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Original Music for Motion Pictures and TV

V OLUME 5, NUMBER 2

The Good, the Bad, and the Oscars... page 19

ANY GIVEN Oliver Stone’s Score-O-Matic CD REVIEWS An Uncommonly Positive Batch!

JERRYJERRY FIELDINGFIELDING A 20th AAnniversary 20th ReminiscenceAnniversary Tribute

Ht: 0.816", Wd: 1.4872", Mag: 80% BWR: 1

$4.95 U.S. • $5.95 Canada

CONTENTS FEBRUARY 2000

cover story departments

24 Music by 2 Editorial On the 20th anniversary of the legendary Words of wisdom composer’s passing, we reminisce about his work and its impact. 4 News By Nick Redman , awards and more 28 Twenty Years Gone 5 Camille Fielding remembers Jerry. Round- What’s on the way 6 Now Playing Movies and CDs in Twenty years after his death, he f e a t u r e s remains a one-of-a-kind. 8 Concerts page 24 Live performances 19 The Good, the Bad around the globe and the Oscars 10 Upcoming How shall we remember the soundtracks of Assignments 1999? Here’s a rollicking wrap-up of the year. Who’s writing what By Jonathan Z. Kaplan, Doug Adams, Jeff Bond and Jesus Weinstein 13 Mail Bag Phantom premonitions 22 Top Picks for ’99 The “keepers” of the year. 16 Downbeat Roustabouts and rumbles 30 Any Given Composer Oliver Stone assembles a crack team of musicians 33 Score for his football epic. Our special “C.H. How do 12 cameras, six editors, By Jeff Bond Levenson All-Positive and nine work for one Reviews” installment director? page 30 32 Power Plays The unintended, unexpected success of 34 Pocket Reviews NFL’s greatest hits. Short but sweet

45 Score Internationale Sexy shorts, socialist injuns and Strassenfeger

48 Retrograde The Statman has spoken

15 Reader Ads

37 Marketplace Our kings of the review weigh in on the scores of 1999. page 19

ON THE COVER: A PORTRAIT OF JERRY; original pen and ink drawing from the Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., Fielding home, courtesy Camille Fielding 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to , 8503 Washington Blvd, Culver City, CA 90232

Film Score Monthly  February 2000 e d i t o r I AL

v o l u m e 5 n u m ber 2 FEBRUARY 2000 Double Plus Good

editorial staff This Month, FSM offers words of wisdom

Editor & Publisher lukas Kendall SENIOR Editor elcome to our special C.H. be allowed to run our mouths off, too. As Jeff Bond Levenson All-Positive Reviews Grampa Simpson once said: “God made us MANAGING EDITOR W Issue! At the FSM offices, we’re old for a reason: to find fault with all his Tim Curran starting to see what may be the beginning creations.” (They don’t call me the Senior DESIGN Director of a beautiful relationship. As our episto- Editor around here for nothing.) Sure, we Joe Sikoryak lary elder statesman, C.H. Levenson will be get in trouble for what we say. There are Departments Editor a moral compass for the beleaguered FSM plenty of people out there who turn beet red Jonathan Z. Kaplan staff, urging us to look past the shallow at the mention of FSM. But we have our Contributing Writers focus of our own grumpiness at hear- allies as well as our enemies, and always doug Adams ing the same sound from will. For every person who’s appalled at the John Bender four out of five film scores. vitriol of FSM’s reviews, there’s one who Andy Dursin With C.H. Levenson at our thinks we’ve lost our edge and sold out to Jason Foster side, we can find the . brian Kellow beauty that lies The fact is, we’re pretty much the same Nick Redman beneath the surface as we’ve always been. Sometimes surpris- James Southall and get in touch ingly sophisticated, sometimes juvenile, but James Torniainen with our inner Joel always informative and rarely boring. We Jesus Weinstein Siegel (“Top Gun... will continue to edify, alienate and infuriate copyeditor Pure Pow!”). And where possible. Steve Gilmartin that’s a good thing. We’ll also keep on putting out CDs, and Thanks to As critics we whine the reactions to those releases work pretty b.A. Vimtrup and complain ad much the same way. For every person who It’s time for us to savor nauseum, but where’s the wonders why we released the music to business staff a senior moment constructive praise that will help Flight of the Phoenix, there are several who composers along the road to new thank us for doing it. For every person who Associate Publisher creativity? complains that we left the George C. Scott Chelo Avila Well, for one thing, it’s doubtful film speech off of Patton (because that was from EDITORIAL & SUBSCRIPTIONS composers pay that much attention to us— the LP, not the original score), there are five on

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ADVERTISING and collectors are the most opinionated, as well as enrage, and we accept both your nit-picky people in the world. They’re even praise and criticism. Even if we sometimes ©2000 8503 Washington Blvd pickier than we are, in fact. Witness our bite back, well, we’re only human. We K

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F e b r u ar y 2 0 0 0  F i l m S core M ont h l y

E V E N T S • C O N CERTS RECORD l ABE l ROU N D-UP UPCO M I N G ASSIG n m E N TS NEWS THE l ATEST FI l m S George Duning: 1908-2000 For the Record...and More The Grammys film, Picnic. The music he wrote his year’s Grammy Award for Best Instrumental Composition captures perfectly the inner tur- TWritten for a Motion Picture, Television or Other Visual Media moil of the handsome drifter Hal went to for his score for A Bug’s Life. The Best Carter () and the award went to the Tarzan album, with songs by Phil unsettling effect his arrival has Collins and score by Mark Mancina. The Grammy for Best Song for on the women of a small Kansas Motion Picture or Television went to and William Orbit for town. Picnic is best remembered “Beautiful Stranger” from Austin Powers: The Spy Who Shagged Me. for its famous dance scene, in which Carter and Madge Owens BAFTA (Kim Novak) first acknowledge he British Academy of Film and Television Arts Award (BAFTA) their mutual attraction. Through Tnominees were announced recently. The Anthony Asquith Award stunning use of , for Achievement in Film Music nominees are: Duning blended the ’30s tune for American Beauty “Moonglow” with his own Picnic Ry Cooder and Nick Gold for Buena Vista Social Club love theme to create an indelibly for The End of the Affair romantic ’50s screen moment. In for The Talented Mr. Ripley a 1996 interview, Duning recalled The award show will take place April 30 in Cardiff, Wales. eorge Duning, the that it took him “four or five man responsible for days” to work out the sequence. Film & TV Music Conference Gthe sound of some of “And after all these years,” he he Hollywood Reporter and the Society of Composers and ’ top of added, “that number still turns TLyricists present The 5th Annual Film & TV Music Conference: the 1950s, died Sunday, February up on my ASCAP statement.” The State of the Art. The event will take place Saturday, April 8, at the 27, at Alavarado Hospital in San For Picnic, Duning received a DGA Theatre Complex, 7920 Sunset Blvd. in . Diego. He was 92. Down Beat magazine award Visit www.hollywoodreporter.com/film/conference.asp or call 323-525-2121. Duning’s most celebrated score and the fourth of five Academy was for Joshua Logan’s 1955 Award nominations. His other Oscar nominations were for Informer had made on him years (1949), No earlier, and he was eager to com- Uncle Oscar, Meet Uncle F%$#@! Sad Songs for Me (1950), From pose a score of his own. Columbia Here to Eternity (1953) and The gave him his first chance with ure, by the time you read this the will be over, Eddy Duchin Story (1956). Johnny O’Clock (1947). He Sand filmscoremonthly.com will have been deluged with emails stayed on at the studio for 16 disparaging and honoring the winners—but we’d be remiss not to In the beginning... years, turning out more than 100 print this year’s nominees. So... Duning was born in Richmond, scores. Sometimes he worked Indiana, on February 25, on as many as nine or 10 films a For Music, Original Score 1908. He studied theory at the year. Among Duning’s other well- American Beauty, Thomas Newman Cincinnati Conservatory of Music known scores are Lorna Doone Angela’s Ashes, and was a composition pupil (1951), Salome (1953), Miss The Cider House Rules, of Mario Castelnuovo-Tedesco. Sadie Thompson (1953), The The Red , Early on, he worked as musi- Long Gray Line (1955), Queen The Talented Mr. Ripley, Gabriel Yared cal director for the radio show Bee (1955), 3:10 to Yuma (1957), ’s Kollege of Musical Jeanne Eagles (1957), Bell, Book For Music, Original Song Knowledge. He served as musical and Candle (1958) and The “Blame Canada”; South Park: Bigger, Longer & Uncut, arranger for several of Kyser’s World of Suzie Wong (1960). music and lyrics by and films, the last of which, Carolina “”; Music of the Heart, Blues, was made at Columbia. Transition to TV music and lyrics by The studio signed him as an In the 1960s, Duning worked “Save Me”; Magnolia, arranger, but his time there was extensively in television, writ- music and lyrics by Aimee Mann interrupted by naval service dur- ing scores for numerous series, “”; 2, ing World War II. including several tremendously music and lyrics by Randy Newman After the war, Duning returned lyrical scores for , as “You’ll Be in My Heart”; Tarzan, to Columbia as an arranger. But well as The Big Valley (for which music and lyrics by Phil Collins he had not forgotten the impact that ’s score for The (continued next page)

