and The Andromeda Strain (or that includes a character being eaten by cockroaches? The Day the Earth Stood Still), and the film failed in that Consider these gems: The Lonely Guy (1984); Runaway (1984); attempt. Link (1986); Not Without My Daughter (1991); Mom and Dad Yet, Goldsmith did precisely the opposite of what Save the World (1992); Mr. Baseball (1992); Dennis the Menace Williams did—he did not look back and try to update (1993); Angie (1994); I.Q. (1994); Deep Rising (1998). something old, he looked forward and scored the Those scores stand out for what seems like a lack of imperfect vision of tomorrow by writing a different interest. With only brief exceptions, they are among those kind of space theme, a march not of military power but that show Goldsmith could not always find the heart of of scientific discovery. Where Williams’ aliens are given a weak film. How to give CPR to a thing with no insides? themes out of Russian orchestral tradition, emphasizing No artist is always at his or her best, but The Lonely Guy the “gee whiz!” fun, Goldsmith uses electronic colors and and Supergirl were startling in their forcedness. But they foreboding sounds to augment the awesome yet also are valuable listens—the bump in the road that makes frightening mystery of V’ger. Where Williams makes the you realize the road was pretty damned smooth up to alien familiar, Goldsmith tries to make the alien alien. that point. Goldsmith may have wanted to write his “Lara’s Goldsmith could get prickly when criticized, but is that Theme,” but he already had. It was called “Clever Girl.” any surprise? When one works in film, that most public of His talent was not to write light tunes that audiences art forms, and never gets to make that public connection, embrace, tunes that elevate one’s own feelings to the except from a handful of reviewers and fans on message level of what might be depicted in film. Was he aware boards, how could one not be annoyed? When Tom Cruise of this? Maybe. He could write lovely themes, such as is criticized, it is one voice against millions, a drop of rain in those for A Tree Grows in Brooklyn or The Red Pony. But they the desert; when a reviewer in the film music press gives a never caught on the way the Jarre and Mancini tunes bad review, it might be one-third of all the critical response did—and not just with the public, for he never met his the composer reads. Spielberg, or even his Shyamalan. The occasional weak score merely shows the greatness Every film composer would love to write a “My Heart of the unnoticed works that came earlier. For every Mr. Will Go On” because, well, who doesn’t want to be loved Baseball there was an Extreme Prejudice, a Magic, a Rio Conchos. by the masses? It isn’t about money, at least not in the And whatever the creator’s reaction to negative feedback, writing stage, because who can know if such a song will the good works stand. Unnoticed, but they stand. sell? It’s about communication. A lot of people buying your song means you have communicated something Long Live Jerry to them and they have responded: “Yes! I feel the same We didn’t know Jerry Goldsmith. The signature, the way! I understand what you’re saying!” A hit tune is acceptance of compliments, the signed photos or letters something any wants because it means one’s through the mail, the interview, are all just peeks into the art has broken through to public acceptance. life outside of the art. Only in the reports from his burial did we learn specifics: he had a lifelong friend—a television Great Music actor whose face you might know—who spoke to him each and the Bad Films That Love Them night, he shot quail, he was a loving husband and father. It’s safe to assume that in most cases it’s easier to write Much like this could be ascribed to a million men. a good score for a good film than it is to write one for (continued on page 47)

AUGUST 2004 22 FILM SCORE MONTHLY

v9n07Iss.id 22 9/7/04, 4:18:35 PM FRANZ

GOLDEN AGE CLASSICS • FSMCD VOL. 7, NO. 13 • RELEASED BY SPECIAL ARRANGEMENT WITH MUSIC Composed by Alex North Conducted by Songs Performed by Susan Hayward, Arranged & Conducted by Charles Henderson • M-G-M Studio Orchestra and Chorus

I’LL CRY TOMORROW (1955) WAS A FIRST-RATE “biopic” telling the story of Lillian Roth, the one-time “Broadway’s youngest star” whose singing career was crushed under the weight of her alcoholism and failed relationships. By the ‘50s Roth had rehabilitated her reputation, and I’ll Cry Tomorrow (based on her auto- biography) received popular and critical acclaim in its powerful telling of her story, thanks to the careful direc- tion of and Oscar-nominated performance by Susan Hayward.

SCORING THE FILM WAS THE COMPOSER WHOSE use of jazz in A Streetcar Named Desire (1951) had transformed film music forever: Alex North. I’ll Cry Tomorrow was one of North’s earlier assignments but his dramatic style was that of a seasoned master, favoring chamber-like strings and woodwinds for an intimate, melancholy effect. North’s colors at first evoke Lillian’s lost childhood, then become “boozy” tones for her years of alcoholism. Jazzy brass and heartfelt strings (in the Streetcar style) perform a memorable main theme to sum up the story as a whole.

1. Main Title 2:06 BONUS SCORE AND SONGS SOURCE MUSIC AND ALTERNATE 2. Don’t Cry/Bye L’Ums 2:00 18. Ashamed/Home Sweet Home VOCALS 3. Sing You Sinners* 3:54 (original version) 3:56 23. Starlight Romance/Presently 1:58 4. David/How Soon/Help 3:25 19. AA Medley* 3:44 24. Waltz Huguette/ 5. When the Red, Red Robin 20. End Title (original version) 1:02 Bar Mitzvah Rhumba 1:34 Comes Bob, Bob, Bobbin’ 21. I’ll Cry Tomorrow (single version)** 2:40 25. Source Music Medley 3:36 Along* 1:50 22. The Vagabond King Waltz/ 26. When the Red, Red Robin 6. Trance/Mama’s Plea 3:52 I’m Sitting on Top Comes Bob, Bob, Bobbin’ I’LL CRY TOMORROW IS NOT A MUSICAL, BUT DOES 7. Confused/Pour Me 4:37 of the World* 1:58 Along (Sandy Ellis) 1:49 8. Transition/Also/Tony 2:24 Total Time: 13:35 27. Happiness Is a Thing feature three musical numbers performed by Hayward 9. Stood Up/Shattered/Tortured 5:21 **Vocal by Susan Hayward, Called Joe (Sandy Ellis) 2:15 10. Happiness Is a Thing Johnny Green at the piano Total Time: 11:20 (as Roth) in the film: “Sing You Sinners,” “When the Called Joe* 2:18 with his quartette Total Disc Time: 75:53 Red, Red Robin Comes Bob, Bob, Bobbin’ Along” and 11. Ashamed 2:51 12. String Chord/Real Heel 2:48 “Happiness Is Just a Thing Called Joe.” The songs have 13. Down Girl/Ashamed 2:46 been remixed in stereo from the original film elements 14. Home Sweet Home/ This Is It/Hold It 3:12 and are presented in sequence with North’s score, 15. Light 1:41 which is also in stereo. 16. Fight to Live/Serenity 2:47 17. Burt/End Title 2:25 Album produced by Lukas Kendall Total Time: 50:57 ADDITIONAL SONGS, ALBUM VERSIONS AND instrumental source cues have been placed in a bonus section, to render this the definitive I’ll Cry Tomorrow

album. Liner notes are by Lukas Kendall. $19.95 plus shipping Don’t miss this month’s Silver Age Classic The Man From U.N.C.L.E. Volume 3 by Jerry Goldsmith, et al.

23 AUGUST 2004

v9n07Iss.id 23 9/7/04, 4:18:45 PM “We were in London so much of the music was in the same building about 25 mathematically hitting stuff, and years ago, and it was interesting it’s all done with numbers. [He’d because I just knew Jerry, but we be] splitting these notes and had the time to spend together trying to make sure that he can ISLANDS because we were living on the get back on time, and the picture same floor in the same building kept changing, and there were for about two months. We were whole chunks of the movie that both very busy, but at the time were out for months and then we could communicate and suddenly put back, and pieces he be a little bit closer than we completely different and special. had done were now gone, and it IN THE would have been if we had been And I even asked him one time: was really hard for him. living in Hollywood where you ‘What happens when you’ve “He was a very intuitive artist, only see people at a premiere signed on to do the movie and and he wasn’t comfortable or something. He was very, you’ve read the script and you discussing his music or really very talented and extremely go to see the rough cut and it’s anybody else’s. He reminded me knowledgeable. The problem not working and it looks like of in that way; STREAM in Hollywood, especially in the it’s not going to be a very good he didn’t like to discuss how the last 10 years with this fashion movie?’ And he said, “Well, then magic was done—he felt that of computer composition, [is I have to work twice as hard to that really ruined it. I don’t know finding] the real composers who make it work.’ I just felt, wouldn’t whether Jerry didn’t want to give really have a great education in there be a tendency to stint on away any secrets or whether he music—not just because they something that was probably didn’t think about music with have one single hit, but people going to be a flop anyway? But that side of his brain. Like a lot like John Williams and Jerry he never copped to that. of artists, he really expressed Goldsmith and others. They are “We put him in Gremlins (above), himself with his work. real musicians who have studied and he looked at the camera, “He was one of the last of the at good conservatories of music, but we still gave him a part big guns. He was only 75, and to and I think that is more and in Gremlins 2 (below). He’s listed think about the years of music more rare.” —MAURICE JARRE in the IMDB credits as ‘Man we aren’t going to hear that he in phone booth who looks at had in him…In his last days he camera.’ It was several hairstyles was so frustrated because he “The kind of movies ago for Jerry.” couldn’t write. He was going to I did had a weird tone, kind do a picture for David Anspaugh, of mordant comedy, and there On Looney Tunes and he just couldn’t concentrate.” weren’t a lot of scores that had “I knew that he had been ill for —JOE DANTE that feel. If you knew Jerry, it’s a while, but I didn’t know how not unlike his personality; Jerry bad it was until the first scoring had a sort of a dark humor to session, when he told me, to let “My sense about Jerry him, and he got these movies, me know that there were times was that he had his own where a lot of studio executives when he wouldn’t be able to drummer. He had his own way didn’t get them. He always knew finish the day—and indeed there of looking at films that was so exactly what I was going for were times when he was not able intuitive that you never knew and knew how to enhance it to finish the day. I think his work what kind of approach he was and even bring it out musically on the film was no less than going to take. He could take where I had failed. That was the courageous considering what he any approach he wanted, but it gag we always had on the set: was going through, because as was certainly never formulaic ‘Jerry will save it.’ And I realized he pointed out to me, this is a to me. He had a very unique probably a lot of directors had really hard score to do because way of getting to of Tributes from said that. what the film was all about. “All composers repeat He had this intuitive sense, themselves in some ways, and difficult to verbalize because it Friends, Peers there are leitmotifs and phrases was really his intuition about

you hear. But with Jerry there what he wanted to do. Take Reserved. Bros., All Rights ©1984, 1990 Warner 2: TheBatch New Gremlins

and Colleagues was a lot less of that. The fun of the score to Planet of the Apes; and working with Jerry was you just it’s so remarkable, some of the Collected by Jeff Bond never really knew what rabbit things he came up with in that he was going to pull out of [his] score, that it would be difficult and Joe Sikoryak hat. He really seemed to regard to talk about it. It’s atonal, but

every assignment as something it’s not; I never heard anybody from Gremlins Images

AUGUST 2004 24 FILM SCORE MONTHLY

v9n07Iss.id 24 9/7/04, 4:18:48 PM as famous as John Williams, other than the unobtainable movies in the outside world, but his artistry and voice were Jerry Goldsmith score. It’s like but we all have opinions about always there, and he managed to we have to suffer along with Logan’s Run that we’ve talked keep himself viable throughout him. There’s always been a bit of about. So he’s in a very strange many generations.” us championing him—and that niche. He was also a substantially —DANNY ELFMAN wanting to prove himself, that better composer than everybody chip on his shoulder, made his else. Every composer refers to music great. him as the best composer, so “He was really such there’s this other aspect of he’s a chameleon that he was sort Father Figure The One, the one burdened with of film composer as character “The relationship most people come up with the effects that actor. To me, Jerry Goldsmith have with him is the father he did. He came up with much more fit in with the you want to connect to; it’s no these really creative sounds, acting style of John Cassavetes surprise his favorite score is especially because [it was] before or or Sal Islands in the Stream. The public computers came in and he had Mineo—and the way new actors version of Jerry Goldsmith wasn’t to do it all acoustically. He was got excited by what they saw this warm guy; he was the very messing around with tape reverb in those performers, composers complex father we’d never get on Patton—he was very much got excited by what they saw to know or understand, and we ahead of his time.” in Jerry. He wrote music you keep reaching out to get it and —PATRICK WILLIAMS had to keep listening to—and it never quite get it. And he leaves wasn’t available, so you would us clues—you start thinking, being the best there’s ever been. invent the means to get it. That’s ‘Maybe he meant this when “He scored a lot of movies “We shared the same unique. After he died, people he was writing Breakheart Pass,’ when he was ill. One of the agent, and Jerry was very started telling me, ‘Oh, Jerry because he never tells you what things that was beyond a complimentary about my scores. wrote my favorite score’—and he meant. blessing was that he worked He was very flattering, and I was I never know what they’re “It’s always been him and with such mensches when he surprised, quite frankly. I was about to say. It’s almost never John Williams, and John was sick. He didn’t know Phil delightfully flattered by that. He the same title. That there could Williams is the smooth younger Alden Robinson [The Sum of used to swear a lot, and there be 40 different answers to that brother who everything works All Fears], and he told him he was this story of this woman question is unique to Jerry. for. He’s the homecoming was ill—and Phil became one harpist, this very elegant harpist king, he got the greatest jobs, of his best friends, and it was who was very proper, and she everything goes perfect—and like he didn’t even care about told this story of him telling her, Jerry’s the slightly older brother the movie. He said, ‘We’ll work ‘I want you to play the fucking who had to rough it. around you; if you’ve got notes this way’—and she shot “Of movies you would ever chemo, we’ll work around it.’ back, ‘Okay, Jerry, I’ll play the talk about in high esteem—[ones] And also it was a blessing that fucking notes this way’! This very that are not genre movies—he’s that movie went on for a longer . elegant harpist—it gave him the probably touched less than a post-production period than shock of his life.” —JOHN BARRY half a dozen. Another factor planned, because it allowed him Reserved that makes his fans about him to work during periods of Jerry Rights is he is a genre guy in the very getting sick and then getting All

., “He remained con- “The affection for Jerry’s genre people like us care about. better. Working with Richard Bros stantly viable, and every so music is not often mistaken for If you start as the guy who Donner on Timeline was also a often he would reinvent himself. affection for the movie. Because wrote the cool music to The blessing because, again, it was Warner He is the model of a long career, frequently it’s converse; you Twilight Zone, and your career is a friend working with him, and 1990

, ignoring trends and never going remember something fondly, completely filled with landmarks the movie was so secondary. out of style. If you look at his but it’s the movie, and the music like Planet of the Apes and Poltergeist He was so not upset when the ©1984 career, instead of following what becomes acceptable because of it. and Star Trek, what more could score didn’t wind up in the Batch seems to be a current trend, he I don’t know what would have fans want? And because fans movie—I’ve seen him upset New has peaks and dips. I think that’s happened if Jerry had scored of science fiction and horror about smaller things than that, The

2: essential to an artist—otherwise great movies all his life—because films will remember vividly The but he was just happy to be

you’re just chasing. He never another thing that’s appealing Reincarnation of Peter Proud, but working with Donner after all

Gremlins chased. His talent was so strong about Jerry is we all feel like fans of dramas in general have these years and working with

and that the world kept coming we’ve been through the wringer no recollection of what other another guy who was around

back to him. He was such a with him. There’s this underdog dramas came out the same year his age and who cared about

Gremlins model of persistence, adaptation, aspect to him—we all collectively Peter Proud came out—unless they him as a person. There was the

personal vision and reinvention; saw Damnation Alley and talked were nominated for an Oscar— Star Trek movie with , from

the absolute model for a long- about it, and Damnation Alley his stuff lives on in a weird way. another old friend. And then the

Images careered composer. He was never does not exist for any memory There’s no respect for those fourth was Joe Dante—and for