F e b r u ar y 2 0 0 0  F i l m S core M ont h l y pilation soundtrack for the May be this spring; titles confirmed TV miniseries, Jesus, featuring so far include The Dirty Dozen LeAnn Rimes, Hootie and the (with Dirty Dingus Magee) and Record Label Round-Up Blowfish, Sarah Brightman and Logan’s Run (all of which will All the you’ll be waiting for composer Patrick Williams (see contain the same music as the the Angel/EMI listing). original LPs).

Chapter III www.chapteriii.com Aleph Williams’ score for the May TV Chapter III is releasing the Due April 4 is a big-band compi- miniseries Jesus. complete score to David Chromatic Records lation, Goes to Hollywood Arnold’s Tomorrow Never Dies. Due late spring: License (recorded in Germany), featur- Arabesque The previous release only con- to Chill, a hip-hop tribute ing all composi- Due in May is Reel Life: tained half the recorded score. to music by tions, including five vocals. The Private Music of Film The label will also be reissu- Washington/Bull. Due in May is a new record- Composers, Volume 1, a new ing on CD a number of MGM www.chromaticrecords.com ing of The Fox (1968), which recording of chamber music Records titles, including many Schifrin conducted in . by film composers. Featured previously available only on Cinephile Forthcoming but without a date are , Rachel vinyl. The first releases will Due in April from this English is , featuring previously Portman, , David label: Tomorrow Never Comes, unreleased material. Raksin, Bob James and Bruce The Internecine Project/ Foxbat/ www.alephrecords.com or www. Broughton; the CD is produced Something to Hide, schifrin.com by composer Michael Whalen. Deluxe Edition (all ), The Wanderers (various), Tonite Angel/EMI Artemis Let’s Make Love in London. ’s guitar con- Forthcoming are Cross of Iron Due in July is Bloomfield certo is scheduled for release (), the 1965 RCA (). August 1; soloist is Christopher recording of Gold’s Ship of Parkening. Fools (Arthur Fiedler cond. Cinesoundz Due March 28: Patrick Pops), and a compila- Due in June is an Ennio tion disc, Mad Mad World of Morricone remix CD (various Soundtracks (various compos- artists, including Rockers HiFi, ers). Five and Nightwares on Wax). Due in July is the BBC Music soundtrack to the German film A third CD has been added to In July, featuring The Cowboy the forthcoming Doctor Who Junkies. CD series. The series will now FSM Classics Write Cinesoundz, Lindwurmstr consist of: Doctor Who at the 147, 80337 Muenchen, Germany; BBC Radiophonic Workshop, thers have promised fax: +49-89-767-00-399. Volume One: The Early Years; Oit, but only Film Score www.cinesoundz.de Volume Two: New Beginning; Monthly finally delivers the and Volume Three: The Leisure long-lost Ron Grainer score Citadel Hive. to the 1971 cult classic The Forthcoming is Judas Kiss Duning (continued) http://ourworld.compuserve.com/ Omega Man—in stunning (Christopher Young). he composed a memorable homepages/Mark_Ayres/NewStuff. stereo sound, with unused theme) and Mannix. htm score cues, specially CPO In later years, he composed arranged source music and Forthcoming is a new recording occasional songs and a work for BMG an alternate end title theme. of Benjamin Frankel’s score to clarinet and chamber ensemble A Japanese 10-CD boxed Thanks go to the good peo- Battle of the Bulge. called Clariflections, which set, : The ple at Warner Bros. for their was performed at the Indiana Chronicle, is available now for support in retrieving this Decca

s. Music Festival. $249.99. The limited-edition set gem. The extensive liner Due April 25: Gladiator ro A modest man, Duning notes include comments B includes an extra EP. (/Lisa Gerrard). refrained from talking much www.sound-city.com from star , Forthcoming is (John rner about his own work, often producer Walter Seltzer, and a Williams), featuring the score as

W pointing to ’s Brigham Young famed percussionist Emil heard in the film and 30 min- score for The Best Years of University Richards, who invented the utes of previously unreleased ©1971

k Our Lives as one of the finest Forthcoming is The Adventures distinctive water chime music. See FSM Vol. 5, No. 1 for pieces of film music he knew. of Don Juan (Errol Flynn, Max effect used in the score. more details. w or

rt But Duning will be remem- Steiner). Composers for future CDs a bered, not only for Holden and include Hugo Montenegro East Side Digital Novak’s twilight dance, but / and . To Forthcoming but without a date for a wide range of scores that Sparrow send us your suggestions, on Wendy Carlos’ label is a CD served their films nobly. Due March 28: Music From see contact info, pg. 2. of Tron. —Brian Kellow (and Inspired by) Jesus—a com- www.wendycarlos.com

F i l m S core M ont h l y  F e b r u ar y 2 0 0 0 RECORD l ABE l ROU N D-UP EMI featuring episode scores “All chamber music CD (St. Clair Morgan and Stromberg’s next Forthcoming are reissues of all Good Things...” (TNG, Dennis Trio), Old Acquaintances, includ- recordings will take place in April the EMI-controlled James Bond McCarthy), “Way of the Warrior” ing many film pieces. Due in in Moscow: A soundtracks: Dr. No, From (DS9, McCarthy), “Bride of May is Dersu Uzala, a new CD of Roots of Heaven and David Russia With Love, , Chaotica” (Voyager, David Bell), recording of music to Kurosawa Copperfield (Roots of Heaven , You Only Live and a suite featur- films. To be scheduled is a CD of will include a few cues by Alfred Twice, On Her Majesty’s Secret ing music from classic episodes, Korngold songs; to be recorded Newman based on Arnold’s Service, Diamonds Are Forever, “The Corbomite Maneuver,” is a Korngold CD featuring the material); and a Max Steiner CD Live and Let Die, The Man “” and “What composer’s complete music for of The Most Dangerous Game With the Golden Gun, The Spy Are Little Girls Made Of.” Still . and Son of Kong. Who Loved Me, and planned is Fantastica (Russell Forthcoming from Swiss presumably A View to a Kill. Garcia ’50s space music concept Marco Polo producer/conductor Adriano: The titles will be newly mas- album—not a soundtrack). Due in June in John Morgan Georges Auric: Suites From tered and released with better and William Stromberg’s series Lola Montez, Notre-Dame de packaging; however, there is Hollywood of new recordings are a Roy , Farandole; and Suites no information as to previously April 25: Duets (various); May Webb CD featuring music for Rififi, La Symphonie Pastorale, unreleased music. 9: Mission Impossible 2 (Hans Val Lewton films (The Cat Le Salaire de la Peur; and Zimmer). People, I Walked With a Zombie, Dmitri Shostakovich: The Fall GDI/Hammer Bedlam, , of Berlin (complete original Upcoming releases are Taste of Intrada The Body Snatcher); and a more version), with suite from The the Blood of Dracula and The Forthcoming is a commercial complete recording of Ghost of Memorable Year 1917. Devil Rides Out (both by James release of The Ballad of Lucy Frankenstein (Hans J. Salter), Bernard). Whipple (), filled out with cues from The Last Express (videogame Man-Made Monster and Black Coming April 4: Rules of Distributed exclusively by Scarlet score by Elia Cmiral) and two Friday, and all of the original Engagement (). Street; www.scarletstreet.com promos: The music composed for Sherlock Due April 18: Time Code 2000 Faculty and Deep Water. Holmes and the Voice of Terror (Mike Figgis). Coming May 16: GNP/Crescendo (Frank Skinner). Passion of Mind (Randy Godzilla 2000 (Japanese produc- www.intrada.com Planned for later in 2000 are Edelman) and Sunshine tion) is set for a spring/summer The Treasure of Sierra Madre (). release. Forthcoming is a second Koch (Max Steiner) and Objective (continued on page 9) Best of Star Trek TV collection, Due in March is a Burma (Franz Waxman).

N O W PLAY I NG Films and CDs in current release

The Beach Angelo Badelamenti, Various Sire** Beautiful People Garry Bell, Various Chapter III** The Closer You Get Rachel Portman, Various RCA Victor Michael Tavera Hip-O* Erin Brockovich Thomas Newman Sony Classical Freedom Song Sony Classical** Ghost Dog Rza (Wu-Tang Clan) Hanging Up Varèse Sarabande Judy Berlin Michael Nicholas Mission to Mars Ennio Morricone Hollywood Mr. Death Caleb Sampson The Next Best Thing Gabriel Yared, Various Warner Bros.** The Ninth Gate Wojciech Kilar Silva Screen Onegin Milan Orphans Craig Armstrong Reindeer Games Snow Day Steve Bartek Geffen* 3 Marco Beltrami, Various Varèse Sarabande, BMG* Three Strikes Various Priority* Titus Sony Classical My Dog Skip Varèse Sarabande Whatever It Takes Hollywood* What Planet Are You From? The Whole Nine Yards Varèse Sarabande Wonder Boys Columbia*

*song compilation **combination songs and score

F e b r u ar y 2 0 0 0  F i l m S core M ont h l y CONQUEST A Salute to and his Film Music Legacy

USC Dr. Arthur C. Bartner, director

featuring guest conductors Elmer Bernstein Bruce Broughton Thomas Newman

and special guest artist Marilyn McCoo

with music from Captain from Castile The Robe How the West Was Won Laura The Ten Commandments Winnie the Pooh Silverado The Hunt for Red October and more...

APRIL 16, 2000 at 7:00 PM Cerritos Center for the Performing Arts

For tickets please call the Cerritos Center for the Performing Arts Box Office (800) 300-4345 or (562) 916-8500 For more information visit www.usc.edu/dept/band/conquest film The Life and Death of King (Portman). Film Music Concerts Richard III. The second part will include music from such works South Carolina Soundtrack performances that as Battle of Algiers, Sacco and April 1 & 2, Charleston S.O.; you can attend—all around the globe Vanzetti, and . Gone With the Wind (Steiner), http://www.filmfestival.be Dances With Wolves (Barry), Gettysburg (Edelman).

Speaking of Flanders, Texas Hans Zimmer will perform in March 24 & 25, Dallas S.O.; concert October 10, opening World concert premiere of The night of the 27th Flanders Film Cider House Rules (Portman), Festival in Ghent’s Kuipken Richard Kaufman, cond. Concert Hall. March 28, Woodland S.O.; Gettysburg (Edelman), (Rota). Concerts by Region April 5, San Antonio S.O.; Arizona (Herrmann). March 31, April 1, Phoenix S.O.; April 7 & 8, Dallas S.O.; Mask of Zorro (Horner). “Choose the Music”: musical selections chosen by a poll of audience members, includes four April 28 & 29, Pacific S.O.; pieces of film music by Bernard “Music of ”: Arctic Herrmann and Elmer Bernstein. 4345. For details, visit www.usc.edu/ Whale Hunt & Four Scenes of April 23, Dallas S.O. perform- Newman Honored USC dept/band/conquest. Audrey, Richard Kaufman, cond. ing in Lee Park; Blazing Saddles Trojan Director May 5, Chico, Paradise (Morris), Giant (Tiomkin), Circus Dr. Arthur C. Bartner, along S.O.; The Magnificent Seven World (Tiomkin). with the Spirit of Troy, pres- The Bowl Is Back The (Bernstein). ent “Conquest! A Salute to has announced Alfred Newman and His Film the lineup for its annual summer Colorado April 15, Bath Philharmonic; Music Legacy,” April 16 at 7:00 concert series, which will feature April 3, Colorado Springs S.O.; Psycho, Vertigo (Herrmann), p.m. at the Cerritos Center for performances by John Williams Star Trek Voyager, Star Trek Indiana Jones and the Last the Performing Arts, Cerritos, and the L.A. Philharmonic, as First Contact (Goldsmith), Deep Crusade (Williams), Dances With California. The program will well as Space Nine (D. McCarthy), Wolves (Barry). celebrate and rededicate USC’s the Hollywood Bowl Battlestar Galactica (Phillips). famed battle cry, “Conquest,” in various film music-themed Finland on the occasion of the 50th extravaganzas. We’ll give you Florida April 11, Vantaa S.O.; Vertigo, Anniversary of its bequest to more information as the dates May 24-26, Miami S.O.; A Place in the Sun (Waxman), USC by Alfred Newman, the approach. “Symphonic Night at the Laura (Raksin), High Noon song’s composer. Movies.” (Tiomkin), Red River (Tiomkin), Newman wrote the song origi- French Medley (, nally as the battle march in 20th Fried at Last Hear a suite arr.). Century-Fox’s swashbuckler of ’s music from the May 25, Kingsborough May 1, Turku Philharmonic Captain From Castile. He then early films of Stanley Kubrick Community College S.O.; Orchestra; Lawrence of Arabia, A presented it to USC in 1950 as (The Killing, Killer’s Kiss, Paths “Nathaniel the Trumpeter” from Passage to India (Jarre). a gift in perpetuity, and it has of Glory and others) performed The Horn Blows at Midnight endured as the school’s popular live to picture during a concert (Waxman). Poland victory song ever since. by the Beach City Symphony on May 25, Warsaw S.O.; Elmer Expected to participate in the May 26 at Marfee Auditorium, El Ohio Bernstein conducts music from evening’s events are Thomas Camino College, Redondo Beach, March 25, Pops The Great Escape, Hawaii, The and Maria Newman, Buddy California. Stan Marguiles will Orchestra; High Noon (Tiomkin). Sons of Katie Elder, To Kill a Baker, Bruce Broughton, John narrate. Mockingbird, Toccata for Toy Williams, Basil Poledouris and Oregon Trains, The Ten Commandments, David Raksin, as well as singer April 28, Eugene S.O.; Psycho, The Age of Innocence, The Marilyn McCoo. The concert On the Flanders Front Vertigo, (Herrmann), The Man With the Golden Arm, A will feature music from Captain Flanders Film Festival-Ghent Godfather (Rota), Star Trek First Walk on the Wild Side and The From Castile, The Robe, Song presents Ennio Morricone con- Contact (Goldsmith), Mission Magnificent Seven. of Bernadette, How the West ducting his music in Ghent, Impossible (Schifrin), Raiders Was Won, Laura, The Ten Belgium, on June 9. The first of the Lost Ark (Williams), Switzerland Commandments, Winnie the part of the performance is sched- Sunset Boulevard (Waxman), April 5, Chamber Orchestra of Pooh, Silverado, The Hunt for uled to feature the European Lawrence of Arabia (Jarre), The Lausanne; The Charm Bracelet Red October and more. premiere of Morricone’s music Magnificent Seven (Bernstein), (Waxman), Lawrence Foster, For ticket information, call 800-300- for the 1912 silent American The Cider House Rules cond. FSM