FILM SCORE MONTHLY 25 AUGUST 2004

v9n07Iss.id 25 9/7/04, 4:18:50 PM v9n07Iss.id 26 Re-recording Re-recording spaces. parking complain tomeabout was thesameguywhowould tomorrow.’I’ll feelbetter This He’d say, day, ‘Not thebest but him, ‘How areyou feelingtoday?’ I’dtrytogetitoutof opposite. of dying fearful illandbeing being he wasreallygruff when IfirstmetJerry, Ithought “Another interestingthingwas, Simply Jerry him for good and madetheprocess with fourfriendswholoved him hehadfourmoviesmuch…So of someonewholoved himso inthehands sick andtobe be his lastmovie, forhimtoreally deserved tocomplainabout have andso complainedabout gears; thethingthathecould got sick, hecompletelyswitched him.When he that bothered outsomething quick to point was sortofgruff.Hevery I gottoknow him,Ithoughthe him whenhewassick. distractionfor it wassuch agood Jerry lovedbecause workingand do that,itwasheartbreaking feeling wellenoughtoeven when Jerry finallysaidhewasn’t we’ll workaroundthat?’And you justwriteatheme,and evenSchepisi said,‘Why don’t easyforhim.Fred process they weregoingtomakethe [ Empire FallsSchepisi ], andagain Their Lives]andonewithFred Anspaugh’s movie of [The Game todowereDavid supposed unhappy. was sick, hewouldhave so been work thoselastyears whenhe “Consistently, whenwe “The twomovies hewas AGS 04 AUGUST2004 — because ifJerry couldn’t because with Bruce Botnick. Rio ConchoswithBruce — he [did]theexact — and when — to justgoforsimplicity.” hewassobrilliant, him, because strived for, anditwashardfor That wassomethingJerry really how towriteatuneformovie.’ where hesaid,‘Heunderstands strangest onewasJohn Barry, was Horner scoreIliked,’andit said, ‘IfinallyheardaJames Andoneday he just floored. and toldhimthat,hewas [AlexandreDesplat] composer Icalledthe was reallygood. ; hethoughtthat a Pearl Earring last onehelikedwasGirlWith score.The just heardagood hewouldsay he’d occasionally say, ‘ButTom’s reallygood.’ And Newman would makewasalways Tom film musicis,theconcessionhe how horrible commiserate about would have ourlunches and that meanthewasgoingto interesting artistically. Sometimes always pushtodosomething the reasonforthatishewould surprising number, andIthink were rejectedorwithdrawn isa ofscoresthat list, thenumber downIf you hisIMDB look every filmthathescored. about was abletodothatwithjust dummy.the ventriloquist’s He uses theseharmonicastojustbe Anthony Hopkinsfilmwherehe film Ialways citeisMagic,the bring outthefilm.Another just getinsidethefilmand What hewasabletodo composition. it’sbeyond does, in theharmoniumway he andbringing of thetrumpets echo of sound,theusetape Patton theoverlaying, because I always of show the beginning insightful deviceisjustuncanny. the essenceofafilmwithan hisabilitytodivine because stuffwithme Jerry Goldsmith and-tell, andIalways take part ofthatIalways doashow- Sundance mostyears, andas labupat composer’s “I helpoutwitha House ofSandandFog. The — he wouldalways —RICHARD KRAFT —RICHARD (Jerry’s agent) (Jerry’s 26 26 the scene decided hewantedmusicin At thelastminuteIrwinAllen buried. thought itwouldbe music tothetrainwreck, ashe any Jerry didn’tcompose thosedays. and jokedabout scoring ofThe wetalked Swarm Years laterwhenIwasatthe could sendthemtoNew York. until hegotthemfinished soI mimeograph them;Ihadtowait in thosedays andJerry hadto There werenoXerox machines scripts tosendNew York. mail departmentandhecopied asIwasinthe early days atCBS kind. I’ve known himsincehis Jerry wasoneofa the fieldoffilm. realartistsworkingin became thatthey the work,topoint brought anartisticqualityto was raisedby theirwork.They the statureofcomposer for suretheydid,butalsoIthink language offilmmusic,which the define atacertainperiod and Elmer:Not onlydidthey The man wasavery busyguy! days of assembly-linefilmscores. themselves, thiswasnotinthe didthingsby when composers to doitall;thiswasinthedays wondered whenhehadtime very well-known pieces.Ijust as well.Andofcoursethey’re it’s notjustfilmbuttelevision he didwasenormous “The catalogofwork miss him always. music onthelunch hour!I Morton hadtowritesome for everyone.” really setthebarincrediblyhigh the mostbanalofcontexts.He musical statementsinsometimes make interestingandinsightful wasabletodo Goldsmith taste.’art isgood What Jerry Picasso line:‘The enemyofgood of atrueartist.There’s afamous sensibility, butthat’sthemark else’s rub upagainstsomebody FILM SCOREFILM MONTHLY “I was thinking about him “I wasthinkingabout — so Jerry andArthur (fan andcollector) —ED SHEARMUR —BOB BURNS — and will that wefirstreallyworkedside Crossing. ItwasontheDisneytitle The Wind andtheLionNight and alsopursuedthingslike an offerlikethat? him tome.How couldIpasson phonecallfrom with apersonal the Stream.That invitation came personal-favorite score,Islandsin a newrecordingofhisthen- immediately askedustoproduce turned to theplateaftereveryone else up thrilled thatIntradastepped composer orcasuallistener composer in thisfield I’ve never metanyone symphony a thatasyou areabout about today, you have asserious tobe project]. Ifyou writefilmscores a level ofcuriosity[toevery to thework,andhebrought man whobroughtalotofcraft sophisticated way. Jerry wasa and inavery handling thematerialsofmusic one finger;menlikethesewere outtuneswith were poking not Tin Pan Alleyguyswho These were of thesepeople. more honoredthroughthework and morerespected became fees reuse werepaying AFM labels II 1997. withPoltergeist Itbegan 1986and mostly camebetween earned it. Andhe too. got thetopspot, on alistoffavorites. Usually he didn’t have high Jerry Goldsmith a very highstandard.” The GoldsmithTribute dinnerin1993. , when few independent , whenfewindependent We ExtremePrejudice produced “The role of the composer “The roleofthecomposer My association withhim My association — then still100%.Hewas down.Poltergeist He II — — it will be judgedby it willbe be itlifetime be —PHILIPGLASS 9/7/04, 4:18:52 PM — that

Photos on this spread by Ron Smith and George Champagne, courtesy of Intrada. by side, from mixing through final (Morton) were treated. He said he a bigger audience. Soon most of editing. I looked over his scores disliked everything about it except Jerry’s current work was coming while he hummed little things that it used the character of General out under Varèse’s label. Jerry used that he liked, and watched him MacArthur—and he liked taking to say, “Rambo built my house.” “” various cues while another crack at a “MacArthur” Maybe. But Bob Townson built him Len Engel edited the masters. Our march. a “home.” longest spell together came during His enthusiasm leaned toward Later on, when we did QB VII the Rio Conchos sessions, his debut whatever was current at that time. and A Patch of Blue, Jerry was just re-recording with the London We did Rent-a-Cop two days after giving his okays by phone. He was Symphony Orchestra. Over the mastering Night Crossing, and he was pretty excited about his Alex North course of several meals together far more excited about assembling recordings with Bob at this point we spent time talking about—big the former than the latter. He was and about doing pictures like Rudy surprise—his music. He had an pretty interested in doing Rambo and First Knight. But nurturing old incredible memory. People say he III because he was frustrated with reissues was old-hat by then. He never wanted to look back and talk the song album. Jerry talked about still phoned our shop to ask about about his old work. But he did. He having to re-perform certain piano sales of his albums and people’s didn’t want to re-write them when parts himself back in London after reactions to them, so we stayed in filmmakers asked him to, but he could talk about them. Down to the smallest detail. He told me why he chose lujons over whipsnaps for one particular score. He seemed to like being “tested.” Why did he leave out of Tora! Tora! Tora! and and rely on instead? Did tubas sound better underneath French horn parts or under trombone parts? Stuff like that. Jerry with Douglass Fake (right) on panel at the first meeting of the Goldsmith Society. Because I understood composition, we had pretty detailed chats. the sessions in were touch. He always cared about his done and asked if I thought they music and how people reacted to it. For the Fans were too loud. (I said no.) He was We also sat together on a panel probably most enthused when we Passing the Torch for the first Goldsmith Society premiered “The Hunt” from Planet Intrada started getting interested in convention. I think it was the of the Apes. He also got a kick out of ’s music and began first time he’d had so many fans hearing different mixes. to devote what little resources we around him. Once, when a row Somewhere during this period had to getting his music out. On of autograph seekers got loud, we also worked together on Warlock a dinner break while re-recording he just leaned forward and said, and Not Without My Daughter. He Rio Conchos I asked Jerry who he felt “Good Lord, it’s just a squiggly actually let me assemble some 50 was the best of the new breed. He line.” I think he really was humble. minutes for Warlock in spite of his answered without skipping a beat: Maybe a little jaded, too. When the preference for leaner albums. Late Broughton. Years later he suggested Film Music Society gave him their in production he just said, “Stick Bruce score Tombstone when his special award in 1993, it was Jerry’s on the last cue and let’s end it. No own schedule didn’t permit it. In idea to assemble a “gift” for dinner one’s going to play it all the way fact, the Cinergi theme was written attendees. He wanted a CD to cover through anyway.” by Jerry and conducted by Bruce four scores from his older catalog Jerry had loyalties. Richard Kraft during the Tombstone sessions. and was instrumental in getting Fox was a fabulous agent for him and There’s some “synergy” there. I first and Disney to participate. I mixed a person of whom Jerry spoke met Bruce Broughton during Jerry’s and edited, and he just sort of gave very highly. They were looking for recording sessions for Star Trek V in a thumbs up or down on various one label to pull together as many 1989. I guess they call this destiny cues. Baby got the most thumbs up. rights as possible and get the stuff or something. One of my favorite projects out under a single banner, so to Jerry left us, yes. But he also left was a premiere CD to . speak. We were just too small to us music. The best there ever was, He was only casually interested make it happen. Bob Townson had the best there ever will be. and left most of the project in my things really cooking at Varèse by —DOUGLASS FAKE hands. On Inchon he asked to be then and was a natural choice. Thanks also to Bob Burns and left out because he had such bad He brought some firepower to The Roger Nash Collection for supplying memories of how he and Arthur the project and got Jerry’s stuff to artwork in this issue.

FILM SCORE MONTHLY 27 AUGUST 2004

v9n07Iss.id 27 9/7/04, 4:18:54 PM Good as Goldsmith

The Goldsmith Method as Revealed in Four 1960s Masterpieces

By John Takis

Hollywood film.” The application of this theme within the score, It must have been something and the score within the film, is one of the best examples of the Goldsmith ethos to be found in his early work. to watch Jerry Goldsmith’s rising star The main theme is a delicate waltz, performed first on the piano, wrapped in a dreamlike mist of shimmering strings, vibraphone during the 1960s. From his work in television, and solo harmonica (a device employed to memorable effect in his earlier Studs Lonigan, as well as in later scores such as Magic). The “Jerrald” Goldsmith had arrived on the motion great triumph of this theme—and the score—is that it successfully captures and conveys the inner drama of the lead character’s world. picture scene in the late ’50s, scoring Black Patch Selina D’Arcy (played by then-newcomer ) is physically and emotionally fragile, trapped in the isolation of (1957), Face of a Fugitive (1959) and the impressive City her shut-in life of poverty and a racially segregated society, for which her blindness serves as a metaphor. “Is it dark?” Selina asks of Fear (1959). He lost no time establishing himself her newfound friend and savior Gordon Ralfe (played by ), who answers, “Yes.” “Good,” she says, “It makes you more as one of the most diverse and talented composers in Hollywood, like me.” Selina is unaware of the irony behind her words—that working on more than 40 feature films over the next 10 years, in Gordon, the man she has fallen in love with, is black. addition to numerous television projects, and netting four Oscar With the film’s lead player blind and often alone in the film, nominations (five, if you include 1970’s Patton). Goldsmith’s early it is up to Goldsmith to convey to the audience the interiority ’60s scores—which include Studs Lonigan (1960), Lonely Are the Brave of the character. Her perspective is vital and unique, and since (1962), the Oscar-nominated Freud (1962), The List of Adrian Messenger we cannot truly enter into her world visually (a few flashback (1963) and Lilies of the Field (1963)—are all notable: impeccably sequences shot in perspective notwithstanding), we do so crafted, boundlessly diverse, even groundbreaking. In short, they through music (indeed, Selina’s most prized possession is a music announced the arrival of a major talent on the world cinema box). Consequently, this is one of Goldsmith’s most overt and stage. This article is an attempt to grasp the nature of that talent, psychological scores. Selina’s wonderment, anxiety, fits of terror as exemplified by a few highlights from this remarkable period. and bursts of joy are all brought to the fore through Goldsmith’s inventiveness. The film establishes this convention up front with A Patch of Blue a whimsical fantasy sequence in the park, for which Goldsmith Perhaps Jerry Goldsmith’s earliest bona fide film music delivers a high-spirited musical romp. Notice the flute-simulated masterpiece is his score for 1965’s critically and publicly acclaimed birdsong that opens the cue. The score often “plays along” in this sleeper hit, A Patch of Blue. Based on the popular novel Be Ready manner, as in the scene where Selina’s morning happiness—and With Bells and Drums, by Elizabeth Kata, it remains among the the swelling music—is interrupted by a rude snore from Old Pa. finest films Goldsmith ever worked on, and his superb score One of the more brilliantly scored sequences in the film (I reflects this distinction. Goldsmith was brought onto the project would argue one of the most brilliantly scored sequences to ever by developer Pandro S. Berman, who had previously worked with grace a film—period!) is the “Bead Party.” After first meeting Selina the composer on 1963’s The Prize (FSM Vol. 5, No. 16). in the park, Gordon transforms her arduous work, stringing As with so many Goldsmith scores, the key to unlocking the beads to make cheap jewelry, into a happy game. Goldsmith treasure of A Patch of Blue’s music is its hauntingly beautiful main first establishes a swinging bass line, as evoked by the trembling theme, a theme critic Glenn Lovell justly describes as “surely vertical thread. The beads begin to drop down the string, piling one of the simplest, most effective pieces of music to grace a up as Gordon and Selina laugh. And each time a bead hits

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v9n07Iss.id 28 9/7/04, 4:18:57 PM another bead, Goldsmith marks the moment with a musical humanize Stachel (something perhaps beyond the reach of actor plink. The scene does not appear to have been filmed with any George Peppard). But Goldsmith does not overlook the tragedy of particular timing, but somehow Goldsmith manages to capture Stachel, whose love of flying is also his doom. Thus the primary the exact rhythm of the falling beads as a counterpoint to his bass “flight” theme also imprints itself, through melodic fragments, on line. The result is pure cinematic perfection. the score’s two other major themes: the love theme for Stachel’s For playing such a vital role in the film, Goldsmith’s music shallow affair with a commanding officer’s wife and the dirge-like never becomes obtrusive. Sparely orchestrated and avoiding most theme that speaks to the darker side of war and obsession. dialogue sequences, the score’s careful timing, combined with the The thread that relates this score to A Patch of Blue (and to film’s sharp and economical script, could almost function as a sort Goldsmith’s musical philosophy in general) is that the music of tone poem. It was enough to impress countless admirers and remains intensely personal, chiefly associated with Stachel and critics, and earned Goldsmith his second Oscar nomination (Freud, his exploits, always informing the audience which aspect of three years earlier, being the first). Intrada’s score CD (MAF 7076) Stachel’s personality is presently dominant. This comes across in includes an excellent track-by-track musical analysis by Douglass the finished film in spite of the fact that most of the battle music Fake, which I will not attempt to duplicate here. Goldsmith wrote for the film’s elaborate combat scenes—including My first encounter with the music to A Patch of Blue came more the astounding six-and-a-half-minute cue “The Attack”—has been than 30 years after it was written, in the form of a Jerry Goldsmith removed. It seems impossible that this should be a reflection on concert in Detroit, MI. This is a measure of Goldsmith’s own the quality of Goldsmith’s music—which is incredible: pounding, estimation of the score—that it is the earliest of his film scores to dynamic, and some of the finest action-set pieces he ever wrote. be featured in what became his standard concert repertoire. A More likely, it was a post-production decision to let the majority small taste of that haunting piano line was enough to inspire me of these scenes play with nothing but sound effects—presumably to purchase the album and eventually view the film. It was one to enhance the realism. Unfortunately, the humanity of these of the happier discoveries in what continues to be a long line of scenes suffers somewhat due to the removal of Goldsmith’s score. gems unearthed in the mining of Goldsmith’s early career. For example, “First Blood” cuts off rather obviously as soon as the fighting begins, and the music resumes with “First Victory” as The Blue Max soon as the fighting is completed. What is missing is a passage in If A Patch of Blue was Goldsmith’s first unquestioned masterpiece, which Goldsmith expounds tense variations on the flight theme— then The Blue Max (1966) is surely the second. Of course, in the the thrill of flying put through the wringer of combat. Likewise, intervening time between these, Goldsmith had three more the montage “The Attack” would benefit from Goldsmith’s music. feature films under his belt: , The Trouble With Angels One of the special problems of montage as a technique is how to and Stagecoach…all fine scores in their own right, but no match for present a unified idea via a battery of different scenes and images. the sheer vitality and spirit of The Blue Max. Music can be the unifying element. Without music, “The Attack” In many ways, the demands on Goldsmith for The Blue Max seems to emphasize the stark reality of war. With music, it fully were very different from A Patch of Blue. Whereas Selina D’Arcy is captures the drive and ambition of Stachel to exploit this chaotic complex and undergoes significant character development, the arena for the harrowing glory of flight and victory. antihero of The Blue Max, Bruno Stachel, is virtually transparent; Nonetheless, Goldsmith’s music remains one of the film’s he lusts to be the best pilot in the German Air Force, a rank greatest assets. The composer, in turn, was provided with a symbolized by the prestigious “Blue Max” medal—all other rich canvas—the beautifully photographed film was shot in concerns are secondary. If anything, Goldsmith’s primary . He later drew on this score to craft a terrific five- theme—an exhilarating musical essay on the thrill and majesty of movement concert suite, which showcases much of the music cut flight to rival anything by John Williams—serves to convincingly from the film (heard on Silva’s Goldsmith Conducts Goldsmith CD,

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v9n07Iss.id 29 9/7/04, 4:18:59 PM SSD 1135). The score itself has seen a number of releases and re- “State of Siege,” which plays underneath a rather nonthreatening releases; the best of these is probably Sony Legacy’s 1995 issue shot of waving sailors. Then there are the fierce action cues. “Repel (JK 57890), which contains the complete score, source cues and Boarders” is all fast-paced action and suspense, in spite of the fact unused music. that the scene fades away at the moment of climactic confrontation. Goldsmith’s powerfully effective treatment of chaos and despair The Sand Pebbles frees him to score moments of quiet respite with a sincere, The Blue Max was Goldsmith’s most notable war picture to date. romantic optimism that manipulates the listener into believing Also in 1966, and two Jerry Goldsmith film credits later (Seconds that maybe things will turn out for the best. He then intermingles and One of Our Spies Is Missing), ’s The Sand Pebbles took the and contrasts these elements, such as in the bittersweet “Almost genre to an entirely different level. Social politics had played an Home.” The effect on the listener is shattering. important role in The Blue Max, with an unraveling WWI Germany The Sand Pebbles is a score mammoth in scope and execution. As serving as a determining force in the life of Bruno Stachel. But Robert Townson writes in the liner notes to Varèse Sarabande’s The Sand Pebbles, with clear overtones of Vietnam, placed an even highly recommended Soundtrack Club Deluxe Edition CD, “If greater emphasis on the geopolitics of the era. Set in China at the [Goldsmith’s] work prior to the picture had left any question dawn of that country’s nationalism, a primary concern of the film that a true artist had emerged, it was The Sand Pebbles which firmly was the disconsonant experience of being a foreign presence in established this new voice as a force to be reckoned with.” The an alien land, where what first appears to be an opportunity for score earned Goldsmith his third Academy Award nomination. Its shared bonds, rooted in common humanity, is soon shattered and main theme would even become a pop hit in the form of the song

destroyed beyond all sense and reason. “And We Were Lovers.” And like A Patch of Blue and The Blue Max, Goldsmith responded not through false Orientalism but The Sand Pebbles found its way into Goldsmith’s concert repertoire, with the organic inclusion of Asian elements—most notably opening his “Motion Pictures Medley.” He was even fond enough in the percussion and in the achingly beautiful love theme for of the original score to revisit it in 1997 in a fine (if abridged) re- Frenchy and Maily. China is virtually a character in the film, and recording with the Royal Scottish National Orchestra (VSD-5795). Goldsmith treats it as such. The score’s unifying theme, however, is like the of its main character, Jake (Steve McQueen, in one Planet of the Apes of his finest performances): simple and romantic (for the love We come now to one of Goldsmith’s most celebrated contributions story between Jake and Shirley) but also capable of being strong to the canon of film music literature. It is a score so effective and and forceful (in variations for the San Pablo and the patriotic naval so memorable that it has left a permanent impression on virtually bond of its crew). As Jeff Bond observed in his review of the score all who have seen the film…a few of whom who were sufficiently (FSM, Vol. 7, No. 7), “Steve McQueen’s all-but-expressionless face inspired to join the next generation of film music composers. was the perfect tabula rasa on which Goldsmith could paint his So much is striking about the music to Planet of the Apes (1968) emotional landscapes…the emotive component of the Sand Pebbles that one scarcely knows where to begin! The powerful evocation score is enormously powerful.” of an alien world is immediately apparent in the pointillistic The score’s final major element is the oppressive theme that main title (“pointillism” being a musical style where notes do can be heard most prominently in “Death of a Thousand Cuts.” not join to form an obvious melody). By comparison, the China This theme represents the presence of Death…not merely death, of The Sand Pebbles is merely exotic…the world Taylor (played by but the brutality of human murder. Hence, it shows up following ) and his fellow human astronauts discover is a particularly violent killings but not after the death of Frenchy, “strange, unearthly” place, to quote Goldsmith himself from his which is tragic but peaceful (he dies in bed, in the arms of his commentary track on the latest DVD issue of the film. lover). Interestingly, the death theme dominates the main title. In order to fully convince the audience of the alien nature of the Thus, Goldsmith foreshadows the film’s grim ending. film’s world, Goldsmith employs two techniques. The first is his In keeping with the film’s theme, much of Goldsmith’s music is choice of instruments—or rather, his discovery of new and unique designed to unsettle—for example, the jarring chord shortly into sounds. Goldsmith eschewed electronics in favor of organic

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v9n07Iss.id 30 9/7/04, 4:19:01 PM music—a good decision, given the primitive aesthetics of the Ape funny, but somehow chilling). world. To establish and maintain a not-of-this-earth atmosphere, Planet of the Apes scored a fourth Academy Award nomination Goldsmith used such diverse innovations as horns without for Goldsmith. The complete score, plus unused music, has been mouthpieces and mixing bowls as percussion instruments. He issued on CD by Varèse Sarabande (VSD-5848). also resurrected archaic instruments such as the ram’s horn, lending a primal authenticity to cues such as “The Hunt.” THE GOLDSMITH METHOD His second technique is the musical language of . Each of the scores we have examined up to this point is distinct, An extension of composer Arnold Shoenberg’s dodecaphonic but each has in common the basic methodical principles of its technique, serialism involves variations and permutations on composer—similar to how a house showcases the methodical the twelve notes of the chromatic scale. Although influential in principles of its architect and its builder. concert halls and conservatories during the mid-20th century, serial composition was rarely used in film scores—precisely due The Design Scheme to its alienating effect on audiences whose ears were accustomed One of the hallmarks of a good film composer is knowing when to the traditional systems of Western music. Goldsmith had used to keep silent. An architect faced with an empty plot of land, or it before in Freud, and he would use it again—but not often; for a designer with a blank wall, is capable of filling every square most films, it would have been devastatingly inappropriate. foot of that space. But no matter how artistically pleasing each It worked wonders, however, for Planet of the Apes. The film, individual foot may be, it can easily result in an atrocious effect and score, are dominated by brooding, eerie landscapes and when appreciated as a whole. In most artistic endeavors, blank

ferocious explosions of activity. Any recognizable humanity must spaces are required. This ensures that the overall design does be leached from Heston’s iconic, over-the-top performance. Of not become cluttered to the point of distraction, in addition course, the disturbing similarities between Ape culture and our to drawing attention to those aspects of the piece that merit own are a major point of the film…but Goldsmith and director distinction. Emptiness itself can also be a powerful statement. Franklin Schaffner correctly determined that this point was This philosophy is equally true for film scoring. Jerry Goldsmith best made contrapuntally, the behavior of the Apes indicating has always been a master of judicious cue placement. “There kinship, the music reinforcing distance. In an upside-down world, comes a time,” he says in his Apes commentary, “when it’s [as] similarities to our own are grotesque and disturbing without important to know when not to play music as [it is to know needing to be heavily underscored. “Frank and I never felt that when] to play music.” In A Patch of Blue, for example, he tends what we did with the music should be obvious,” Goldsmith states to stay away from the dialogue sequences, which are sharply in his commentary track. “[We wanted to] give the audience some written and compelling enough. For The Blue Max, the absence of credit for being able to figure out things without us hammering music during Stachel’s final doomed flight serves to heighten the it home.” Goldsmith does hammer home some points, when tension—giving us the sense of holding our breath as we wait for appropriate—the shock of seeing an ape on horseback for the the other shoe to drop. And the final terrible revelation of Planet first time, for example—but he also knows when to be subtle. He of the Apes is allowed to play in silence, with only sound effects to says, “You have to be careful that the music slides into a scene, wash over us as the credits roll. plays in a scene, enhances a scene, but is not intruding on a scene. Careful timing in The Sand Pebbles is crucial, with Goldsmith And there is a difference. It’s not an intellectual difference, it’s an choosing to score the aftermath of horrific scenes like “Death of emotional difference.” a Thousand Cuts” as opposed to the actual torture, thus driving It’s worth noting, as Goldsmith does, that Frank Schaffner home the emotional devastation. Choosing where to begin and possessed a sly sense of humor that permeates the film—and end cues can also make a striking difference, as in The Sand Pebbles’ lightens the burden of a basically absurd premise, keeping the “The Wedding.” He extends the cue’s beautiful final moments even film within the boundaries of social satire and preventing it from after the alarm begins to sound. The music lingers with Jake, as if becoming too preachy or moralistic. Goldsmith’s music reflects reluctant to tear itself away from the atmosphere of peace and this humor (as in the hooting-ape sound effects in “No Escape”: return to the numb horrors of the gunboat.

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v9n07Iss.id 31 9/7/04, 4:19:03 PM Choosing the Tools Solid Workmanship “The right tool for the right job” is the workman’s credo. Budget And then there is the execution. The blueprint, materials and restrictions aside, a composer has an almost limitless array of foundation are worthless without sound craftsmanship. This is where instruments and combinations to choose from. Before the score can many modern scores and composers fall short of the mark, where be written, he or she must determine which instruments to use, ambition and creativity exceed the strength of the workmanship. how many, and in what configurations. The composer even has the Not so with Jerry Goldsmith. Having studied under Castenuovo- of multiple ensembles for a single score, although care must Tedesco and Rózsa, and an avid student of the classical masters, be taken to maintain an appropriate sonic consistency. Goldsmith was a musician par excellence, a composer in the most Step one is to have a lot of tools at your disposal. Goldsmith accomplished sense of the word. He repeatedly drove home the regularly surpassed his peers in this regard, searching out new and importance of the fundamentals, knowing that creativity best thrives unusual instruments and sounds to enrich his diverse palette and within structures that are not random or arbitrary. Goldsmith was not hesitating to apply them in innovative ways. The orchestra was well-educated and experienced in everything from romanticism, to not the “safe” orchestra but the one that was right pop, to modernism. Mahler, Haydn, Prokofiev, Bartók, Stravinsky… for the film. Planet of the Apes is brilliantly shocking all impacted Goldsmith’s musical world. Distinguishing each Jerry in its sound design, but it can also be discerned Goldsmith score is the fact that, beyond being good for the film, it throughout Goldsmith’s work. The Blue Max uses remains good as music. a wind machine to great effect. A Patch of Blue, in its spare orchestration and piano emphasis, Interior Decorating attains a music-box quality, and the dreamy use Finally, we come to the purpose of all creative endeavors: the human of vibraphone and harmonica perfectly enhances element. One does not build a house except to live there, nor paint the film’s silvery black-and-white compositions. a masterpiece save for it to be seen and appreciated by human The score for The Sand Pebbles, meanwhile, is like the eyes. Likewise, a film score has a job to do. That job is more than character of Maily: neither American nor Chinese providing music to accompany a film’s images. If that restrictive in its blend of Eastern and Western elements and approach were applied to home-building, interior decorating would use of exotic instruments. end with wallpaper. From the earliest days of movie-house , It’s important to note that Goldsmith was not accompanists would interpret what they saw on the screen and try blinded by new technology and possibilities. to find its appropriate musical expression. Goldsmith’s methodology “Sometimes the primitive ways of recording things went even further, not content to merely describe actions and are more effective,” he says in his Apes commentary, images. His brilliance lay in the fact that he could cut straight to the referring to the use of delayed-recording techniques heart of a film to get underneath its skin and discern the underlying to achieve an effect another composer might have psychology of its characters. In this way, by scoring his films from the tried—with less success—to create with electronics. inside out, Goldsmith brought his audiences into the world behind the screen, giving them an emotional and psychological stake. He Laying the Foundation had an uncanny knack for understanding the most effective musical A good project requires a solid foundation to build language that would successfully speak to his listeners. Eulogizing on. For Jerry Goldsmith, this meant establishing a Goldsmith on Varèse Sarabande’s website, Robert Townson writes: thematic cornerstone that could support the score “The structure of his film scores was often extremely intricate, but the musically—a cornerstone that usually took the appreciation was always emotional.” That emotional connection—the form of a strong melody, but (as in the case of Planet intensity and immediacy of it—was the key to Goldsmith’s success. of the Apes) could be as subtle as a recurring motif or Who doesn’t feel, listening to “The Searchers” from Planet of the Apes, musical configuration, depending on the needs of that they have touched down on alien soil? “You’re either born with the film. Goldsmith was not the first composer to a dramatic instinct or you’re not,” Goldsmith succinctly states in the apply this philosophy, but he employed it with an aforementioned Jeff Bond interview. That instinct was surely one of almost unprecedented consistency and attention to the composer’s many gifts. detail. In A Patch of Blue, one melody virtually carries the score. The Right Man Even when dealing with the broad focus of Within the four scores examined in this article, there’s an extraordinary epic films, that demanded more themes and a variety of musical philosophical/methodical consistency—one that would define the ideas, Goldsmith always strove for thematic consistency and shape of Goldsmith’s career. Jerry Goldsmith loved the movies, and he inter-relatedness (just as the main theme in The Blue Max informs wanted to help us love them more. To this task, he came armed with the other two primary themes) or at least the primacy of a single a formidable musical education, extensive training and an insatiable theme (as in The Sand Pebbles). This approach is distinct from the appetite for things new. He was a consummate storyteller and superb traditional Wagnerian- approach that characterizes many dramatist. His expansive musical vocabulary, combined with his gift film scores, even extremely successful ones like John Williams’ Star of perception and constant attention to craft, opened up endless Wars. Speaking in an interview with Jeff Bond in The Music of Star worlds of possibilities. His sheer talent and versatility ensured that Trek (Lone Eagle, 1999), Goldsmith says, of teaching aspiring film he would always be the right man, no matter what the job. It’s what composers, “..the most important thing I’ve said is they have to have launched him from the ’60s all the way into the next millennium. It some thematic thread through the score, it’s not just a lot of isolated made him a giant in his field…one who can never be replaced. pieces of music.” The result is an unity and integrity that makes for We’ll miss you, Maestro. FSM an eminently more listenable soundtrack. You can write the author at [email protected].

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v9n07Iss.id 32 9/7/04, 4:19:06 PM REVIEWS OF CDS

CLASSIC ★★★★★ GREAT ★★★★ GOOD ★★★ BELOW AVERAGE ★★ score WEAK ★ 1 The Village ★★★ /2 collection of material. Three of is, as we eventually learn, tied into my general feelings after seeing JAMES NEWTON HOWARD Howard’s principle themes feed the film’s deception—it is indeed ’s latest, not- Hollywood 2061-62464-2 off of each other, borrowing and modern times, not the 1800s. The quite-greatest effort, which held 13 tracks - 42:29 transforming melodic concepts. denizens of the village have been my attention but failed to make [If you still haven’t seen The The film’s romantic tune places divorced from society by false any real impression. Straddling Village, this review will spoil it.] Hahn’s solo violin over trickling fears and imaginary monsters. the line between drama and lthough it is not entirely figures in the string and wood- And this dramatic twist earns the comedy, Spielberg seems to aim Aout of line to claim that The winds choirs. Roles are reversed score’s least effective writing. for whimsy. Maybe he does Village finds M. Night Shyamalan for the rural writing represent- Howard represents the woods’ hit the mark, and whimsy just digging himself deeper into a cre- ing life in the village—strings “creatures” with snorting clusters doesn’t stick for me. Or maybe ative rut of deliberate pacing, false now sing an earnest and wind- of trombones, contrabassoons, whimsy simply stretches thin scares and third act twists, it’s also ing minor line over arpeggiated drums, rattles and general musi- over two-plus hours. I certainly true that once again the director patterns in the solo violin. This cal unpleasantness. It’s a valid can’t fault Tom Hanks, who, with affords James Newton Howard same string melody is twisted and dramatic choice. These “monsters” his mannerisms and quasi-Greek a generous mix, ample room flattened to create adisturbingly are a false threat, little more than accent, does his best in the role to explore ideas and an intense still theme for the fear the vil- the town elders draped in robes. of resourceful émigré Viktor sense of focus and clarity. For four lage has incorporated into their The music they earn is appropri- Navorski. And I can’t fault John films, Shyamalan has provided daily life, here emphasizing winds. ately alien to the world around Williams, whose score fits the Howard with his most reward- Howard’s writing is unified by its it, devoid of the melody and film like a glove…for better and ing collaboration, from the chills simple effectiveness and restraint. expressiveness present in the rest for worse. It is also light, breezy, of The Sixth Sense to the emerging Lines and orchestrations are never of the score. However, the album lengthy, occasionally amusing… urban heroism of Unbreakable overtly colorful, though every doesn’t mirror the film’s storyline and, yes, fairly inconsequential. and the expectant dread in the so often sparks of more modern precisely, and since this dramatic At least in this reviewer’s mind. Signs’ three-note motif. Like its ideas pop into the mix: hints of purpose is never established on Maybe you, the reader, love predecessors, The Village finds this Glass-like minimalism, subtle CD, this element of the score feels Williams in his gentle jazz mode, collaboration drawing Howard’s twinges of synth, the occasional unconnected and generic com- which is the vein of most of this work into a lucid intertwining of tang of dissonant harmony. This pared to its surroundings. score. I find it kind of boring. materials and structure. In this Also missing is the dramatic Yes, I said it…boring! Oh, don’t outing, Howard paints the placid- peak of works like Unbreakable and get me wrong! This is topnotch ity and underlying sadness of a especially Signs, though the film writing all the way. And, as I small isolated country town in the has no such grand moment in its said, it’s a neat fit for the film, 1800s. The emphasis is on pastoral conclusion. The composer makes which at times seems to lack a colors: cascading string figures, the most of what’s presented to soundtrack in favor of airport arcing tuneful lines emphasizing him by opening up the orchestral Muzak. I certainly can’t imagine sweet parallel harmonies, piano, pallet to feature French horns and anyone writing a better score recorders and Hilary Hahn’s solo a temporarily adjusted harmonic for this film. Viktor Navorski’s violin. The writing immediately language, but it lacks the dramatic theme is charming and infectious conjures images of Vaughan punch that has marked previous (perhaps a little too infectious, Williams’ or Bedrich Smetana’s projects with Shyamalan. the way it bounces maddeningly most lyrical works, but more in Still, The Village remains one of into my head at odd moments!), mood than content. The film is the summer’s best scores. Its finest and the breezy (there’s that word cut in such a way that Howard’s moments are as good as any yet again!) theme for Viktor’s antics writing is allowed to stretch into available this year. —Doug Adams has a nice laconic swing to it. The long expressive forms with little in “Krakozhia National Anthem” the way of “cuey” mickey-mous- The Terminal ★★★ makes for a welcome change of ing, which holds up especially JOHN WILLIAMS pace mid-album, and the Cape Fear well on CD. Decca B0002924-02 • 14 tracks - 57:50 quote in “Refusing to Escape” is As in other Shyamalan projects, ight, breezy, lengthy, occa- amusing. Finally, there’s an old- Howard pulls a series of thematic Lsionally amusing—and fairly school Hollywood love theme ideas from a small but flexible inconsequential. Those were that makes its best appearance