F e b r u ar y 2 0 0 0  F i l m S core M ont h l y RECORD l ABE l ROU N D-UP Are you a Fielding, 1974/1975) and The Sony is working on a third edi- soundtrack Record Round-Up World of Henry Orient (Elmer tion of Dances With Wolves (John (continued from page 6) Bernstein, 1964), both in stereo. Barry, 1990), this time to feature fan? previously unreleased music, Monstrous Movie Music Screen Archives including the film version of This label—dedicated to re- Entertainment “The Buffalo Hunt.” Do you recording classic genre film SAE’s forthcoming classic music—has three new albums score restorations are Pursued www.sonyclassical.com/music/ aspire forthcoming. The third remains (Max Steiner) and The Court- soundtracks_idx.html to writ- a secret, but the first two will Martial of Billy Mitchell (Dimitri feature: Mighty Joe Young (1949, Tiomkin). Super Collector ing film Roy Webb); Creature Forthcoming is Flash Gordon music? From the Black Lagoon (1954, Contact Screen Archives (Howard Blake)—it is undecided containing all the previously Entertainment at PO Box 500, Linden whether this will be a promo- unreleased cues by a variety of VA 22642; ph: 540-635-2575; tional or commercial release. composers—Salter, Mancini, fax: 540-635-8554. Forthcoming from Super Tracks Are you a Stein, et al.—for a “kinder, www.screenarchives.com is a reissue of High Road to student of gentler” Creature suite); 20 China () featuring Million Miles to Earth (1957, Silva Screen previously unreleased music; this motion Columbia “library” score by Nic Raine will conduct the City was previously available only as a Raksin, Steiner, Duning, oth- of Prague Philharmonic and high-priced limited edition from pictures? ers); Tarzan (1934-42, cues from Crouch End Festival Chorus in SCSE. MGM productions by Axt, Snell, a new recording of Walkabout www.supercollector.com Amfitheatrof, Stothart, Levy); (John Barry, 1971). As the com- Do you The Animal World (1956, Paul plete score is only 25 minutes Varèse Sarabande Sawtell’s music from the long, the album will be filled out April 4: Born Free (John Barry, work in the Harryhausen dinosaur sequence with various other newly record- 1966), new recording with film of the Irwin Allen documentary); ed Barry rarities. Frederic Talgorn cond. Royal and The Alligator People (1959, Forthcoming is an expanded Scottish National Orchestra. or TV Irving Gertz, featuring electric edition of Escape From New Due April 18 are Wonder Boys industry? violin). York (, original (Christopher Young) and two www.hilux.com/mmm soundtrack) as well as the label’s discs by Richard Hartley, Don fifth installment in its “Essential Quixote and Arabian Nights Pacific Time Film Music Collection” series, (both TV soundtracks). Do you like Entertainment The Essential Maurice Jarre Slated for a late-March or April to collect April 18: Giovanni Falcone (Pino Film Music Collection. The 2-CD release is the first volume of Donaggio). May 30: set will feature music from The library music from the original piles of Ricky 6 (Joe Delia). Fixer, Red Sun, Enemy Mine, The Adventures of Superman TV www.pactimeco.com Night of the Generals and Topaz. show. The disc will feature the shiny silver original opening narration and discs? Sonic Images other surprises. Coming soon is a limited edition Due April 4, Sonic Images’ new The Royal Scottish National CD from the Police Story pilot age label, Earthtone Records, will Orchestra has recorded more TV-movie (Jerry Goldsmith, release the electronica compila- film music for release in Robert Then have 1973). The next Prometheus tion album Elevation 3, which Townson’s Film Classics series, we got a release (mid-June) is the score features music by , Ronan including selections from Jaws to the CBS miniseries Sally Hardiman (RiverDance) and (John Williams), Peyton Place magazine Hemings: An American Scandal Thomas Newman (previously (Franz Waxman) and Marnie for you! (Joel McNeely). released). Scheduled for April 25 (). Joel is Babylon 5: A Call to Arms by McNeely has returned as conduc- Rhino Evan H. Chen, which includes tor. However, it may be some Due April 25 is Hollywood from the final Babylon 5 time before albums like the Subscribe & Jazz: Hot Numbers From feature film and Chen’s new ver- above are released. to FSM Classic MGM, Warner Bros. and sion of the Babylon 5 theme by RKO Films. Christopher Franke. Look for some of the rare and obscure today! www.sonicimages.com items mentioned in these pages from Rykodisc the soundtrack specialty dealers: Due April 25 is For Your Eyes Sony Classical Screen Archives (540-635-2575), Call Only (, 1981), with Slated for a spring release is Intrada (510-336-1612), STAR (717- previously unreleased music. Love’s Labours Lost (Patrick 656-0121), Footlight Records (212- Toll-Free Forthcoming but without dates Doyle), and coming soon are 533-1572) and Super Collector (714- are Bring Me the Head of Alfredo East-West (Doyle) and Erin 636-8700) in this country. FSM 1-888-345-6335 Garcia/ (Jerry Brockovich (Thomas Newman).

F i l m S core M ont h l y  F e b r u ar y 2 0 0 0 Chris Hajian Naked States (feature docu- Upcoming Assignments —F— mentary), Raw Nerve, Yonkers Joe. Tequila Who’s writing what for whom Shayne Fair & Larry Herbstritt Todd Hayen The Crown, The Last Flight. Bodyshot. John Hills Abilene. Center Stage, Numbers Peter Himmelman A Slipping-Down Life (d. Nora Ephron, starring John Travolta); (Guy Pearce, Taylor). —A— —C— : The Musical (Charlize Theron, Family Plan (Leslie Nielsen), Mark Adler The Apartment Complex, Sam Cardin Olympic Glory, Return to the d. Nick Hytner). No Other Country, Africa. Sterling Chase. Secret Garden. Back to the Secret Garden James Horner The Grinch Who Stole Eric Allaman Breakfast With Einstein, The Wendy Carlos Woundings. (German theatrical, Hallmark release). Christmas (). Last Act, Lumanarias, Is That All There Is? Gary Chang Locked in Silence (Showtime). David Findlay Dead Silent (). Richard Horowitz Pavilion of Women. One Kill (Anne Heche, Eric Stoltz). Stanley Clarke Marciano, Romeo Must Die Frank Fitzpatrick Lani Loa (Zoetrope). Dinosaurs Ryeland Allison Saturn. (prod. Joel Silver). Nathan Fleet First Time Caller (d. (Disney animated). Town and Country George S. Clinton Ready to Rumble, Alessandro Zavaglia, romantic comedy). Steven Hufsteter Mascara. (Warren Beatty), Vendetta (HBO, d. Sordid Lives. Ruy Folguera Picking Up the Pieces David Hughes & Chain of Nicholas Meyer). Elia Cmiral The Wishing Tree (Showtime), (, Sharon Stone). Fools, Mary Jane’s Last Dance. Six Pack (French). Robert Folk Inconvenienced. Intruder. —B— Serge Colbert Red Tide (Casper Van Dien). David Michael Frank The Last Patrol. Pat Irwin But I’m a Cheerleader. BT Under Suspicion. Michel Colombier Dark Summer, Pros and John Frizzell The White River Kid (Antonio Mark Isham Where the Money Is, The Woman on Top. Cons, Foolproof. Banderas). Imposters (, d. Gary Fleder), Birthday Girl, A Story Eric Colvin Lifesize (Disney). —G— Rules of Engagement, Navy Divers of a Bad Boy (co-composed with Chris Bill Conti Inferno (Jean-Claude Van Craig Stuart Garfinkle Gabriella. (Robert De Niro). 28 Days. —J— T h e h o t S h e e t new assignments Maurice Jarre Sunshine (), John Altman Beautiful Joe. The Long Run. Craig Safan Delivering Milo. i Dreamed of Africa. You Can Count on Me. Camara Kambon 2Gether. Lalo Schifrin Jack of All Trades. Adrian Johnston Old New Borrowed Blue, Broken Hearts Club. Hal Lindes Lucky 13. Joseph Vitarelli Sports Pages (d. Richard The House of Mirth (Gillian Anderson). Marco Beltrami Squelch (d. John Dahl), John Lurie The Crew. Benjamin). Frederic Wilde (d. Richard The Crow 3: Salvation, Texas Rangers. Thomas the Tank Engine. Steven Warbeck Pavarotti in Dad’s Room, Loncraine). Rhys Fulver Delivery. David Mansfield Songcatcher. Dance. Benoit Jutras Journey of Man (IMAX). Richard Gibbs Big Momma’s House, w/ Barrett Martin Lush (Campbell Scott). John Williams The Patriot. Jonathan Davis (from the band Korn) Jennie Muskett 100 Girls. Joey Waronker (drummer for Beck, REM) —K— Queen of the Damned. (Sundance Chuck & Buck. Jan A.P. Kaczmarek Lost Souls, Aimee Trevor Jones 13 Days, From Hell, Grand Jury Prize) State and Main. Gabriel Yared Lisa, The Next Best Thing. and the Jaguar (Germany, d. Max Faerberboeck). Camara Kambon The White River Kid Hajian), Forever Mine, Untitled John Lee Damme). Jerry Goldsmith The (d. Paul (Antonio Banderas). Hancock Project. Made Men (indepen- Verhoeven), The Kid (Bruce Willis, dir. Michael Kamen X-Men (d. ). Rick Baitz Life Afterlife (HBO feature dent), Sunset Strip. John Turtletaub). Annihilation of Fish. documentary). Elia Cmiral Battlefield Earth. Price of Glory. (HBO). Lesley Barber History of Luminous Motion. Joel Goodman Cherry (romantic comedy, Don’t Go Breaking My Heart Hair Shirt (Neve Campbell), —D, E— Shalom Harlow). (Anthony Edwards). Hangman’s Daughter, Red Dirt. Boondock Saints, O (modern- Adam Gorgoni Candyman 3: Day of the Gary Koftinoff Forgive Me Father. Beyond City Limits. day telling of Othello). Dead, Extreme Alaska. Christophe Beck Cheer Fever, Thick as The Great Gatsby (A&E). Mark Governor Blindness (d. Anna Chi). —L— Thieves (Alec Baldwin), Coming Soon (Mia Loran Alan Davis The Last Prediction Stephen Graziano Herman, U.S.A. Kenneth Lampl Fight the Good Fight (Burt Farrow), Cheer Fever (Kirsten Dunst). (independent). Harry Gregson-Williams Earl Watt (Pate Young, d. Bret Carr), Games Without Peter Bernstein Susan’s Plan. Komodo, Relative Values. Bros.). Frontiers (John Mulcahy, d. David Edward Bilous Minor Details, Mixing Mia. Joe Delia Tao of Steve, Time Served, Ricky Ed Grenga Catalina Trust (d. Will Conroy). Knappe), The Tour (d. Tim Joyce). Chris Boardman Bruno (d. Shirley 6, Fever. Andrew Gross Viva Las Nowhere (James One Hell of a Guy, Waylon MacLaine). David DiIorio Lethal Premonition, Caan); Unglued (Linda Hamilton). & Buzz. Love Triangle, The Cheerleaders Must Die. Larry Groupé Sleeping With the Lion, Four Brian Langsbard First of May (indepen- Debtors (Michael Caine, Randy Quaid). Pino Donaggio Up in the Villa (Kristin Second Delay, Peter York, The Contender dent), Frozen (Trimark). Christopher Brady Castle in the Sky Scott-Thomas). (d. Rod Lurie, Joan Allen, Gary Oldman), Daniel Lanois All the Pretty Horses. (Disney animated), Hal’s Birthday. Love’s Labours Lost (Kenneth Gentleman B. Chris Lennertz Lured Innocence (Dennis Michael Brook Getting to Know You, Branagh, musical comedy). Jay Gruska Belly Fruit. Hopper, Talia Shire), Pride of the Amazon Crime & Punishment in Suburbia, Tart. Monkey Bone, The Bacchae. (animated musical). Bruce Broughton Jeremiah (cable biblical Randy Edelman The Skulls, The Gelfin, —H, I— Michael A. Levine The End of the Road (d. epic, theme by Ennio Morricone). Passion of Mind. Richard Hartley Peter’s Meteor, Mad About Keith Thomson), The Lady With the Torch Paul Buckmaster Mean Street. Evan Evans Tripfall (Eric Roberts, John Mambo, Victory. (Glenn Close, d. David Heeley). Carter Burwell High Fidelity (d. Stephen Ritter); Newsbreak (Michael Rooker, Captain Jack (Bob Christopher Libertino Spin the Bottle (d. Frears, Disney). Judge Reinhold). Hoskins). (continued on page 12)

F e b r u ar y 2 0 0 0 10 F i l m S core M ont h l y

UPCO M I N G FI l m ASSIG n m E N TS

(continued from page 10) & Spice (New Line), Rugrats 2, Rocky Elements (Rob Morrow). Andrew Michael Pascal). & Bullwinkle (, Robert You Win Some, BC Smith Mercy (Peta Wilson). Daniel Licht Muhammid Ali biopic (HBO). De Niro). You Lose Some Neil Smolar The Silent Cradle, Treasure Frank London On the Run, Sancta Mortale, —N, O— Island, A Question of Privilege, Deadly The First Seven Years. Roger Neill Big Man on Campus. JohnWilliams replaced David . Martyn Love The Venus Factory (). Ira Newborn (Universal). Arnold on the Emmerich/ Darren Solomon Lesser Prophets (John John Lurie Animal Factory. Flintstones 2: Viva Rock Devlin production of The Turturro). Evan Lurie Happy Accidents, Joe Gould’s Vegas, Nutty 2: The Klumps, Duets Patriot, starring Mel Gibson. William Stromberg Other Voices (comedy). Secret, The Whole She-Bang. (Gwyneth Paltrow). After apparent creative differ- Mark Suozzo Sound and Fury, Well- Urban Legend: Final Cut. ences with the powers that be, Founded Fear. —M— John Barry has been replaced Mader Row Your Boat, Claudine’s Return, —P— by Hummie Mann on Thomas —T, V— Morgan’s Ferry (Kelly McGillis), Steal This Van Dyke Parks Trade Off. the Tank Engine. Mann has Michael Tavera One Special Delivery Movie. Shawn Patterson Monkeybone (d. replaced Barry once before, (), American Tail IV (direct Hummie Mann Good Night Joseph Parker Henry Selick, three-minute opening ani- on 1992’s Year of the Comet. to video). (Paul Sorvino), A Thing of Beauty, After mated sequence only), Herd, Tales From Stephen James Taylor Blessed Art Thou, the Rain. the Goose Lady, Trixie. John Henry. David Mansfield The Gospel of Wonders Jean-Claude Petit Messieurs les Enfants, Mary & Jesus. (Mexico, d. Arturo Ripstein). Sarabo, Sucre Amer. Joel Timothy Waiting for the Giants. Richard Robbins Cotton Mary. Lee Marchitelli Iris Blonde (Miramax). Nicholas Pike Delivered, Return to Me Raymond Torres-Santos Richport, J. Peter Robinson Waterproof. Slow Burn (Minnie (David Duchovny). Millennium, Menudo...My Loving Years. Marius Ruhland Anatomy. Driver, James Spader), Fifteen Minutes Hoof Beats. Colin Towns Vig. David G. Russell The Phantom Eye (prod. (Robert De Niro, Ed Burns), Time Code Robbie Pittelman A Killing, The Dry John Trivers, Myers Norma ), The Nest, Wicked Spring. 2000 (co-composed with dir. Mike Figgis). Season (independent). Jean, Jack and Me. Gary Marlowe Framed, Mondschatten Michael Richard Plowman The Hot Karl. Ernest Troost Beat (Courtney Love). —S— (Moonlight Shadow, d. Robby Porschen). Basil Poledouris Kimberly (romantic A Night in Grover’s Mill, The Richard Savage A Whole New Day. Jeff Marsh Burning Down the House, Wind comedy). Forbidden City (d. Lance Mungia), The Gaili Schoen Déjà Vu (independent). River (Karen Allen). Steve Porcaro Wayward Son (Harry 4th Floor (thriller, William Hurt, Juliette David Schwartz The Little Assassin. Phil Marshall Rupert’s Land, Gotta Dance, Connick, Jr.). Lewis), Four Dogs Playing Poker (Tim John Scott Shergar, The Long Road Home, Kiss Toledo Goodbye, Temptation. Rachel Portman The Closer You Get (com- Curry, Forest Whitaker). Married 2 Malcolm (U.K. comedy). Barrett Martin Lush (Laura Linney). edy from the producer of The Full Monty). Bruce Turgon Night Club. Ilona Sekacz Salomon and Gaenor. Brice Martin Down But Not Out: Living in John Powell Fresh Horses (DreamWorks), Chris Tyng Bumblebee Flies Away, 7 Simian Line (William Chronic Pain, The Girls Room. Chicken Run, Outpost, Le Visitor. Patrick Seymour Girlfriends. Hurt). Wicked (d. Michael Jonathan Price Rustin (indie drama), Dog Joseph Vitarelli Excellent Cadavers (HBO). Kingdom of the Sun (Disney Steinberg). Story (action). Marc Shaiman animated), Jackie’s Back (Lifetime Richard Marvin U-571 (Matthew —R— —W, Z— Network). McConaughey). Trevor Rabin Whispers (Disney). Shirley Walker Final Destination (New Mike Shapiro All Over Again (indie John Massari 1947, Breathing Hard. Robert O. Ragland Lima: Breaking the Line). drama). John McCarthy East of A (d. Ami Goldstein, Silence (Menahem Golan). 2 Theodore Shapiro Juvees, Girl Fight, The David Alan Grier), Boy Meets Girl. Kennard Ramsey Trick Baby. (), Farewell, My Love, of Central Park (Kathleen Turner, Stuart McDonald Diaries of Darkness. Alan Reeves To Walk With Lions, Ocean Drunken Master 2 (). Harvey Keitel). Mark McKenzie 2 (direct to Oasis. Quills. Shark The Spreading Ground), Me & Will video). Gossip, Titan A.E. (aka American Road (IMAX). (Patric Dempsey, Seymour Cassel), The Gigi Meroni The Good Life (Stallone, Planet Ice, Fox animated), Red Planet. Alvin and the Chipmunks Speading Ground (d. James Burke, Hopper), The Others, The Last Big David Reynolds Warlock (sequel), George Meet Frankenstein, Tom Sawyer. Dennis Hopper), Surf Shack. Attractions. B, Love Happens. Wendy & Lisa The Third Wheel (Ben James Shearman The Misadventures of Cynthia Millar Brown’s Requiem, Storm in William Richter Social Misfits, The Broken Affleck). Margaret. Summer (d. ). Machine. Michael Whalen Slay the Dreamer, Vlad, Edward Shearmur Things You Can Tell Just Marcus Miller Lady’s Man. Stan Ridgway Error in Judgment (d. Scott Lost Liners (PBS special). by Looking at Her (Cameron Diaz). Randy Miller Picture of Priority (indepen- Levy), Desperate but Not Serious (d. Bill Alan Williams Angels in the Attic, Princess Frontline (Showtime). dent), Family Tree (Warner Bros.), Pirates Fishman), Spent (d. Gil Cates Jr.). Lawrence Shragge and the Pea (animated feature, score Hoover (Ernest Borgnine). of the Plain (Tim Curry). Rick Silanskas and songs; lyrics by David Pomeranz), Alan Silvestri Lies Beneath (Harrison Ford, Sheldon Mirowitz Say You’ll Be Mine Who Gets the House (romantic comedy), Michelle Pfeiffer, d. Robert Zemeckis), (Justine Bateman), Autumn Heart (Ally Santa and Pete (Hume Cronin, James Earl Cast Away (Tom Hanks, Helen Hunt, Sheedy), Legacy. How to Get Listed Jones), Going Home (Jason Robards). d. Zemeckis), Siegfried & Roy: The Fred Mollin Pilgrim (Tim Truman). Due to the volume of material, this list David Williams The Day October Died, Magic Box (IMAX documentary),The Deborah Mollison East Is East (British), only covers feature scores and selected Wishmaster 2. Replacements. Simon Magus (Samuel Goldwyn), The high-profile television and cable projects. Debbie Wiseman Tom’s Midnight Garden, Captured. Thing About Vince. Composers, your updates are appreciated: Marty Simon The Lighthouse, The Guilty. Michael Skloff Cherry Pink (d. Jason Ennio Morricone Resident Evil (d. George contact managing editor Hans Zimmer Gladiator (d. ), Alexander). Romero). Tim Currran at 310-253-9597, Mission: Impossible 2 (d. John Woo). Mike Slamer & Rich McHugh Shark in Tom Morse Michael Angel. or e-mail [email protected]. FSM a Bottle. Mark Mothersbaugh Camouflage, Sugar