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v9n07Iss.id 33 9/7/04, 4:19:07 PM SCORE in “The Fountain Scene.” But the Armstrong’s score matches the majority of the album is slight director’s vision. In action/thriller repetitions and variations on scores, most composers gradually these themes amidst meandering build tension by stacking on underscore. more and more instruments If you’re a Williams fan, you’re as the movie progresses. They probably familiar with this side accompany the climax with an of the maestro. It’s no less an explosion of sound and then authentic part of his distinctive allow everything to die away compositional voice than his in the denouement. Armstrong heroic fanfares or layered action subverts these expectations cues. Yet I do not happen to feel completely. His score for The that this particular score makes “best of” compilation that many on most of the tracks. Armstrong Clearing is, for the most part, for a very successful album. In originally anticipated, this release makes a point of informing us a quiet affair. The drama is spite of Williams butchering utilizes a selection of Armstrong’s which piano was used at which of underscored by soft, slowly the score’s chronology to make familiar tracks and transforms the four recording locations. modulating string chords with for a more musically sensible them into one complete piece. This is a limited, numbered wind, percussion and electronic experience (I’m not convinced), I’m avoiding the use of the word release, beautifully packaged in instruments layered above the it just doesn’t hold my interest “classical,” if only because many a bound, fabric-covered, 28-page bed. For the rare explosion beyond the first few cues. There would (wrongly) see it as synony- booklet with photographs of Paris. of tension, Armstrong uses are highlights here and there— mous with stuffy, old-fashioned It was here, in France’s capital percussion and electronics quotes of “Here Comes the Bride” music. By contrast, this work is city, that Armstrong recorded a together, as in “Arnold on His in “The Wedding of Officer Torres”; very contemporary, while still number of the tracks, and the Way.” But these moments are few the piano-bass duet that opens classical in structure. It’s a mature CD also features a preview of a and far between. “Jazz Autographs”—but pushing piece from a composer who is so film of this recording, due to be Armstrong also undermines an hour in length, the album is comfortable with his craft that he released on DVD later this year. convention by using only one simply too long. is prepared to rework and restruc- Armed with the knowledge that theme for the entire score. This And yet, it’s quality music! ture his own classics into some- the music is being performed in theme is presented in three Mature, well-arranged, thing quite different. such a romantic setting, you may instrumentations in three cues, compositionally flawless. In short, Where else would you find find that the disc takes on further each titled “The Clearing Main typical Williams. It pains me to music from scores such as Love elegant nuances with repeated Theme.” This dirge of a theme give any Williams album less than Actually, Romeo + Juliet, Orphans and play. More than a chill-out album climbs to an aching note of four stars for just these reasons. Moulin Rouge sitting alongside one or a simple mood piece, it’s a longing through arpeggios that At his least inspired he writes another as if they were composed concert work for your living become the score’s characteristic better music than most of his for the same movement? Of room. —Nick Joy gesture. The theme’s most contemporaries on a good day. course, this could have backfired beautiful version is as a piano 1 But I have to go with my gut on terribly, with the collector enraged The Clearing ★★ /2 solo performed by the composer. this one and review the album that his favorite Armstrong tracks CRAIG ARMSTRONG As we know from Armstrong’s as an experience. I love many have been stripped down to Varèse Sarabande 302 066 585 2 album of solo piano works, the slow scores, long scores, and even their barest melody. But surely 25 tracks - 55:17 composer is gifted at bringing a moody, atmospheric ones. But for that’s the point of the album—a he fact that Craig Armstrong rich, round sound to the piano, some reason this one puts me to good composition is a good Twas tapped to compose the and this cue further solidifies that sleep. Forgive me, maestro…your composition, and with the soundtrack for Pieter Jan Brugge’s reputation. This meditative take godlike talent ensures you three orchestral layers peeled away, the The Clearing should be the first clue on the main theme, accompanied stars, but my perplexing resistance purest music is left to dominate. that this film does not fit neatly by a relentless ostinato, is to this latest opus draws the line Moulin Rouge fans might find into any one category. After all, reminiscent of George Winston’s there. —John Takis that Satine’s theme is too different Armstrong is perhaps best known unique piano music in its tone a beast in this form, but that for his collaborations with Baz and minimalist trappings, and Piano Works (Limited Edition) will ultimately be a matter of Lurhmann, a director who has proves to be the score’s emotional 1 ★★★ /2 opinion. Both movie and piano gleefully refused to be confined to and structural high point. CRAIG ARMSTRONG versions now exist for the same one genre throughout his career, Unfortunately, while it works Sanctuary CACDX3 •19 tracks - 58:23 source, and how often are we as much less within a single film. The for the movie, the score for The or those who thought Craig collectors offered contrasting takes Clearing proves to be cut from the Clearing does not stand up well FArmstrong’s greatest work by the original composer? The same mold. Its ads promote it as on its own. It is too much of was achieved at his bank of melancholy theme from Orphans a standard summer thriller—and the same for much too long. synthesizers, the composer goes is, incidentally, presented here it certainly has elements from that The necessary moments of “unplugged” to demonstrate the for the first time in an official genre—but, for the most part, the catharsis are present, especially range both of his own composi- release. All sounds on the album movie transcends neat categoriza- in Armstrong’s poignant and tions and of the piano as a single are created by the piano, though tion, emerging as a complex psy- concise manipulation of the main source of sound. Instead of the there are electronic treatments chological character study. theme in “I Have Everything I

AUGUST 2004 34 FILM SCORE MONTHLY

v9n07Iss.id 34 9/7/04, 4:19:09 PM Need.” Indeed, the album shines don’t disappoint. In much the vessels. “Target Waiting” provides whenever the piano is added to same way that the first Troopers chilling suspense for the stealthy the mix because the composer was essentially an old-fashioned hunt, with extremely low seems to focus in on exactly what siege/war movie, its lower-profile strings evoking the enemy below: he wants to say. But there are successor plays on the same the killer U-boat biding its time, not enough of those moments to field, dipping into the John Ford/ waiting to strike. “Target Safe” sustain interest beyond waiting Steiner collaboration The Lost follows with exploding brass for the next structural marker. Patrol. However, there’s no special clusters for the inevitable attack. —Andrew Granade thanks to Hans Zimmer, which is Harline uses vibraphone and strange when considering that the other shimmering effects; these Starship Troopers 2: Hero of the opening track seems so beholden passages give the impression of 1 Federation ★★★ /2 to the ever-popular Backdraft. being written for a horror score, JOHN MORGAN AND “Fortress Search” is a wonderful if not for the martial fanfares WILLIAM STROMBERG retro trip to Herrmann’s fantasy associated with the American Varèse Sarabande VSD-6581 films, featuring the string work destroyer interrupting the tension 38 tracks - 72:56 and brass flourishes of Mysterious of the claustrophobic situation. he prospect of a low-budget, Island or The 7th Voyage of Sinbad. At 43 minutes, this is a very Tstraight-to-video sequel to It doesn’t take too much to taut score, with Harline taking Paul Verhoeven’s Starship Troopers recognize the descending strings the listener on a whirlwind ride. didn’t generally set any hearts of Cape Fear either. “Tail o’ the Bug” Nineteen minutes of nearly racing with anticipation, par- and “Kill Them All” are frantic, continuous music from the film’s ticularly with the news that Basil violent cues in stark contrast climactic battle finally takes the Poledouris was not returning to to the heroics of “Dax’s Last listener into the denouement. The deliver more of his blockbuster Stand” and the military bugles of CD is entirely in stereo, and the score. However, once the initial “Reunion.” By the time the “End sound quality is great. The bonus disappointments subsided, good Credits” are pulsing from your tracks include a short suite of all news started to filter through. The stereo, you’ll be humming that the recorded takes of the ethereal movie was going to be directed Fed Net theme or getting ready to effects composed by Harline for by special-effects supremo Phil track back to “Fortress Search.” the radar blip images, which Tippett, written by Ed Neumeier Don’t be put off by the number could be easily missed when (screenwriter of the first Starship of tracks. Many of the cues mixed with the louder orchestral Troopers outing) and the score might only clock in at around tracks. If you want it—and can was to be written by John the minute mark, but they are The Enemy Below (1957) find it—grab it. The entire run has 1 Morgan and William Stromberg. sequenced in such a way that the ★★★ /2 sold out.. —Darren MacDonald While unknown to the casual pace is maintained throughout soundtrack listener, the composers and many neatly segue into one Intrada Special Collection Volume 15 Toi, le Venin/Le Vampire de were already popular in specialist another. The 90-piece Moscow 19 tracks - 51:48 Dusseldorf (1958/1964) ★★★★ soundtrack circles for their lov- Symphony Orchestra (Morgan espite having written one of ANDREW HOSSEIN ing reconstructions of and Stromberg’s orchestra of Dthe most recognizable tunes Universal Music France • 24 Tracks - 65:50 classic scores like The Adventures of choice) perform with great gusto, of the 20th century (“When You oi, le Venin/Le Vampire de Robin Hood, The Hunchback of Notre and in the resulting absence of Wish Upon a Star”), Leigh Harline TDusseldorf is part of the incred- Dame and King Kong. They also AFM re-use fees, we also get a is nevertheless destined to remain ible “Ecoutez le Cinema!” series, a went atomic with their spectacular healthy running time of nearly in relative obscurity. So it’s great run of brilliant classic film scores scores to Trinity and Beyond, Nukes in 73 minutes (which the composers to have labels such as Intrada and from the European cinema of Space and Atomic Journeys. stress is nearly every minute of FSM dedicated to the release of yesteryear. These CDs feature Poledouris’ score is actually the score). This might be a case obscure Golden Age film music. immaculate layout and design, used in the “Battle at Z.A.” and where less would have been The World War II submarine original poster art, film stills, “End Credits” tracks, but that’s more, but let’s leave it to the thriller The Enemy Below is a wel- quotes from the directors, and where the similarities end. Wisely soundtrack fans to make their come addition to Harline’s small memories from the various com- resisting the temptation to re- own decisions and track out the catalog. posers with a wonderful, often cook the old themes, Stromberg excess material. “Charting Tables” prominently previously unreleased soundtrack. and Williams have instead opted In a summer where one major features one of the scores’ This particular album is special to merely echo the style of his project was rejected for sounding recurring ideas: the competition because it involves a father-and- work before leaping into some “too old-fashioned,” let’s rejoice between the themes for the son collaboration. The father is more familiar territory. When the that the Golden Age sound is American destroyer and the Russian-born filmmaker and “Special Thanks” on the back of still alive elsewhere. Next time, German U-boat. Harline leaves composer Andre Hossein. His son, a CD include the names Bernard though, I’d like this duo to step scenes of dialogue and exposition Robert Hossein, also loved music, Herrmann and Max Steiner, you out from the shadows of the largely unscored, instead but instead studied acting in Paris. get a pretty good idea of what masters and show us the real focusing on the suspense of the Their initial collaboration was The to expect, and the composers Stromberg and Morgan.—Nick Joy confrontations between the two Go to Hell (1956), Robert’s

FILM SCORE MONTHLY 35 AUGUST 2004

v9n07Iss.id 35 9/7/04, 4:19:11 PM SCORE first feature film and Andre’s first Train/Punishment” for example). film score. This theme stays melancholy The Hosseins were two unique the entire way through, only individuals who shared a love for becoming vaguely heroic at the each other but couldn’t express end (“The Skull”). The trumpet it verbally. Although they didn’t solo aims for the heart. talk much, they completely The Remembering theme gets understood one another. The end the standard piano orchestration, result of this director/composer but what distances it—as well relationship was always fresh as the rest of the score—from and innovative. In 1959, the two other similar ideas is Siliotto’s Hosseins outdid themselves with years old, he shows no signs of music or film composers. He’s approach. His background Toi, le Venin (Blonde in a White Car). slowing down. Cellist Yo-Yo Ma had a working relationship with in foreign films is a godsend, Musically it was quite successful— came up with the idea for this CD John Williams and Tan Dun because he doesn’t approach this more so than the film itself. a few years back when Morricone on film and non-film projects, theme the way a typical American The up-tempo jazz numbers, was nominated for an Oscar for and his stature in the classical composer would. There is very with swinging horns and light Malena and Ma was on the show world is unsurpassed in his little percussion, and the melody vibraphones, fit well in the film performing the nominated appeal to staunch fans and stays in your face the entire and were markedly different from scores. And while a CD filled with crossover fans alike. Neither time. It doesn’t interfere with the most of the noir and new wave -centric versions of popular group will be disappointed. The dialogue but plays alongside it, soundtracks written at the time. Morricone film themes is certainly are by Morricone underscoring the emotions. It’s Hossein’s score traversed into the worthwhile, Ma and Morricone himself, so they are not arbitrarily prominently mixed in the film bars and dance halls of France, went the extra step. thrown together. The cello as well, unlike the murky string and people soon took notice. This CD is being released with a flows organically within all the work or percussion samples that Hossein’s jazz style continued DVD of short movies (directed by selections. This CD is a testament hide in the background in many with Le Vampire de Dusseldorf, which USC students) that used the new to a true collaboration between similar films. Siliotto’s music also is slower and a bit more shaded, performances as inspiration. The two artists who respect each other. carries a slight tinge of Spanish with a more symphonic feeling. movies themselves will have their —Cary Wong flavor that isn’t apparent in the Vocalist Pia adds her premiere in Southern California orchestration yet casually surfaces beautiful voice to the song “La on Nov. 5 in a live screening/ The Punisher (2004) ★★★★ as the album progresses. Belle de Nuit.” concert with Yo-Yo Ma as soloist CARLO SILIOTTO Siliotto’s choice to include a As a bonus, some of Hossein’s and Morricone’s son Andrea La-La Land LLLCD 1020 • 30 tracks - 65:37 saxophone in the score piqued writing for directors Greville, conducting. The program will he most interesting thing my curiosity especially, because Gerard and Oury is included in be repeated in Rome with Yo-Yo Tabout this score is that it this instrument can signal the this set. Outside of films, Andre Ma on Nov. 16, with the maestro doesn’t contain any standard essence of cheesiness. Surprisingly, Hossein composed , himself conducting. action music. Siliotto mentions he manages to wrangle some symphonies and ballets. He had The musical selections are in his liner notes how happy he evocative moments out of it, a well-rounded career in music, mostly in the form of medleys was that writer/director Jonathan underscoring the evil Mrs. Sain, and his writing should please corresponding to some of the Hensleigh supplied him with great who’s tied to the very instigation fans of and Ennio major directors with whom characters, and his music reflects of the revenge against Castle. Thus Morricone. —Jason Verhagen Morricone has worked. There just that—character. The first track’s she gets her own theme, which are suites for the films of Sergio moody trumpet solo demonstrates frequently plays against Howard Yo-Yo Ma Plays Ennio Morricone Leone, Giuseppe Tornatore and that this music doesn’t intend to Saint’s menacing piano and string ★★★★ Brian DePalma. Of the three suites, go for the throat. melody. Evil henchman Quentin ENNIO MORRICONE my favorite would have to be the The sheer amount of thematic Glass also gets his own idea— Sony Classical SK90453 old-fashioned romanticism of the writing Siliotto packs into this another slow, minor-key piece so 8 tracks - 62:26 Tornatore suite. Music that sounds score is an absolute joy; there subtle it isn’t even immediately t seems like there’s an Ennio remarkably like Casualties of War, are roughly five themes in recognizable as an actual theme. IMorricone tribute CD released however, seems to have found its total. One for Punishment, one I never expected The Punisher to every month, and of course, way into the Leone suite. There’s for Remembering, and three sound like this. I feared repetitive it’s not totally unwarranted. also music I was unfamiliar with: slithering ideas for the villains. percussion, techno. I feared the Morricone is one of a few liv- an elegant suite of music from The Punishment theme gets new world (though some of ing film composers who lives up two TV miniseries, Marco Polo and the most treatments, opening Siliotto’s string passages do sound to the title of maestro. He has Moses. I was also glad to revisit the album with a rendition like ’ Matrix work!). scored over 400 films, mostly the lush music from 1970’s The that makes it sound similar to Instead, I was treated to a rich, with Italian directors, but with Lady Caliph, two lovely cues from Zimmer’s trumpet work in The melodic score that harkens back many American ones as well. The Mission and a rendition of the Rock. In other places it escapes to yesteryear and soars to the He’s been nominated for five underrated The Legend of 1900. this similarity; played quickly in forefront of the mix. La-La Land’s Academy Awards (but, shame- Ma, the crossover cello virtuoso, staccato bursts, it sounds more presentation also impresses, fully, has never won), and at 80 has never been a stranger to film like James Horner (“She Took the as it includes a whopping 60