F e b r u ar y 2 0 0 0 12 F i l m S core M ont h l y REA D ER for Superman IV? What was ’s involvement RANTS, in that score? RAVES & Jared Rivet RESPONSE [email protected] MAIL BAG John Williams was unavailable when Superman II was being scored, and director Phantom Premonitions The passage in question hints at the “Victory was disappointed and ripped off (who took over the Superman series from Richard s a relatively new fan of Celebration” theme even beyond the three- by John Debney and the Royal Donner) turned to composer Ken Thorne, who Ayour magazine, I must con- note restatement. But, this is also an incredibly National High School Band (I’m had worked with Lester on Juggernaut and Royal gratulate you for your analyses simple melodic turn and it’s embedded in such sorry, but they never once got Flash. None of Thorne’s previous work was on of the John Williams a way that it could well be an accident. Besides, it right—the tempos were too the scale of Williams’ Superman score, however; scores. I’d like to refer to Luis wouldn’t it be a little anti-climactic to end Jedi slow and the orchestra never in any case, the Williams music was so closely Miguel Ramos’ letter from Vol. with Amidala’s theme? Maybe if it were at least achieved the John Williams/LSO- identified with the success of the first film that 4, No. 9, in which he states that an Amidala/Anakin love theme... quality high trumpet playing). creating a new score out of whole cloth would there’s a dearth of leitmotifs in Rhino’s Superman has made have been a big risk. Lester also saved himself The Phantom Menace. This is a It’s Super, Thanks for Asking my soundtrack collection almost time and expense by having the first score rear- fair point, but I treated the score ust a quick note to inform complete. ranged for the sequels. Williams did write a new as a beginning in every sense Jreaders that the new But wait—there is more that theme for Superman IV at the request of director of the word. I expect Williams’ Superman: The Movie release is a Nick and Michael can do...here is Christopher Reeve, but of the score was themes to evolve as the trilogy superbly produced and wonderful- my list of the new projects that written by veteran composer and orchestrator progresses—to eventually become ly complete album. It is true that you guys need to get on: the com- Alexander Courage. what we know (as indicated in there is a little distortion at times, plete scores to Empire of the Sun, the three-note hint in “Anakin’s particularly during louder pas- Dances With Wolves, Hook and Love Theme”). I’d like to draw atten- sages, but I imagine that this was Indiana Jones and the Temple of ’ve been reading your periodi- tion to track 6 on The Phantom in the original master tapes. Nick Doom. Ical for around seven years and Menace soundtrack—specifi- Redman and Michael Matessino Thomas P. Douglas I thank you for continuing what cally the second half of it, “The have exceeded my highest [email protected] you started. I have in my hands Audience With Boss Nass.” If expectations with this work. the “Scores of Scores” issue I remember correctly, this is After years of putting up with (Vol. 4, No. 10). I realize the forest scene where Amidala ’ compressed that you must be tempted reveals her true identity. The vinyl recording, their needlessly to try and please all of notes that accompany (albeit very edited CD, the disappointing your readers, but I really briefly) this exposition are the Varèse re-recording (though I am appreciate your review descending G, F and D from the still grateful that they made the of the Korngold chamber Special Edition effort) and the absolutely bizarre music. Many (or most?) “Victory Celebration” (example “Ultimate Collection,” it is an of your readers are prob- 25 in Vol. 4, No. 5). These three absolute joy to indulge in this ably not interested in that notes begin 3:04 into the track. two-disc set. Hearing this music (though, with your review, Though only a quick reference, is like discovering the soundtrack they might investigate). My the fact that it’s in the same key for the first time. The new major interest in film scores cannot be an accident. Therefore, generation of moviegoers who started around 1980 with John Williams has given us, in just discovered this “old” movie Star Trek: TMP and The The Phantom Menace, the seed called Superman don’t know Empire Strikes Back and which will eventually become how lucky they are to have all of soon after (after watching the full-blown Amidala theme. John Williams’ terrific music on The Adventures of Robin This gives Jedi’s new celebra- CD. This release is an absolute Hood on TV) branched tion music new meaning: though “must-have” and is well worth off into “classic” films and their Amidala is not physically present the retail price. For all readers ave you guys ever done music. Korngold is one of my at Jedi’s finale, the motif will of Film Score Monthly, prepare Hany research into the his- favorites composers—cinema or resolve her character and give to meet the Man of Steel from tory behind the scores of the concert. I won’t bore you with my musical closure to the series of 1978... again! Superman films? I’ve often life history; I just wanted you to six films. This is my theory—only Daniel S. Lee wondered about the decision know that I appreciate your pub- time will tell whether or not I’m [email protected] to have Ken Thorne rearrange lication, which I could not have correct. I do have to admit that the material from the first film even imagined 20 years ago. I was always expecting that Jedi have always been a huge fan for the sequel—and also about Steve Miller Victory music to pop up some- Iof the Superman score (from the mysterious “Music by John Bossier City, Louisiana where in The Phantom Menace. the “Prelude” to the downright Williams” credit in Superman Clinton Dybing awful disco version of “Can You IV. Why did the Salkinds choose greatly enjoyed your The Melbourne, Australia Read My Mind”) and of the music to re-use music from the first IComancheros soundtrack CD that should have always been film? Did Williams actually write which was magnificent in content Clinton is either grasping at straws, or he’s on the soundtrack release. This any of the new themes heard and notes. I also appreciated spoiled John Williams’ special surprise for us. will be my last time saying how I in the (still unreleased) score the included vocal song, which