AUGUST 2004 36 FILM SCORE MONTHLY

v9n07Iss.id 36 9/7/04, 4:19:13 PM minutes of score. Only one corny their distinctive talents. With a with the jazz/rock elements of pop song finds its way onto the youthful Zero Mostel, Virginia The Pink Panther, Peter Gunn, A Shot album, as does a selection from O’Brien, and and in the Dark, etc., Mancini’s more “Rigoletto,” (used as underscore His Orchestra stirred into the mix, straightforward orchestral writing during a fight scene). Rarely does Du Barry boasted the most eclectic is often sorely ignored. The Thorn a score get treatment this good, movie cast ever assembled until Birds falls squarely in this latter and even more rarely does it Myra Breckinridge arrived nearly field, containing some of the most actually deserve it. —Luke Goljan 30 years later (speaking of Mae heartfelt writing in the composer’s West vehicles, scenarist Herbert canon. Mancini had a gift for Du Barry Was a Lady (1943) ★★ Fields first offered Du Barry to the melody, and the main theme kicks PORTER, EDENS, HARBURG inimitable West as an original things off right away in “Main Rhino Handmade RHM2 7851 screenplay specially tailored to her Title,” simultaneously conjuring 23 tracks - 78:27 lascivious persona, which the star up nostalgia, romance and the nother sterling example of promptly rejected as unsuitable). Australian outback—without the AHollywood’s uncanny knack Irving Brecher faced obstacles in use of a didgeridoo. for getting it wrong, the 1943 film adapting the frothy innocuousness The main theme dominates treatment of ’s 1939 of the book by Fields and B.G. the score, but Mancini provides a stage smash Du Barry Was a Lady DeSylva: A nightclub cloakroom handful of other fully developed really lost something in the trans- attendant (Skelton) covets comely themes, at times even evoking lation. For starters, belter extraor- headliner May Daly (Ball), who his previous score for The White dinaire may have only has eyes for a nimble chorus Dawn—and even hinting at had the rafters ringing at the 46th boy (Kelly). During a delirious his future score for Lifeforce. All Street Theatre on Broadway, but episode, the attendant imagines tender and satisfying ballads. The the album highlights are too by the time cameras rolled, the himself as Louis XIV, wooing the only other keeper is Dorsey’s numerous to mention but include Merm’s powerhouse pipes were scandalous coquette Madame “I’m Getting Sentimental Over “Baby Hal Dies,” “Beach Walk,” sacrificed in favor of , Du Barry in overdressed 18th- You/We’ll Get It” medley, which “It’s Shearing You’re Hearing,” a comedic genius but no great century Versailles. Not exactly Porgy is presented in its entirety on this and “Arrival at the Vatican.” And shakes in the high-notes depart- and Bess, but thanks to Porter’s soundtrack release. Following it’s not only a full, lush orchestral ment. , M-G-M’s reputation and Merman’s fiercely Du Barry are five tracks from sound Mancini uses; there are legendary producer of topnotch dedicated fan base, it racked up Metro’s Meet the People (1944), which several quieter reflective moments musicals, seemed intent on mold- 408 performances on The Great reunited Ball and O’Brien and for solo flute or guitar with ing Ball into Metro’s answer to White Way. added Lahr and Dick Powell to string backing. It’s great to hear a , Paramount’s rau- This limited-edition Turner the marquee. The musical content composition written for television cous and bankable comedienne. Classic Movies Music/Rhino is as unimpressive as the batch of from the days before synthetic For Du Barry, Ball was newly coifed Handmade version of the Du Du Barry misfires, and these latter drones and looped electronic and her tresses tinted a strik- Barry soundtrack offers knockout selections are also marred by an backbeats and shrinking music ing henna hue that studio styl- fidelity, but immaculate audio intrusive hiss and other auditory budgets took the art down a few ist Sydney Guilaroff christened is beside the point when the imperfections. Taken in tandem, notches. Furthermore, the music is “Tango Red.” As a result, the material being presented is almost this is a disappointing double allowed to develop; unlike today’s future Mrs. Ricardo would never uniformly uninspired. This is one feature for M-G-M musical aficio television projects where most photograph more ravishingly movie musical with a notable nados. —Mark Griffin cues run less than a minute, there than she did in the resplendent absence of vocals. Merman’s are several lengthy tracks here. Technicolor process. Still, an spotlight numbers “When Love The Thorn Birds (1983) Much has been made on the 1 elaborate musical seemed an odd Beckoned,” “Come On In” and ★★★★ /2 internet message boards regarding choice for a performer far more “Oo-La-La” were either relegated HENRY MANCINI the dulcimer missing from “Main comfortable with pratfalls than to instrumentals or dropped Varèse Sarabande 302 066 564 2 Title.” Having been an adolescent Porter tunes. entirely by the Freed Unit. Several Disc One: 23 tracks - 56:56 when The Thorn Birds first aired, I The incomparable Bert Lahr other Porter compositions were Disc Two: 25 tracks - 60:25 can’t remember watching it, let and Ronald Graham (“The Boys tossed overboard and substituted his year marks the 10th anni- alone what the music was like. It’s from Syracuse”) were lauded for with fresh concoctions by Burton Tversary of Henry Mancini’s unfortunate that it’s missing, but their performances during the Lane, and Ralph death, and yet this release is one my review is based on the material triumphant theatrical run of Du Freed. Considering the talent of the precious few restored and at hand. The dulcimer does show Barry, but they were replaced on quotient involved, it’s surprising remastered releases of one of his up on the album during “The film by Red Skelton and Gene that none of these newfangled scores. That said, Robert Townson Thorn Birds Theme” on the first Kelly, respectively. Like Lucy, arrangements amounted to now presents us with nearly two disc, so it’s not entirely absent. To Skelton and Kelly were being anything memorable. hours of Mancini’s fine work for pass over this album because of groomed for superstardom by In fact, the Du Barry cinematic this landmark miniseries. one cue would deprive yourself M-G-M, and the -like score achieves the sublime once Though often best remembered of two hours of some of Mancini’s qualities of the project were as Kelly serenades Lucy with “Do for his hip sound that defined a most heartfelt and beautiful deemed ideal for showcasing I Love You?”, one of Porter’s most whole generation of movie music writing. —Darren MacDonald

FILM SCORE MONTHLY 37 AUGUST 2004

v9n07Iss.id 37 9/7/04, 4:19:15 PM We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSMmarketplace ■ Vol. 7, No. 14 ■ Vol. 7, No.13 The Man From U.N.C.L.E. Vol. 3 I’ll Cry Tomorrow JERRY GOLDSMITH, DAVE GRUSIN, ET AL. ALEX NORTH Films released: 1964-68 Film released: 1955 Studio: M-G-M Studio: M-G-M Genre: Secret Agent Genre: Biography Silver Age Classics Golden Age Classics CD released: September 2004 CD released: September 2004 Mono • Disc One: 77:21 • Mono/Stereo Disc Two: 77:03 Stereo • 75:53 To celebrate the 40th anniversary of U.N.C.L.E. this fall, FSM A first-rate biopic based upon the life of Lilian Roth, starring Susan completes its trilogy of albums with music from both the original Hayward in a powerhouse performance. Equally strong is North’s series and its 1966 spinoff, The Girl From U.N.C.L.E. Eight com- jazz-infused score featuring a memorable main theme. The CD posers are represented, including 37 minutes of Goldsmith music includes all of the dramatic underscore, plus source cues and three in stereo. $24.95 vocals (by Hayward) presented in chronological order. $19.95

■ Vol. 7, No. 12 ■ Vol. 7, No.11 ■ Vol. 7, No. 10 ■ Vol. 7, No. 9 ■ Vol. 7, No. 8 ■ Vol. 7, No.7 ■ Vol. 7, No. 6 Ride the High Country/Mail Cimarron Born Free Julius Caesar Big Wednesday The Fastest Gun Alive/ The Shoes of the Order Bride FRANZ WAXMAN JOHN BARRY MIKLÓS RÓZSA BASIL POLEDOURIS House of Numbers Fisherman Film released: 1960 Lyrics by Don Black; Film released: 1953 Film released: 1978 ALEX NORTH Films released: 1962/1964 Studio: M-G-M Vocal by Matt Munro Studio: M-G-M Studio: Warners Film released: 1956 Film released: 1968 Studio: M-G-M Genre: Western released: 1966 Genre: Shakespeare/Epic Genre: Surf Epic Studio: M-G-M Studio: M-G-M Genre: Western Golden Age Classics • CD Studio: Columbia Golden Age Classics CD Silver Age Classics Genre: Romantic Drama Genre: Political Thriller Silver Age Classics released: August 2004 Genre: Wildlife Adventure released: July 2004 CD released: June 2004 • Golden Age Classics • CD Silver Age Classics CD released: August 2004 Stereo • 79:37 Silver Age Classics Mono & Stereo • 68:05 Stereo • 78:29 released: June 2004 CD released: April 2004 Stereo • 76:54 This remake of Edna Ferber’s CD released: July 2004 Mono • 76:10 Stereo • Disc One: 77:09 Unsung Golden Age composer best-selling novel was one of Stereo • 39:55 One of Ròzsa’s most powerful One of the great orchestral Two potent scores penned for Disc Two: 74:50 Bassman contributed a warm, the last attempts to present a scores: dark and dramatic yet scores of the 1970s, available for director Russel Rouse. Fastest wistful and melodic score to big, sprawling epic of the old This score and song became pop full of melody. This premiere CD the first time anywhere. Ranging Gun (37:36) is a psychological FSM’s premiere 2-CD set Sam Peckinpah’s first master- West. The sumptuous score sensations; Barry and Black won features the complete score, in in scope from simple folk tunes western with classic American features the complete, mas- piece, Ride the High Country includes the stirring title song, Academy Awards for both song mono, with a wealth of outtakes, to magnificent orchestral swells, string writing; House of sive underscore on disc one; (32:35). Two years later, he European folk song and a and score. Now, the original LP and pre-recordings, including Poledouris’ feature debut is Numbers (38:34) is a psychotic Disc two collects source and reworked the same material spiritiual—not to mention the recording has been remastered several tracks in stereo. $19.95 epic in every sense. Includes crime thriller with appropriately alternate cues, plus demos from into his score to Mail Order thunderous Land Rush cue. and released on CD for the fi rst aternate takes and source cues over-the-top music. Presented (9:47) and LP Bride (44:28). This CD premieres This is the definitive presenta- time! Special price: $16.95 (21:24), all in stereo. $19.95 in the best-possible monaural recording of both scores in stereo. $19.95 tion! $19.95 sound (as recorded). $19.95 (40:39), all in stereo. $24.95

■ Vol. 7, No.5 ■ Vol. 7, No. 4 ■ Vol. 7, No.3 ■ Vol. 7, No. 2 ■ Vol. 7, No.1 ■ Vol. 6, No. 21 ■ Vol. 6, No. 20 The Swan Logan’s Run (TV Series) Diane Khartoum/ The Prisoner of Zenda Where Eagles Dare/ Moonfleet BRONISLAU KAPER , MIKLÓS RÓZSA ALFRED NEWMAN Operation Crossbow MIKLÓS RÓZSA Film released: 1956 et al. Film released: 1956 FRANK CORDELL Film released: 1952 Film released: 1955 Studio: M-G-M Telecast: 1977 • Studio: M-G-M Studio: M-G-M Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Genre: Romantic Drama Genre: Science Fiction Genre: Historical Drama Studio: Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Golden Age Classics • CD Silver Age Classics Golden Age Classics • CD Genre: Historical Epic/WWII Golden Age Classics Genre: WWII Espionage Golden Age Classics released: April 2004 CD released: March 2004 released: March 2004 Espionage CD released: February 2004 Silver Age Classics CD released: January 2004 Stereo • 49:54 Stereo • 79:55 Stereo • Disc One: 71:36 Silver Age Classics Mono • 58:21 CD released: January 2004 Stereo • 77:11 Stereo & Mono • Disc Two: 77:43 CD released: February 2004 Stereo • Disc One: 74:04 The Swan was ’s This short-lived TV series bor- Stereo • 78:55 This colorful remake of the 1937 Disc Two: 78:37 A moody tale of smugglers penultimate film, eerily fore- rowed props and ideas from the ’s final film at M-G-M swashbuckler sports a robust directed by . The shadowing her own destiny as feature film, with new music by gets a lush score of beauty and Two military-themed scores adaptation of Newman’s original A 2-CD presentation of two score is richly melodic with a Princess Grace of Monaco. This Rosenthal, Bruce Broughton, grace. Disc one presents the on one CD: Khartoum (41:46) is score (by ). classic scores: The entire particularly lovely main theme. premiere features the complete, Jerrold Immel (Dallas) and Jeff underscore; disc two includes a sweeping epic with British The score is brimming with underscore (not the LP re- FSM’s premiere album release original soundtrack remixed Alexander. Includes suites from alternates and source cues and Arabian colors; Mosquito Wagnerian leitmotifs for the recording) from Where Eagles includes the complete score from three-track masters, as all nine episodes of original (57:45), plus unreleased material Squadron (37:08) includes major characters, and a rousing Dare, and the premiere release plus numerous alternates and well as brief passages recorded music, remixed from three-track from Plymouth Adventure (7:48) aggressive action writing and a underscore for the climactic of Operation Crossbow, plus source cues. $19.95 for the ’50s LP. $19.95 masters, in stereo. $19.95 and Moonfleet (12:10). $24.95 noble, patriotic theme. Both are duel. $19.95 source and alternate cues from from stereo LP masters. $19.95 Eagles. $24.95

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v9n07AbridgedMKT.id 38 9/7/04, 2:59:28 PM ■ Vol. 6, No. 19 ■ Vol. 6, No. 18 ■ Vol. 6, No. 17 ■ Vol. 6, No. 16 ■ Vol. 6, No. 15 ■ Vol. 6, No. 14 ■ Vol. 6, No. 13 McQ On Dangerous Ground The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers The Cobweb/ Hawkins on Murder/ ELMER BERNSTEIN BERNARD HERRMANN Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Winter Kill/Babe Film released: 1974 Film released: 1952 JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 LEONARD ROSENMAN JERRY GOLDSMITH Studio: Warner Bros. Studio: RKO • Genre: TV Produced: 1964-68 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Films broadcast: 1973, ’74, ’75 Genre: Police Thriller Golden Age Classics Studio: M-G-M • Genre: Spies Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Studio: M-G-M Silver Age Classics CD released: November 2003 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genres: Crime, Biography CD released: November 2003 Mono • 48:24 CD released: Oct. 2003 CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 Silver Age Classics Stereo • 49:24 Herrmann’s only film noir runs Mono • Disc One: 77:54 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 CD released: July 2003 Combines a traditional sympho- the gamut from furious chases Mono/Stereo Disc Two: 76:29 A rich and varied score for one A favorite score gets the defini- Two early scores by one of Stereo • 77:24 nis with ’70s funk for a unique, to heartfelt warmth.. Produced With music by Fried, Shores, of the greatest works in litera- tive treatment including film cinema’s most distictive voices, Three complete TV movie swaggering sound. $19.95 from acetate recordings. $19.95 Riddle and more. $24.95 ture. $19.95 tracks & LP recording. $19.95 from film and LP. $19.95 scores plus bonus tracks. $19.95

■ Vol. 6, No. 12 ■ Vol. 6, No. 11 ■ Vol. 6, No. 10 ■ Vol. 6, No. 9 ■ Vol. 6, No. 8 ■ Vol. 6, No. 7 ■ Vol. 6, No. 6 Toys in the Attic The Appointment Our Mother’s House/ The Adventures of / Knights of the Round Table/ All Fall Down/The Outrage , JOHN The 25th Hour Huckleberry Finn Demon Seed The King’s Thief ALEX NORTH Film released: 1962 BARRY & DON WALKER, FRED MYROW/ MIKLÓS RÓZSA Film released: 1962/1964 Studio: United Artists STU PHILLIPS Films released: 1967 Film released: 1960 Film released: 1953/1955 Studio: M-G-M Genre: Southern Family Drama Film released: 1969 Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Genre: Drama/Western Golden Age Classics Studio: M-G-M Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure Silver Age Classics CD released: July 2003 Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Apr. 2003 Stereo • 70: 27 Silver Age Classics CD released: June 2003 CD released: June 2003 CD released: May 2003 CD released: May 2003 Stereo • 52:54 One of Duning’s greatest scores CD released: June 2003 Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 Stereo • Disc One 70:31 Two complete scores: a hushed, is sensitive, rich and melancholy. Stereo • 77:06 Both delicate, melodic scores A giant of Americana writes a Two ’70s sci-fi scores on one Disc Two 78:21 sweet, family drama and a west- $19.95 Three scores on one CD. $16.95 are remastered in stereo. $19.95 bouncy, rich score.$19.95 disc:. $19.95 Two complete OSTs. $24.95 ern remake of Rashomon. $19.95

■ Vol. 6, No. 5 ■ Vol. 6, No. 4 ■ Vol. 6, No. 3 ■ Vol. 6, No. 2 ■ Vol. 6, No. 1 ■ VOLUME 5, NO. 20 ■ Vol. 5, No. 19 Green Fire/ THX 1138 Home From the Hill Ice Station Zebra Plymouth Adventure /7 Women Tribute to a Bad Man Bhowani Junction LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA HUGO FRIEDHOFER/ MIKLÓS RÓZSA MIKLÓS RÓZSA Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 ELMER BERNSTEIN Film released: 1956 Film released: 1954/1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Studio: M-G-M Studio: M-G-M Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Genre: Western Genre: Adventure/Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genre: WWII/Drama Golden Age Classics Golden Age Classics CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Silver Age Classics CD released: Jan .2003 CD released: Apr. 2003 Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 CD released: Jan. 2003 Stereo • 50:30 Stereo/Mono • 79:20 Includes many unused pas- All of the music from the film is Offbeat, epic scoring for orches- Rózsa’s magnificent historical Stereo • 73:46 Rózsa’s rare western is sweep- A symphonic score coupled with sages from an avant garde present, plus bonus tracks and tra, with over twice the music on music for the voyage of the Two Asian-flavored classics. ing, full of melody, and flecked “world-music”cues. $19.95 masterpiece. $19.95 alternates. $19.95 the original LP—in stereo. $19.95 . $19.95 $19.95 with brooding melancholy. $19.95

■ Vol. 5, No. 18 ■ Vol. 5, No. 17 ■ Vol. 5, No. 16 ■ Vol. 5, No. 15 ■ Vol. 5, No. 14 ■ Vol. 5, No 13 ■ Vol. 5, No. 12 The Man From U.N.C.L.E. The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche Vol. 1 MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA ELMER BERNSTEIN JERRY GOLDSMITH, et al Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 TV Produced: 1964-68 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: Secret Agent Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Silver Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Dec. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • Disc One: 77:05 This reworking of The Painted An early Jerry Goldsmith action- Stereo • 52:53 A stirring symphonic score, The last of the Golden-Age A sweeping Americana score Mono/Stereo Disc Two: 76:08 Veil combines film noir, exotic suspense gem for a Hitchcock- A rare Rózsa’s sci-fi score set in (plus “The Ballad of the Green swashbucklers with alternate, plus nightclub and marching Seven composers! $24.95 and epic film scoring. $19.95 styled thriller.. $19.95 post-apocalyptic NYC. $19.95 Berets”). $19.95 unused and source cues. $19.95 band source cues. $19.95

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v9n07AbridgedMKT.id 39 9/7/04, 2:59:32 PM ■ Vol. 5, No 11 ■ Vol. 5, No. 10 ■ Vol. 5, No 9 ■ Vol. 5, No. 8 ■ Vol. 5, No 7 ■ Vol. 5, No. 6 ■ Vol. 5, No 5 Above and Beyond I Spy Point Blank/The Outfit On the Beach/ The Traveling Executioner 36 Hours HUGO FRIEDHOFER BRONISLAU KAPER / The Secret of Santa Vittoria JERRY GOLDSMITH DIMITRI TIOMKIN Film released: 1952 TV Produced: 1965-67 Film released: 1955 JERRY FIELDING Film released: 1970 Film released: 1964 Studio: M-G-M Network: NBC Studio: M-G-M Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M Studio: M-G-M • Genre: Genre: WWII Genre: Secret Agent Genre: Biblical Epic Studio: M-G-M Studio: United Artists Genre: Black Comedy WWII/Spy Golden Age Classics Silver Age Classics Golden Age Classics Genre: Film Noir Genre: Drama, Comedy Silver Age Classics Golden Age Classics CD released: Aug. 2002 CD released: July 2002 CD released: July 2002 Silver Age Classics Golden Age Classics CD released: May 2002 CD released: May 2002 Mono • 55:44 Stereo/Mono • 77:57 Stereo • 75:11 CD released: June 2002 CD released: June 2002 Stereo • 39:39 Stereo • 66:41 This stirring, progressive score, Five episode scores for ground- Epic features choruses, solos, Stereo • 77:54 Stereo • 70:59 This score touches all the bases, A taut, piano-dominated score includes one of Friedhofer’s breaking series—all OST, not LP source cues and thundering Two tough films based on D.E. Two LP scores reissued on one from bluegrass to avant-garde with an accent on stealth—and greatest main titles. $19.95 recordings. $19.95 symphonic glory. $19.95 Westlake’s crime novels. $19.95 CD, with one bonus cue. $19.95 to full-scale action. $19.95 double the length of the LP. $19.95

■ Vol. 5, No 4 ■ Vol. 5, No. 3 ■ Vol. 5, No 2 ■ Vol. 5, No. 1 n VOLUME 4, No. 20 ■ Vol. 4, No. 19 ■ Vol. 4, No. 18 The Man Who Loved Cat Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance Dancing BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators LEIGH HARLINE JOHN WILLIAMS Film released: 1965 Film released: 1976 Film released: 1956 DAVID SHIRE FRANZ WAXMAN Film released: 1954 MICHEL LEGRAND Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century Fox Film released: 1973 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: M-G-M Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/Suspense Genre: Biblical Epic Golden Age Classics Genre: Western CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Silver Age Classics Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 This classic story of a dystopian Stereo • 61:51 CD released: Jan. 2002 CD released: Jan. 2002 Stereo • 38:41 CD released: Mar. 2002 The complete score: romantic, future gets the royal treatment A favorite score of the compos- Stereo • 73:48 Stereo • 61:51 Disney’s workhorse composer Stereo • 65:37 surging with passion and haunt- in this restored, remixed, rese- er, remixed, with bonus alternate Jazzy Noir & rhythmic thrills. $19.95 Spectacular Biblical epic. $19.95 from the ‘30s goes West. $19.95 A rare two for one! $19.95 ing in its use of melody.. $19.95 quenced release! $19.95 cues and more. $19.95

■ Vol. 4, No. 17 ■ Vol. 4, No. 16 ■ Vol. 4, No. 15 ■ Vol. 4, No. 14 ■ Vol. 4, No. 13 ■ Vol. 4, No. 12 ■ Vol. 4, No. 11 John Goldfarb, The World of Henry Orient The View From Pompey’s The Illustrated Man Morituri/Raid on Entebbe The Best of Everything Please Come Home! ELMER BERNSTEIN Head/ Blue Denim JERRY GOLDSMITH ALFRED NEWMAN & JERRY GOLDSMITH/ ALFRED NEWMAN JOHNNY WILLIAMS Piano Concerto by K. Lauber ELMER BERNSTEIN/ Film released: 1969 HUGO FRIEDHOFER DAVID SHIRE Song by Newman & Film released: 1965 Film released: 1964 BERNARD HERRMANN Studio: Warner Bros. Film released: 1958 Films released: 1965/77 . Studio: 20th Century Fox Studio: United Artists Films released: 1955/1959 Genre: Sci-fi/Anthology Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1959 Genre: Comedy Genre: Comedy/Drama Studio: 20th Century Fox Silver Age Classics Genre: Western Genre: WWII/Docudrama,TV Studio: 20th Century Fox Silver Age Classics Silver Age Classics Genre: Drama CD released: Sept. 2001 Golden Age Classics Silver Age Classics Genre: Drama/Romance CD released: Dec. 2001 CD released: Nov. 2001 Golden Age Stereo • 42:02 CD released: Sept. 2001 CD released: Aug. 2001 Golden Age Classics Stereo • 71:32 Stereo • 40:32 CD released: Nov. 2001 One of Jerry Goldsmith’s most Stereo (w/ some mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 Wacky Arab go-go music! $19.95 Bernstein’s “second-best” score Stereo • 75:15 haunting sci-fi creations. $19.95 Two scoring legends collaborate Mono (Entebbe) • 57:50 Stereo • 71:14 for children, sounds great! $19.95 Two films by Philip Dunne. $19.95 for a rich western score. $19.95 Suspense! Action! Exotica! $19.95 Newman’s last Fox score. $19.95

■ Vol. 4, No. 10 ■ Vol. 4, No. 9 ■ Vol. 4, No. 8 ■ Vol. 4, No. 7 ■ Vol. 4, No. 6 ■ Vol. 4, No. 5 ■ Vol. 4, No. 4 Voyage to the Bottom Between Heaven and Hell/ Room 222/Ace Eli and A Man Called Peter The French Connection/ The Egyptian Untamed of the Sea Soldier of Fortune Rodger of the Skies ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN PAUL SAWTELL HUGO FRIEDHOFER JERRY GOLDSMITH Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 & BERT SHEFTER Films released: 1956/55 Films released: 1969/73 Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Song by Russell Faith, Studio: 20th Century Fox Studio: 20th Century Fox Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Film released: 1961 Genre: WWII/Adventure Genre: / Americana Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Genre: Sci-fi/Irwin Allen CD released: July 2001 CD released: June 2001 Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 Silver Age Classics Stereo • 73:00 Mono (Room 222)/Stereo & Biopic receives rich, reverent, Stereo & Mono (I)/ Stereo • 72:06 A thrilling adventure score in CD released: July 2001 A moody war thriller, and an Mono (Ace Eli) • 71:37 melodic score; complete. Stereo (II) • 75:01 The original stereo tracks first-rate sound. $19.95 Stereo • 55:55 $19.95 exotic, melodic jewel. $19.95 Two light and lyrical scores. $19.95 including source music. $19.95 Two classic cop thrillers. $19.95 resurrected! $19.95

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v9n07AbridgedMKT.id 40 9/7/04, 2:59:37 PM ■ Vol. 4, No. 2 ■ Vol. 4, No. 1 ■ VOLUME 3, No. 10 ■ Vol. 3, No. 9 ■ Vol. 3, No. 8 ■ Vol. 3, No. 7 ■ Vol. 3, No. 6 How to Marry a Millionaire Conquest of.../Battle for Beneath the 12-Mile Reef The Stripper/Nick Quarry From the Terrace Batman The Undefeated/ Hombre ALFRED NEWMAN & the Planet of the Apes BERNARD HERRMANN JERRY GOLDSMITH ELMER BERNSTEIN HUGO MONTENEGRO/ CYRIL MOCKRIDGE /LEONARD Film released: 1953 Film released: 1963/68 Film released: 1960 Theme by Neal Hefti Film released: 1953 ROSENMAN/LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1966 Films released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Genre: Drama Studio: 20th Century Fox Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Genre: Adventure/Camp Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 CD released: Dec. 2000 Silver Age Classics Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Stereo • 71:27 CD released: Nov. 2000 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 Premiere release of original Mono (Quarry) 73:35 Soaper features tuneful, roman- Mono • 65:23 Stereo • 72:33 Period songs adapted as Stereo & Mono (Conquest)/ stereo tracks, albeit with minor Early Goldsmith feature w/bonus tic score; Rich Americana, sen- Holy Bat-tracks! 1966 feature A Western two-fer: one brash, instrumental underscore. 19.95 Stereo (Battle) • 74:44 $19.95 deterioration. $19.95 tracks)— plus a TV rarity. $19.95 sitive romantic themes. $19.95 expands TV themes. $19.95 one quiet—both gems. $19.95

■ Vol. 3, No. 5 ■ Vol. 3, No. 4 ■ Vol. 3, No. 3 ■ Vol. 3, No. 1 ■ VOLUME 2, No. 9 ■ Vol. 2, No. 8 ■ Vol. 2, No. 7 A Guide for the Tora! Tora! Tora! Beneath the Planet Take a Hard Ride The Flim-Flam Man/ Rio Conchos / Married Man JERRY GOLDSMITH of the Apes JERRY GOLDSMITH JERRY GOLDSMITH Leave Her to Heaven JOHNNY WILLIAMS Film released: 1970 LEONARD ROSENMAN Film released: 1975 JERRY GOLDSMITH Film released: 1964 ALFRED NEWMAN Title Song Perf. by The Turtles Studio: 20th Century Fox Film released: 1970 Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1950/45 Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Drama Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Golden Age Classics Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 46:38 CD released: Jan. 2000 Mono/Stereo (combo) • 75:28 CD released: Nov. 1999 CD released: July 2000 Score balances aggressive Stereo • 72:37 Strange “blaxploitation,” west- Stereo (Flim-Flam)/ Presented complete (55:43) in Mono (2 trks. in stereo) • 44:19 Stereo • 73:10 action with avant-garde Complete film score plus LP re- ern gets wonderful symphonic Mono (Sooner) • 65:20 mono, with some cues repeated Eve is a true classic: Heaven is “Johnny”’s best comedy! $19.95 effects. $19.95 recording and FX tracks. $19.95 score, great main theme. $19.95 An Americana duo. $19.95 in stereo. $19.95 brooding film noir. $19.95

■ Vol. 2, No. 6 ■ Vol. 2, No. 5 ■ Vol. 2, No. 4 ■ Vol. 2, No. 3 ■ Vol. 2, No. 2 ■ Vol. 2, No. 1 ■ VOLUME 1, No. 4 The Comancheros of Foxes Monte Walsh Prince Valiant Patton/ 100 Rifles The Return of Dracula/ ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN The Flight of the Phoenix JERRY GOLDSMITH I Bury the Living/ Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 The Cabinet of Caligari/ Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox Studio: 20th Century Fox Mark of the Vampire Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Films released: 1958/58/62/57 CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 Studio: UA/ 20th Century Fox Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Genre: Horror • Silver Age Elmer Bernstein’s first score “Lost” historical adventure gets Revisionist western gets vintage Colorful 1954 adaptation of the CD released: April 1999 Full of Mexican colors and gut- CD released: Jan. 1999 • Mono for John Wayne is a western exciting, robust score, mixed in Barry score 20 years before epic comic strip features stirring Stereo • 76:24 tural action. CD presents two Disc One: 61:06 Disc Two: 73:20 gem. $19.95 stereo. $19.95 Dances With Wolves. $19.95 score a là Star Wars. $19.95 Two OSTs on one CD. $19.95 versions of score. $19.95 2-CDs of creepy music. $29.95 A complete listing of specialty soundtrack books, back issues of FSM, CD sound samples and more

■ Vol. 1, No. 3 ■ Vol. 1, No. 1 ■ FSM-80125-2 ■ FSM-80124-2 ■ FSM-80123-2 is available on our website. Stagecoach/The Loner Mad Monster Party Deadfall The Taking of Pelham 1-2-3 LEONARD ROSENMAN JERRY GOLDSMITH MAURY LAWS JOHN BARRY DAVID SHIRE — Film released: 1966 Film released: 1966/1965 Film released: 1998 Film released: 1968 Film released: 1974 Coming next month: Studio: 20th Century Fox Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Studio: M-G-M Genre: Sci-fi Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Genre: Thriller Silver Age Classics Silver Age Classics Percepto/Retrograde Records Retrograde Records Retrograde Records Our 100th release in the CD released: Sept. 1998 CD released: May 1998 CD released: 1997 CD released: 1997 CD released: 1996 Stereo • 47:28 Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 Stereo & Mono • 30:55 Golden and Silver Age Sci-fi classic gets imaginative, Mono (Loner) • 45:25 30th Anniversary edition score Features “Romance for Guitar Unparalleled ’70s 12-tone jazz/ avant garde score; a signature Film score plus TV theme and features vocals by Boris Karloff and Orchestra,” vocals by funk fandango on FSM’s first Classics Series! work. $19.95 two episode scores. $19.95 & Phyllis Diller. $16.95 alternates. $16.95 album release. $16.95

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v9n07AbridgedMKT.id 41 9/7/04, 2:59:43 PM discussing our passion. Jerry was an odd guy. He wasn’t John Williams, a Maestro, who will talk to you like a bored college professor—unfailingly polite but with no emotional engagement. Jerry seemed to live entirely in a state of emotional engagement. He was full of contradictions: he Dear Jerry... was cantankerous, but decent. He could be very funny, but couldn’t tell a joke. He was immensely intelligent, but inarticulate about discussing his work—except when he wasn’t, when he could be brilliant. He lived a posh life in Beverly Hills but was essentially a blue-col- lar, punch-the-clock kind of guy—one of the reasons he was so beloved by musicians. Like many composers attracted to film he had the ability to be a great artist—which he was—but preferred the emotional stability of a craftsman: that way he could shrug off the weight of his decisions because they were in support of other matters. He was a genuine workaholic—except for a few attempts, he scarcely composed any music outside of film—and I think that that was one of his demons, which for the most part have not been revealed. I hope one day they are, by someone who writes a proper biography. Someone named Jon Burlingame. The letter I never wrote. Jerry was an odd guy and I have proof of that: Because there is no other explanation for why a man of his talent and success would By Lukas Kendall care about the opinions of a teenager. That’s what it was all about: the opinion that I (and some others) do not like his music from the ’90s. There are all sorts of reasons: natural I have spent the better part of my life progression of an artist, business changes in movies’ post-productions, and the ideological loving Jerry Goldsmith’s music. And you’ll and aesthetic transformations of the movies themselves. But in a nutshell, ’90s Jerry was have to excuse the majority of this piece if it seems Jerry Lite, and if you don’t think so—if you think A Patch of Blue and Rudy are of the same to be far more about me than it is about him—but heart and soul—well, maybe you could have been friends with him. I sure couldn’t. But I I have also spent a good portion of my life knowing that Jerry didn’t suck up to him when he was alive and I won’t start now: from 1962 to 1986 he was the Goldsmith hated me. best ever, and then from 1987 to 2004 he was still very good but not as captivating. (I really Why? I never found out and never will. I would ask his agent, his publicist, his son, anyone— don’t know his pre-1962 work but apparently does he really hate me, or is it some Don Rickles thing? And they would ask me, no, he really hates it was loaded with promise—big surprise.) you—what did you do? And all I could do was guess. (Folks, I know I was a mere trivial blip on his radar screen—that this is significantly elevating Here are two stories about my own importance. But it is important to me, so allow me to proceed.) meeting Jerry: The first was when percussionist It all started when I was a teenager: Around 1993 I got a list of composers’ addresses and invited me to an L.A. Confidential sent them a free sample copy of FSM (issue #32), which was then a small newsletter. Most didn’t session. I warned Emil that the Old Man hates respond; a few liked it; and one specifically did not—J.G., as relayed to me by “The Dragon” me, but Emil said, nah, Jerry’s a sweetie. I (named affectionately), Lois Carruth, who told me that the Old Man (not her term) glanced at it arrived at Todd-AO and Emil went into the and said, no thanks—and in a definitive way. booth to mention that I was there as his guest. In retrospect, I understand. FSM has always been largely by fans, for fans. If composers are A seemingly long time later, Emil wandered interested too, it’s because they are interested in what fans have to say. Hopefully we unearth out and said, geez, what did you do? Here is information that is valuable for posterity, but when it comes down to it, we’re a community what Jerry said: “Get that little shit out of here!