F i l m S core M ont h l y 13 F e b r u ar y 2 0 0 0 MA I L BAG in local film societies believe that the only same film to have different musical tracks? solved a mystery for me. In the 1970s I had German-made films on the ’60s were boring I noticed that one version of Thunderball purchased a collection of western tunes (in talk-fests made by the likes of Fassbinder and features a reprise of the Chateau Fight track the U.K.) because it had a track titled “The Scholondorff. I was impressed with Thomas’ during an underwater battle in the sequence Comancheros.” I was disappointed when it score for a German version of The Last of the (where 007 infiltrates a group of was not the thrilling title track, but an instru- Mohicans called The Last Tomahawk. The frogmen) and has the original James Bond mental version of the vocal tune you included score was far better and more memorable theme at the final scene where Bond and (which wasn’t in the film). than the film. I never saw a Jerry Cotton film, Domino are picked up by the Skyhook device. The “Also Sprach Peter Thomas” (Vol. 4, but his books were all over Germany when I In another version of the film, the underwa- No. 9) piece was terrific. My adolescence was lived there. I also enjoyed the Thomas CD you ter fight is unscored and the latter sequence bombarded with all sorts of German and mentioned as terrific variety, but found his employs a louder, massively orchestral version other Euro-made superspy, western and hor- Jerry Cotton theme very derivative of Dam of the Bond theme. ror films shown on TV. Incredibly, these films Busters. James Peter Young, Esq have disappeared today. Those people I know Is it common for different prints of the Kirribilli, Australia

We don’t know of many instances like this. Perhaps one of the Thunderball prints was for television and edited differently.

The Insiders aving FSM devote so much time and Hcare to soundtrack releases is like hav- ing a close friend in the business. You have unearthed treasures—scores that I have loved not for years, but for decades—and you’ve brought them, spiffed up and shining like new, to soundtrack fans all over the planet. I wonder if you can truly appreciate what it means to hear something like The Flim- Flam Man in crisp, stunning stereo, complete with the “rinky-tink” piano chase music, after waiting 33 years! Sometime before most of you were born, I actually sat in a movie theater with a portable cassette recorder in my lap to record the original music, because centuries ago (when I was in my 20s), there was no other way to hear an unreleased film score. With some luck, the film might be F.P.O. broadcast years later on TV—which meant that if you could figure out how to tap into the audio of those primitive TV sets (no out- put jacks, no stereo tuners, not even a place Pick up ad from page 47 for headphones), you could struggle to attach alligator clips to the single mono speaker and January issue record some of the music. And that’s if the announcer didn’t yack all over the main and end titles—naturally, the rest of the score would have the dialogue and sound effects. VHS hi-fi was a major breakthrough, but your new CD is honestly more than I could have imagined in my wildest dreams. For all of your readers who discovered soundtracks in the ’80s and ’90s, this album should show them why so many of us love Goldsmith so much—and why we have for so long. It’s not the huge orchestral stuff he’s doing now—that’s fine for what it is. But, these two scores alone are brilliantly right for the films they grace. They are full of wonder- ful, different, marvelous ideas that are so perfectly, poignantly dead-on, one has to be in awe of the man’s skill—not just in composi- tional technique, but in capturing the essence of a film. And that, fellow travelers, is what a great film composer does. Years ago, BMI

F e b r u ar y 2 0 0 0 14 F i l m S core M ont h l y did a piece on Goldsmith entitled English dictionaries in the FSM it was a completely different R e a d e r a D S “An Art From a Craft”—and that office? Continuing with J.W., in approach to a Bond film. really pins it. Goldsmith, in his his review of Morricone’s The The big difference between glory in the ’60s and ’70s, made Fourth King (in the same issue), American and European film 1,000,000 Soundtrack LPs/ art out of even the silliest projects he calls “a scoring is that most European VIDEOS (the Flint films come to mind). friggin’ man.” This is a common producers and composers see no Rare originals, limited editions, By bringing scores like The Loner error, but Andrea is the Italian need to plaster music wall to wall imported reissues. Catalog and out of “Andrew”—unless Andrea Bocelli onto a film. Some films have little $1.00. hiding along with better known is a bearded woman that sings need for music (watch Uranus Soundtrack LP Price Guide $10. works like Rio Conchos and The and looks like a man. and witness the careful spotting Video all genres: SF/Horror, B’s, Flim-Flam Man, you’re making Now on to what is absolutely of J.C. Petit’s work). Hollywood Silents, Cult. Catalog $1.00. = product. Europe = art. The Messenger is an excel- Pointed opinions, lent film. Luc Besson’s F o r S a l e choice of a Russian actress Quinton S. Halsey (phone: 480-949- wild rumors further mystifies the Joan 5293; fax: 480-949-5293) has the & the honest truth of Arc character. The gore following CDs for sale: Batteries is representative of the Not Included, $65; Mountains 5 times week- times. The voices in the of the Moon, $50; Moon Over ly! score represent those that Parador, $60; Dreamscape, $75; and Just turn to Joan heard, and the quiet Shipwrecked, $100 Alex Zambra (5644 Lawndale, and mysterious mood Film Score Daily Houston TX 77023-3840; fax: music represents the spiri- 713-921-5082) has the follow- tual nature of the story. ing LPs for sale: Le Tambour (The The score and film both Tin Drum, Jarre, French pressing, my day—day after day after day. outrageous—why on earth did succeed brilliantly at telling a dif- mint—$65), La Follie des Grandeurs I sure hope you’re making some Jeff Bond review The Messenger: ficult story. I could have written (M. Polnareff, French pressing, money on these CDs; enough to Story of Joan of Arc when he a review better than Jeff Bond’s mint—$100), Link (Goldsmith, keep going for a while. But if you admits to not knowing much of abomination. sealed $15), Under Fire (Goldsmith, ever wonder, “Why the hell are her story? It’s no wonder that Alex Zambra EX-EX—$10), and The 7th Dawn (Ortolani, stereo PH, otherwise we beating our heads against the he couldn’t understand the Houston, Texas M/M—$25) wall—this stuff is never gonna movie or the superb Eric Serra make us rich,” please remem- score. The Messenger CD has, in J.W. replies: Send Your Ads Today! ber that you’re right—it won’t Europe alone, surpassed a mil- Thanks for the heads up—but, I still hold Reader ads are FREE for up to five make you rich. But, every now lion units sold, and the film itself fast to my belief that "Andrea" is a very attractive items. After that, it’s $1 per item. and then you’ll get a gushy but will surely win the Cesar award and feminine name. And please don't hold FSM It’s that simple. Send to Film Score sincere letter like this to let you (the French equivalent of the responsible for that improper translation. That Monthly, 8503 Washington Blvd, know you’re making some people Oscar). So, why does FSM take kind of thing is tough to catch. As it happens, Culver City CA 90232; fax: 310-253- very happy. the attitude of “we don’t under- I used the subtly incorrect translation to see if 9588; Lukas@filmscoremonthly. Mark Trachtman stand it, so let’s trash it”? Luc any of my Italian compadres would notice. Plus, com. [email protected] Besson’s only failures have been I thought that waiting for you to write in would Upcoming Deadlines...are predict- in concept—filming a comic-book be easier than looking it up in a dictionary. able again! Send your ads accord- There are a lot of fans of old-school Jerry story, The Fifth Element, and try- Thanks! Oh, but, what the hell does “threesev- ingly: Goldsmith out there—we at FSM among them. ing to explain the French story ens” mean? Vol 5 No. 4 Not only are we able to produce these scores, but of The Messenger to U.S. audi- Ads due 4/21, on sale 5/23 there are enough of you out there who will buy ences. I grew up reading Fifth J.B. replies: Vol 5 No. 5 them—so we can make more! Element comics, so I naturally So...the hunter becomes the hunted! I had Ads due 5/19, on sale 6/19 found the film terrific. As for The no idea I was capable of producing an actual Manliness and Bond’s Messenger, let’s compare it to the abomination—it’s a heady feeling. If I was Advertise in FSM! Abomination ridiculous Hollywood (with the alone in thinking The Messenger to be a giant Our circulation and distribution t was said by a European phi- lovely Ingrid Bergman) and U.K. piece of crap I might be willing to equivocate, but is growing—we’re the leading film music magazine in the world. losopher that a Frenchman is efforts at telling the tale—though I can point to a number of well-respected critics I Reach a who agreed with me. If you re-read my review an Italian in a bad mood—and as the recent TV Hallmark movie dedicated group of soundtrack I’m half of each, your reviewers did approach the story well. Eric I think you’ll find that I disliked the movie not lovers, and collectors. Jesus Weinstein and Jeff Bond Serra did not plagiarize Carmina because I didn’t understand it, but because it had have filled me with indignation. Burana. He used it for a pur- absolutely no insights to offer about a potentially Space Ads for Individual Collector/ Starting with the minor issues, pose—and openly admits to this fascinating historical character. Although I did get Dealers Only $60 in Vol. 4, No. 10 (page 46), J.W. (read the latest issue of Dreams the important information that Joan of Arc heard For a 1/6 page space ad, simply translates the spaghetti western, to Dreams, the James Horner fan voices (and I suspect I’d heard that somewhere send your list and information Lo Chiamavano Tresette, Giocava magazine). You also hammered before), Besson does nothing to motivate the to the address above; you can Sempre col Morto wrong; it Goldeneye, which I loved. It may character other than to provide an offensive comfortably fit anywhere from 20 to 60 titles, but try to include less actually means: We Called Him have violated the “Big Mac” view information per disc the more you Threesevens, He Played With of Bondmaniacs, but Serra’s (continued on page 49) list, or else the print will be micro- the Dead. Are there no Italian- score was a success, even though