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v9n07Iss.id 42 9/7/04, 5:24:50 PM I don’t want him here!” Emil, however, had what I write in FSM and in liner notes, but pleaded my case and I was allowed to stay. I’m not necessarily a bad guy. I’m writing this I spent the day trying to act brave but cow- honestly because I have a lot of shame about ering whenever Jerry walked by; fortunately how I alienated one of my musical idols, and was a visitor that day and I want to get it off my chest. The good thing could offer me some protection, as I sort of about being as low-down in the gutter as I am knew Joel, even though he had had zero suc- is that I have nothing to lose. cess rehabilitating me in the eyes of his (actual) After Pasadena, I bugged Richard Kraft old man. I remember that Joel and Jerry each (Jerry’s agent) from time to time to see if smoked around eight billion cigarettes. there was any chance of a rapproachment, Finally I worked up the courage to intro- and he told me not a chance in hell. I think duce myself to J.G. Here is how it went: I started to write a letter once, but never sent Jerry: “You’ve written a lot of shit about me!” it. (Richard, giving me hope, had famously Me: A lot of stammering, ending with “I’m offended Jerry as a boy by asking him to sign sorry.” too many records, and later got thrown out of Jerry: “Well, okay...come back sometime.” the Twilight Zone: The Movie scoring session. But I thought yeah! In Like Flint! I guess there’s only one Richard Kraft.) Then I realized: in the mail at that very All the while, I was producing over a dozen instant was the new issue of FSM with my him direct a Wu-Tang Clan video. (For all you CDs of Jerry’s great old work, which Richard personal, scathing pan of The Ghost of the white people: a very hot rap group.) The video would sometimes give to him. It was a ghastly Darkness—which I didn’t like and still don’t, had to do with killer bees, and being a dork situation and I am deservedly called slime for though I remember the theme, which is more I suggested that if they needed any kind of making money (relatively speaking—Jerry’s than I can say for most other composers’ orchestral sample, that Jerry Goldsmith wrote CDs only pay for the really obscure stuff scores of the ‘90s. But come on, it’s no Wind the all-time great killer bee score, The Swarm. we dig up) off of his massive genius, all the and the Lion. (You can read for yourself my hor- Brett said great, get me it! I had to explain that while that he hated my guts. Tough customer rible words in FSM Vol. 1, No, 76.) it was on vinyl only, to which Brett said great, that I am, I chose to accept it. I never once So, I knew then and there that I would get me it! I went to Disc-Connection at Laurel stopped loving his music, and I forced myself never be a friend of Jerry’s. Someone would and Sunset where Bernie still had racks of LPs to make a complete and utter separation of fax him that review—apparently someone had (covered with so much dust that he would my relationship with the man and his music. taken to doing that—and I would be not only give you an alcohol wipe to clean your fingers (I feel schizophrenic about this, but I had no a punk, but a two-faced lying bastard punk. after you browsed the selections). I bought a choice—I’ll close with this below, but don’t you I didn’t even bother to follow up. sealed Swarm LP and gave it to Brett...and they dare skip ahead.) actually used it in the beginning of the video. Then, he got sick. It sounded serious but My second Jerry story involves I made pop history! there was no way I was going to try to contact a Pasadena concert he did around 1998. It was Flash forward to the buffet table at the him now—“So, now that you’re dying...” Talk out in the woods which was neat, but less so Pasadena after-party, where Jerry had been about ghoulish. I always thought he would because the acoustics weren’t great. Let me informed of this development (I think by Joel). pull out of it and maybe—this was my most say something honest but possibly offensive I had avoided Jerry, for fear of a certain beat- ridiculous of dreams—I would produce a about Jerry’s concerts: they were no good. ing, but he made the first move. movie one day and hire him to do his Last Jerry is not John Williams. He has one piece Jerry: “So, Lukas...I hear you’re making me Great Score, and after he groveled to get the where everyone goes, oh, I know this, and famous.” assignment, we would collaborate in love and even that is sort of embarrassing: Star Trek. To which my friend Nick Redman said—in affection, and my support would allow him to But everything else is perfectly fine music his lovely British accent, that you’d have dig up that Illustrated Man Jerry that had been that nobody normal would identify without to know him to know it was a joke—“Well, buried by 25 years of who-knows-what and looking in the program. And it was never his somebody’s got to.” he would win that second Oscar that always best music! His best music is part and parcel Jerry, ever the giver and receiver of lead bal- eluded him. I would be redeemed. of the films, requires weird instruments, and is loons, glared at both of us, as if to say: how Then, he died. Gone. Our First Beatle. ancient and obscure—and abrasive. He wasn’t dare we suggest he was not already more than going to do the dog airlift from The Cassandra sufficiently famous. I was going out of town that Crossing. He liked to do the new, happy stuff. day (to the San Diego Comic Con) and didn’t Not to mention his stilted introductions...I’m That was the last interaction attend the funeral, which I didn’t know would not picking on the dead, folks, I said this when I ever had with Jerry Goldsmith, ceding the be public, and which I probably would not he was alive. spotlight to Jeff Bond, who worshipped the have gone to anyway. For one thing it didn’t The Pasadena people, not knowing that Jerry man longer than I did, and did not deserve seem respectful of what he surely would not hated me—and I saw no reason to tell them— to have my personality cast such an awful have wanted, and for another, I would surely invited me to the post-concert reception. shadow on his lovable Midwest demeanor— weep my brains out and people would talk Just before this, something odd had hap- and yet Jeff had to endure Jerry standing in about what a spectacle I made. pened: director Brett Ratner, whom we had a corner at an Oscar cocktail reception rather The L.A. Times called asking for a quote for interviewed after he hired Lalo Schifrin for than talk to Jeff Bond. Now that’s weird. the obituary and I had to laugh because here Money Talks and Rush Hour, invited me to watch Most of you really don’t know me beyond I was getting myself press off of his talent—

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v9n07Iss.id 43 9/7/04, 4:19:19 PM again. But I also wanted to do the Old Man not hip-hop guys, not poseurs, not lightsaber justice...I excused myself by saying that they geeks, but to people who loved film music. called me, that I didn’t seek this out. People often ask me to explain why I (and I didn’t want to give a quote full of bor- by that, you) love film music and I think I can. ing adjectives—that he was the “best” or (Take note of this, because when people ask the “greatest” because that means noth- you, this can be your answer.) ing. I wanted to say something so that I love movies because of the way they tell when people read the paper that day, they stories that relate to our lives and to human wouldn’t simply think that some longstand- experience; music is a major component of ing Hollywood hack had died. film; hence listening to the music divorced So I told them something that I knew from the film is a way to channel those sto- people would understand: For us, this was rytelling experiences on a more abstract level, Brando dying. and also appreciate the music in its own right. And it was. Jerry Goldsmith was the Great There are feelings I define in my life because One, the one that everyone else in the field they emotionally sound like Star Trek, or Logan’s looked up to. He had the answers when no Run, or Take a Hard Ride, and they are deeply one else even knew the question. He literally primal. They are the simplest expressions of changed the nature of the art form, and like themselves and like a great poem the act of Brando he did it innately, out of his own emo- explaining them is so much longer and clum- tion and talent, and he could sort of explain it, he loved his second family and after years sier than the thing itself. but not really. There is a truism about poetry of prickly behavior he seemed to enjoy the For me, and for the thousands (if not more that a poem is the shortest expression of embrace of fans—doing concerts, record- of us) who love him, Jerry Goldsmith is the itself—that to explain the poem takes longer ing new albums of classic scores, and doing singular author of those private feelings. than to simply read the poem. That was Jerry’s interviews (except with FSM). But the work And that is why I mourn him that he’s gone, music, the simplest reduction, which is one of did suffer. The last “old Jerry” score was Basic and I cry for him, and I don’t care that he the hardest things to achieve in art. Jerry’s Instinct—it was inventive and beguiling and hated me; it’s utterly irrelevant. Even more music had an essential simplicity—as well that magical blend of hot and cold. Things than John Barry and John Williams who get as technical excellence—that reached deep like Rudy and Mulan were the warm and fuzzy the Oscars and the acclaim, Jerry seemed to into the humanity of his films. It could not Jerry that has a large following too, but it do what he did best—score utter crap—as a be explained in filmic terms but in human doesn’t win me over. Jerry should have been private gesture for us. His specialty, let’s face terms, and I think Jerry’s own discomfort doing Rudy one month, and American Beauty it, was scoring mediocrity with the utmost with his feelings why he was so hit-or-miss the next—he was the original Howard Shore, of respect. We loved that dreck and by treat- in interviews. the original Thomas Newman, the original ing every Damnation Alley like he There is an anecdote about Brando that he Danny Elfman. But he never connected with seemed to be the only person to validate our was once going over his with the indie scene or with ’90s asthetics the feelings. Nobody else would understand—not someone and described his roles like this: way he did with ’80s synth pop. Maybe he parents, not spouses, not friends. But Jerry did. pain, pain, money, pain, money, money, pain. was just exhausted, and there was so much We loved that crap and so did he and that was Certain jobs he took for money and oth- comfort and love surrounding him that it was the greatest gift anyone could give. ers—the artistic ones—caused him pain. He easiest to be the Rudy guy, the Maestro that he My Dad and I both lost our favorite musical had to act but it hurt him: It meant facing the wasn’t. Or maybe that was who he really was artists this year—for him, it was Ray Charles. inner truths of life and death—it was a deep all along—you never know. But I told him, at least Ray Charles didn’t hate and public exposure—but he could not do his But think of this: Lost in Translation could your guts! I will have to live for the rest of my art any other way. only have worked with Bill Murray—not any life with the fact that Jerry Goldsmith appar- Jerry was the film composing equivalent of those other SNL guys. Bill Murray is the ently hated mine. of this, a Method composer, and the degree only one who never lost his edge. Yet Bill But I was being facetious. I told you I to which he was willing to discuss his work Murray doesn’t seem like a happy guy. learned to live with it and here is how: There had to do—I’ll bet—with the degree to which is a very good movie called Adaptation that is he felt secure as a human being. Hence Of the Silver Age, there are four all about how the human heart changes to the one-word answers, the self-effacement, great guiding lights (pictured above): Williams, survive—how it mutates out of evolution- the attitude that so much of his work was the Maestro; Goldsmith, the Artist; Barry, the ary necessity. Jerry may have hated me, but crap...but boy, could he be protective of it. Rock Star; and Morricone, who might as I loved his music down to my pores and I Later in life he opened up but embraced a well be a space alien. Williams is not Marlon will continue to love it until the day I die. kind of revisionist history where Rudy was Brando—he is Olivier, all technique and intel- Anything that transpired on the personal level the best thing he had ever done—not Patton, lect and cool reserve. The other kind of genius, is irrelevant. Jerry, you’re gone now, and I wish not Chinatown, but a simpleminded little-guy hence his relative ease in explaining the Jaws I had sent you that letter, but all I would have movie, albeit a well-made one. theme or the Star Wars theme. Williams is said is this: I love you more than you ever Many artists are afraid to be happy because loaded with fame and fortune and Oscars—as realized and I will never stop loving you, and they are worried that they will lose their edge. is Barry. Morricone shamefully has never won I don’t care what you thought of me. I think late in life Jerry did find happiness an Oscar but has massive street cred. Only Jerry As they say in Adaptation, you are what you and he did lose his edge. From all accounts really seemed to belong to us—not cineastes, love—not what loves you. FSM

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v9n07Iss.id 44 9/7/04, 4:19:21 PM A SOUNDTRACK FOR LIFE

JerryUnplugged

By Jason Comerford

It’s a Thursday morning. The routine is the same as always. Roll out of bed, stumble to the coffeemaker, check the email and the headlines on the AP newswire. There it is: “Oscar-Winning Composer Jerry Goldsmith Dies in L.A.” I’m not really all that surprised. I’d been hearing murmurs here and there over the past year or so, folks talking about how he’d been sick, his normally blistering work pace starting to flag. The AP has a photo of him with , of all people, accompanying the obit, which was more jarring than the news itself. Immediately I start thinking, well, what if Was could get Dylan or Willie to come to a scoring session, put Jerry on the ivories and start jamming? How cool would that be? Then it starts to sink in. He’s not coming back. That day has come.

I think it was Poltergeist. I’m not sure. It may have been the first Star Trek score or maybe one of Joe Dante’s films (Gremlins or, more likely, Explorers). But I’m pretty sure it was Poltergeist: the first Jerry Goldsmith score I ever heard. To this day it remains my favorite film score of all time. It’s got everything. Those quiet, unearthly, ethereal moments priming you for the scares. Those fero- cious, atonal attack pieces. And Anne’s theme. That’s it, really: Carol Anne’s theme. A lul- laby, so simple and haunting and yet so precious and magical and breathtaking. Poltergeist sums up everything I love about Jerry Goldsmith’s music—and about film music in general. Before I heard that score, I never really understood what music could do, how it could grab you, shake you, and make your heart and mind soar. I go back through his list of credits, and it’s like stepping back in time, going back to when I was a little kid, weaned on Elfman and Williams and Horner, playing cues like “Raisuli Attacks”

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v9n07Iss.id 45 9/7/04, 4:19:24 PM A SOUNDTRACK FOR LIFE

or “The Hunt” or “Clever Girl” over and over had a beginning, middle and end, and their again, like some people do with “Stairway to trajectory was always more apparent once Heaven” or “You Shook Me All Night Long” they were separated from the film. He was or “Smells Like Teen Spirit.” There’s a memory a musician first and a dramatist thereafter. associated with every single Goldsmith CD (Mind you, this is not to say that Williams I own, and they’re all good. That was the and Elfman coast on their themes; quite the kind of artist he was. Even when he was on contrary.) That was the eternal paradox of autopilot he could knock it out of the park. Goldsmith’s work: He wrote supportive music He was the first musician whose work I took for another medium that, more often than seriously, whose career I followed and studied not, worked better as music in and of itself with great interest and anticipation. For years, than it did in the film. I listened to film music almost exclusively, Not that the films were any help. Let’s face and if anyone was ever a rock star to me, it. Well-scored crap is, unfortunately, still Jerry was it. crap. I’ve many a Goldsmith album for an So imagine a kid that grows up like this, execrable movie whose score is exemplary. with music with no words—by this guy no It’s almost his trademark. The gems—things one’s ever heard of—always blasting out of like Planet of the Apes and Chinatown and Alien the headphones that are constantly draped and Poltergeist and L.A. Confidential—were few around his neck. You’re jamming along with and far between, buttressed by dozens and your Guns N’ Roses, your Pearl Jam, your dozens of disposable genre entries and well- Smashing Pumpkins, and you ask this kid thing feels strange—like a regression. Maybe meaning but forgettable dramas and thrillers. what the hell he’s listening to, and you get this isn’t such a hot idea after all. Relationships with directors like Joe Dante, some stammering, muttered response that The Wind and the Lion is one of the first Franklin Schaffner and Paul Verhoeven often sounds vaguely like “...film music.” Most peo- things that I spin. I remember getting the CD gave him the chance to do some of his best, ple just go, “Uh-huh,” and continue straight when I was in high school. The love theme: most innovative, creative and challenging on to MTV. I love my MTV (in the middle of rapturous. “Raisuli Attacks”: still one of my work, but so many times the films let him the night, anyway, when they sometimes play favorite speaker-testing, wall-shaking pieces down. It was distressing, not to mention mad- the really cool, innovative videos), but I really of orchestral madness ever. I think back and dening, to see so much attention and care love my Goldsmith. I can suddenly smell the record store where lavished on a final product that was such a I bought the CD, a musty old place called letdown. I suppose that was Goldsmith’s lot. Arboria Records across the street from the No individual who works in Hollywood for campus of Penn State University. How after an extended period of time can expect their I bought it, I immediately tore off the wrap- efforts to be celebrated and brilliantly sup- ping, popped it into the Discman and sat at ported at every turn. It’s unrealistic to think the University Creamery with a mint-choco- so. late milkshake, just listening. That feeling is But the key, I think, to his music was that he starting to recede. took everything absolutely seriously. He bored I start to drag out all those boxes into the material, dug around for a while and of CDs I have stuffed in my closet, all those came up with music that just made sense. soundtracks I never listen to anymore. Damn, It was rare for one of his scores to not feel I have a lot of Goldsmith. Dozens. I stack up all organic, coherent and of a whole. He never his CDs and look at what I have, and for just seemed to make fun of the films he worked a second I’m back in high school or college, on, no matter how silly, no matter how easy remembering what it was like to pore over my it would have been to do so. He knew that collection until all hours of the night, playing the hardest part about being an artist is that “The Trees” from Medicine Man repeatedly until Being a Jerry Goldsmith fan is it is as much of a fight to sustain your voice as the CD player burns out from exhaustion. I almost as compartmentalized an experience it is to find it. He pushed the envelope—and have far too many of these things, I think, and as being a writer for FSM; it’s a niche within a himself. He never gave up. I suddenly get a weird disconnected feeling niche within a niche. To me, his music seemed as I handle them. They’re links to a life I no to speak to a different part of the film score longer remember, let alone lead, and it is odd fan community, one that was more intel- to feel so compelled to revisit them. Will I still lectualized and abstract. His entire compo- get a kick out of this stuff, after all these years? sitional style was built upon a base of sleek I literally haven’t listened to film music with professionalism; it always lacked the kind of any kind of consistent seriousness or attention pop accessibility that someone like, say, John in years. I got older, kicked over a lot of other Williams, or Danny Elfman, had in spades. rocks for a change and found a lot of new Goldsmith never plied in fun, simple ditties Next is Poltergeist. I start thinking and interesting stuff to occupy myself with, so or melodies or themes that were tuneful for about how Lorna Freeze made me a tape of going back to this whole movie-soundtrack their own sake; he always created scores that the original LP and how excited I was when

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v9n07Iss.id 46 9/7/04, 5:19:04 PM said tape arrived in the mail. How I hooted in The Varèse album is 37 minutes of a musician Goldsmith Without Tears delight at the weird echo effect added to the tail in his twilight years, looking back at his own (continued from page 22) end of the end-credit cue, and how pissed off I body of work with a smile on his face and a was when Rhino’s otherwise-exemplary CD left little extra skip in his step. The sound of the But we knew a part of him, and I don’t think the effect out. How Carol Anne’s theme seemed man’s entire career is jammed into that one it’s fannish solipsism that makes me write that. like one of those pieces of music that could amazing album: the westerns, the sci-fi thrill- He left behind the music, which now sounds always work for me, anytime, anywhere. ers, the spy movies, the antic comedies, the a little different, doesn’t it? The theme from After that, Planet of the Apes. So freakin’ weird straight-up thrillers and dramas. And the film, Papillon, which I never much cared for, has and yet so fascinating. I can’t get enough. for a change, does him justice. Far from the haunted me since the news of his death. I had Then it’s Medicine Man. Always had a soft spot dismal failure it’s made out to be, it’s actually always found it a bit too sappy and did not for that one. Then it turns into a mix session: a note-perfect channeling of the anything- get its popularity. That score’s ferocious action the theme from The Ghost and the Darkness; goes style and anarchic spirit of the classic music—now that was more his style. My style. “The Hijacking” from Air Force One; the theme Looney Tunes shorts, and it’s a . Now that Jerry Goldsmith is gone, we have to from Islands in the Stream; the “Television Suite” Goldsmith is always in on the joke, even accept that his conversation with us is gone. His from Suites and Themes; “Have a Nice Trip” when the joke is on him. Early on in Looney scores are no longer just pieces in an ongoing from Explorers; the theme from Masada; “Hot Tunes: Back in Action, Brendan Fraser and Daffy project but parts of a whole, completed thing. Water” from Outland; “The Final Game” from Duck hit the road in an ancient Gremlin, Corny as it sounds, all that we really knew of Rudy; “Chest Pains” from The Shadow; “The Fire and the subsequent quote of Goldsmith’s him is right there, waiting inside those shiny Dragon” from The 13th Warrior. And every sec- theme to the same-named film is one of discs, ready to start with some ond of both Total Recall and Legend. its best jokes. His work for Joe Dante has new fan who knows he is gone and thus has Lionheart is what gets me back in the groove. always been his most outlandish, his most no artificial connection to feel. But the content I put the CD into the Discman, just like back free-spirited and his most unbridled—his id of Goldsmith’s side of the discussion will be as in the day, and walk out the door. It begins let loose upon an orchestra. And so it’s both vivid as it was when the man lived. as all of his music does: themes and ideas ironic and amusing to find that the quote So in the end, was the long conversation laid out with mathematical precision, timbres sums up so much about the man and the I shared with Jerry Goldsmith real? Yes, and orchestrations woven together to cre- music he was so dedicated to. In the end, as real as any nonverbal communication ate a tapestry of melody and sound that is it was all about a fun, simple ditty. FSM that communicates, as real as a smile, a unmistakably his own. The score is so many frown. As real as a wave goodbye. FSM things—light of spirit, grand, touching. “King Richard” is what I’d slap on the end of every Goldsmith mix CD; it sends you out with a smile on your face, your feet never quite touching the ground.

I knew only his work. I’d like to think that artists themselves through their work, that stray bits and pieces of themselves make their way into what they create, unblemished and raw. Every artist I’ve ever known—musician, writer, singer, dancer, actor, painter, photographer, sculptor, film- maker—has done this in some way or another. When I listen to a Goldsmith score, one where he’s really firing on all cylinders and putting his blood, sweat and tears into it and giving it everything he’s got, I always hear precision and romanticism, intelligence and sophistica- tion, humor and generosity. And he never quit. At the end of the day, it was always all about the work. That’s why it’s so, so fitting that a score like Looney Tunes: Back in Action turned out to be his swan song.

FILM SCORE MONTHLY 47 AUGUST 2004

v9n07Iss.id 47 9/7/04, 6:08:40 PM the odd-changing-meter neo- induces no more profound approach could somehow Mail Bag classicism, the “primitivism,” the response than a yawn in anyone provide an intensified record (continued from page 10) polytonalism, the serialism, the who knows the first thing about of this radically emotional contrapuntal and fugal structures, advanced music. Why? Because terrain. Well-known examples Exhibit A: “Main Title” the knowhow these characteristics in themselves demonstrate this point A pure delight, this cue always and the handful of extended tech- are old-fashioned and un- beautifully: Alien, Chinatown, brings a smile to my face. The niques he often used. They’re all noteworthy. Formal technique is Planet of the Apes. I just saw Seconds melody, in 6/8 time, is incredibly canonical, ancient history. not the level at which interesting, for the first time at a revival catchy. I still find myself whistling With a little more work, one innovative things happen (or and was utterly blown away. it after all these years. A jazzy are allowed This, I want to emphasize, was tune that Dave Brubeck or Vince to happen) in unprecedented before Goldsmith, Guaraldi would have been proud film music— perhaps only suggested in the to have written! Goldsmith’s greatest Herrmann scores. Indeed, or anyone it represented a radical break Exhibit B: “Odin Dva Tri, Kick!” else’s. While with theater and opera that This music accompanies an an account of helped move film into its own exciting chase across the rooftops Goldsmith’s fairly distinctive modern being, not as of Moscow. A riotous four-minute sophisticated a script-entity, a stage-entity or fantasia for orchestra and electric musical a scene entity, but as something bass guitar, wherein Goldsmith language may completely other; something incorporates the theme from be instructive, experienced sensually somewhere Our Man Flint, a quote from it improperly in between the screen and the Tchaikovsky’s Swan Lake—and the designates audience. Goldsmith’s innovation famous Russian folk melody Goldsmith’s set the course for all film scoring “Meadowlands”! innovation and to follow (demonstrated primarily, does his work a it must be ruefully noted, in the Could the late, great Bernard vast injustice. generic sentimentalist kitsch of so Herrmann have written a score may even choose to become Yet I insist: Goldsmith was many scores that ostensibly try like this? Are you kidding?! as adept an orchestrator. Not to a singular radical force in film for the “subtler approach”), and Could Goldsmith’s brilliant diminish the personality and skill scoring. I hope here to suggest every composer now working in contemporary John Williams? expressed through Goldsmith’s where we ought to begin when film, worthy and not, by necessity Maybe, but if he has, I haven’t particular imaginative bent in appraising what was so incredibly confronts the aesthetic challenges heard it. employing his diverse “toolbox” of new about his work. Goldsmith raised by Goldsmith’s legacy. Jerry Goldsmith possessed an formal strategies and techniques, was the first truly modern of the Rest in peace, Jerry; you’re the uncanny ability to write great but with all due respect, every last major Hollywood film composers best there ever was. Thanks to music in any style for any film element of his musical discourse in that he was the first to fully you, it’ll never be the same. genre. A one-of-a kind talent. was fully elaborated and accepted realize, in his best work, the Mark So I rest my case. long before Goldsmith ever radically poetic function of [email protected] Bruce R. Marshall touched it. Indeed, one could music in film. By this, I mean engage in laundry-list-making its capacity to engage the very What? Who? A Radical Force to enumerate all the craftsmanly underlying expressive texture n the interest of negativity, s a composer, specifically of proficiencies for any number of of filmic experience as distinct II was disheartened by the Athe experimental ilk, who generally uninteresting, midbrow, from its more obvious traits—the number of mainstream Jerry takes interest in radical innovation mediocre composers (on many script and its texts and subtexts, Goldsmith obituaries that claimed and who steadfastly recognizes of whom has been bestowed the story elements, and character his strength was his chameleonic in the work of Jerry Goldsmith ultimate token of irrelevancy: delineation as well as all matter nature that resulted in “no iden- something unquestionably radi- the Pulitzer Prize). When writing of visual narrative and staging— tifiable style.” The main reason cal, I feel the need to address the of the merits of any artist—but and approach a deeper grain of Jerry Goldsmith was one of the misgivings I often have when particularly of a great film the experience still than even its world’s finest composers is pre- reading through the various, composer, who must necessarily subtler degrees of psychological cisely the opposite. His style was now-posthumous, summaries work within abnormally disposition and dramatic so strongly identifiable that it of his impact. I must protest extreme conservative boundaries structure. He understood that would come through loud and that while perhaps slightly fresh governing appearances and the essential component in the clear, often in a matter of the within the context of Hollywood rhetoric—the exercise is utterly experience of film is properly score’s opening bar, regardless film scoring, neither the stylistic beside the point. neither seen nor heard, and of whichever musical genre(s) he techniques nor the orchestrations It is embarrassing to read that this most enigmatic degree happened to be working in at the he employed amount to the true obituaries pointing to the use of holds the primary richness of time. And that’s what made for mark of his innovation. Indeed, in serialism or Stravinsky-inspired the experience. What he knew such a consistently diverse but any academic composition pro- rhythmic schemes or certain intuitively and so well was coherent body of work. gram, one can fairly rapidly learn extended brass techniques—this that a properly oblique scoring Jonathan Z. Kaplan, FSM

AUGUST 2004 48 FILM SCORE MONTHLY

v9n07Iss.id 48 9/7/04, 4:19:30 PM SILVER AGE CLASSICS • FSMCD VOL. 7, NO 14 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Composed by Jerry Goldsmith, Dave Grusin, et al.

FILM SCORE MONTHLY’S PREVIOUS RELEASES of music from The Man From U.N.C.L.E., the show that launched television’s ‘60s spy craze, have been among the fastest-selling, best-reviewed titles in the history of the label.

TO CELEBRATE THE 40TH ANNIVERSARY of U.N.C.L.E. this fall, FSM completes its trilogy of U.N.C.L.E. albums with another 2-CD set of music from both the original series and its 1966 spinoff, The Girl From U.N.C.L.E. For one season, globetrotting agents () and (David McCallum) and U.N.C.L.E. chief Alexander Waverly (Leo G. Carroll) were joined by April Dancer (Stefanie Powers) and Mark Slate (Noel Harrison) in their battles against the bad guys of Thrush.

THE GIRL FROM U.N.C.L.E. FEATURED SOME of the earliest dramatic work of composer Dave Grusin—who would go on to Oscar-winning film-music fame and commercial success as a jazz artist-as well as music by Man from U.N.C.L.E. favorite Richard Shores and Munsters composer Jack Marshall.

DISC ONE 11. The Discotheque Affair, suite no. 2 DISC TWO SUPPLEMENTING THE JAZZY, FUN GIRL FROM 1. First Season (Gerald Fried) 4:31 1. The Girl From U.N.C.L.E. Main Title, revised/extended 12. The Nowhere Affair () 2:48 main title (Goldsmith, arr. Dave Grusin) 0:34 U.N.C.L.E. scores are a wide variety of selections from (Jerry Goldsmith, arr. ) 1:00 13. U.N.C.L.E. A Go Go (Fried) 3:05 2. The Dog-Gone Affair (Grusin) 5:28 all four seasons of The Man From U.N.C.L.E., including 2. Jerry Goldsmith Medley 2:57 14. The Bat Cave Affair (Fried) 4:42 3. The Prisoner of Zalamar Affair 3. The Quadripartite Affair 15. One of Our Spies Is Missing (Fried) 1:09 (Shores) 6:32 unusual (and, in one case, previously unused) Jerry () 3:27 16. The Monks of St. Thomas Affair, 4. The Mother Muffin Affair (Grusin) 10:59 Goldsmith tracks as well as more music by Morton 4. The Double Affair, suite no. 2 suite no. 2 (Fried) 3:46 5. The Mata Hari Affair (Grusin) 7:44 (Stevens) 6:20 17. The Spy in the Green Hat main title 6. The Montori Device Affair (Shores) 5:31 Stevens, Walter Scharf, Lalo Schifrin, Gerald Fried, 5. Belly Laughs (Goldsmith) 2:21 (Goldsmith, arr. Fried/Armbruster) 3:19 7. The Horns-of-the-Dilemma Affair Robert Drasnin and Richard Shores; stereo mixes of the 6. The Finny Foot Affair (Stevens) 4:51 18. Gerald Fried Medley 7:21 (Jack Marshall) 2:05 7. The Fiddlesticks Affair, suite no.2 19. The Karate Killers (Fried) 1:51 8. The Girl From U.N.C.L.E. end title first-season main title and the Girl From U.N.C.L.E. titles; (Schifrin) 5:17 20. Richard Shores Medley 6:37 (Goldsmith, arr. Grusin) 0:39 music from four of the U.N.C.L.E. movies; and perhaps 8. The Yellow Scarf Affair (Stevens) 3:35 Total Disc Time: 77:21 9. The Deadly Quest Affair: teaser 3:57 most exciting, 37 minutes of Jerry Goldsmith’s best 9. Meet Mr. Solo (Goldsmith) 3:03 10. The Deadly Quest Affair: Act I 7:48 10. The Spy With My Face main title 11. The Deadly Quest Affair: Act II 9:07 first-season U.N.C.L.E. music as re-recorded for the (Stevens) 4:09 12. The Deadly Quest Affair: Act III 7:24 13. The Deadly Quest Affair: Act IV 8:06 series’ 1967-68 season in stereo! $24.95 plus shipping (Goldsmith) Album produced by Jon Burlingame Total Disc Time: 77:03 Don’t miss this month’s Golden Age Classic I’ll Cry Tomorrow by Alex North See page 23 for details

v9n07COV.id 3 9/7/04, 3:36:26 PM OK, YES, WE ARE MAKING A BIG PRODUCTION OUT OF IT.

O M M E R S C C I A CELEBRATING 50 YEARS OF THE HOLLYWOOD MUSICAL AY L F R LW E A E • • A FESTIVAL OF 93 MOVIES EVERY TUESDAY & WEDNESDAY IN OCTOBER turnerclassicmovies.com Watch in Gold Diggers of 1933 (1933) October 6. © 2004 Turner Classic Movies. A Time Warner Company. All Rights Reserved.

v9n07COV.id 4 9/7/04, 3:36:31 PM