F i l m S core M ont h l y 15 F e b r u ar y 2 0 0 0 d o WNB E A t breathing down my neck and wanting me to demo everything, which luckily I didn’t have to do. The schedule wouldn’t have allowed that anyway.” The sound of 19th-century America is often Roustabouts and Rumbles associated with the music of John Phillip Sousa. Though Mann says it was uninten- tional on his part, some reviews of his score BEHIND THE SCENES on recent projects with (including Daily Variety’s) have compared Hummie Mann, Michael Tavera and George S. Clinton his musical underscore to that of the “March King.” B y V a r i o u s “The music really isn’t like Sousa,” he says. “The music that’s most like Sousa is the circus march stuff. But I wasn’t really going for that. As soon as you do a march with a lot of brass, people think of Sousa.” Though the circus aspect of P.T. Barnum is what people know best, it was actually only a small part of his life. Mann wanted his music to also reflect aspects of Barnum’s mostly unknown personal life. “The challenge was coming up with the- matic material that was going to work very well emotionally,” says Mann. “He had a lot of death in his life and really had a tough go of it. But I had to create a theme that would also work well with the circus requirements of the film. So I wanted something that was going to work in a lot of extremely different ways. You know, a period Americana piece that could be made into a circus type of march, and yet would also be extremely emo- MYSTERY MANN: The complexities of P.T. Barnum ’s life were grist for Hummie Mann’s score (right). tional at the right moments—and there was probably a lot more of that than there was circus music.” —Jason Foster Hummie Mann P.T. Barnum Michael Tavera irector Simon Wincer is no stranger to television. His various TV projects, such Drowning Mona

as the highly successful Lonesome Dove and multiple installments of The Young coring intelligence and suavity has always Sbeen the unspoken high watermark of Indiana Jones Chronicles, have allowed him to collaborate with composers film scoring—divining that perfect blend of D harmonic impetuousness, instrumental clar- ity, and dramatic sheen to embody characters’ who have produced some memorable scores. know, like the brass bands that played in the cunning. This time, the project is A&E’s P.T. Barnum park. So it was a combination of that kind of a Truth be told, it’s every bit as difficult—if miniseries—and the composer is sound and Stephen Foster.” not more so—to score the true clods of the Hummie Mann. Mann’s research influenced world. After all, who more readily suggests Mann recalls how it all came or a both his compositions and his musical accompaniment, Clark Gable or the together: “Basically, my agent F . “I tried to use a lot (recently departed) “Hey Verne” guy? heard of a project that needed a man of brass , using things like So it was that composer Michael Tavera Canadian composer, which I am,” the euphonium,” he says. “The and director set forth to give he says. “Then he sent in a bunch so closely brass bands of the period had a lot musical voice to the less-than-couth cast of my CDs and Simon Wincer fell ssociated with of unusual instruments. I would of characters in Drowning Mona. Gomez, in love with my Year of the Comet call them the period instruments whose prior experience was more steeped score. In fact, he temped up a lot the joy of the of brass band Americana music. in gritty dramas like Illtown and Jersey of the film with that.” And that’s what I wanted to cap- Drive than in comedies like Mona, brought Upon getting the job, Mann set circus, ture.” a unique perspective to the table, according out to create music that would P.T. Barnum’s Mann says he found the col- to Tavera. “He had an interesting take on evoke 19th-century America.“I laboration with Wincer a pleasant how to approach the music. Nick almost was went and bought a bunch of CDs life was experience. “He was actually very like a co-composer. He was having a lot of that I used as research,” says wonderful,” says Mann. “He was fun—as he should—experimenting with dif- Mann. “I really did some research unusually grim collaborative in the way that he ferent things.” on the instrumentation—you left me a lot of space. He wasn’t Director and composer decided that the

F e b r u ar y 2 0 0 0 16 F i l m S core M ont h l y music should be somewhat indigenous to the I needed and I got to expand it for orches- film’s no-frills setting and characters. “From tra—the original was written for percussion a musical standpoint, Nick wanted the score and brass. I had permission from Copland’s to accommodate the film almost like a local publisher and his representative was there band from this fictitious town playing on the at the recording and he was thrilled.” The sidelines…it was very accessible. use of the Copland material was a labor of love for Clinton. “When I was in my 20s and The Small-Band Sound I was a long-haired hippie kind of guy, I was Tavera’s deceptively simple, faux salt-of- an avid fan of . When he was the-earth ensemble focused more on the conducting his Third Symphony at the Music instrumental sounds of the region than the Center out here, I got my copy of the score tunes. “It wasn’t really highly melodic per se, and broke through security backstage and although it wasn’t esoteric either,” says the ran to his dressing room and knocked on his composer. “There were a lot of grooves. Nick door. He opened it and I said, ‘Oh, please, IN OVER THEIR HEADS: Neve Campbell (above) and Jamie Lee had a very broad take on this. All I mean by Mr. Copland—security’s going to find me Curtis (below) in Drowning Mona. broad is it was fairly simple. It was just play- and throw me out at any minute, could you ing a progression with a collection of instru- autograph my score?’ He was very gracious ments: acoustic bass, some drums, mandolin, and said, ‘Oh, it’s so great to see young people banjo, ukulele, I play a little B-3 [organ].” so excited about classical music,’ and I talked As it turns out, it was a good thing that with him for about five minutes before secu- Tavera’s musical decisions about the film rity found me and threw me out. Being able were made early on. “For the temp mix I to conduct the Fanfare is such a wonderful turned in kind of a temp score—a series of experience…I hope in some way he’s forgiven demos I had done—and threw it up against me for using it in a wrestling movie!” the picture. Nick and I then proceeded to work for a period of time [on the final version Upping the Ante of the score] only to find out at the very, very In keeping with the epic sensibilities of pro end when they were dubbing the picture that wrestling, Clinton brought some other clas- the producers wanted my demo cues. So the sical material to the mat: “Along with the March” and an excerpt from Tannhäuser, so I end result was [that] a lot of what I had done orchestral part of it I also recorded a couple had fun adapting those pieces,” Clinton adds. just to be a good guy on a demo basis became of Wagner pieces like Siegfried’s “Funeral “The rest of it is orchestral stuff I composed the [final] score because they liked that more than they liked the direction Nick and I went in. So that was an interesting experience! (La ughs.)” —Doug Adams

George S. Clinton Ready to Rumble fter a brief detour into sci-fi suspense Awith The Astronaut’s Wife, George S. Clinton returns to comedy with Ready to Rumble, a movie about two slacker wrestling fans (David Arquette and Scott Caan) who get pulled into the world of pro wrestling when their hero, Jimmy King (Oliver Platt), falls victim to the underhanded tactics of his own manager. The film from director Brian Robbins (Varsity Blues) features the unlikely combination of WCW stars Goldberg and Sting with veteran actors Martin Landau, John Goodman and Jack Palance. Expanded and updated—over 2,400 entries! “It’s like a quest,” Clinton says. “These two guys set out to put their king back on Film Score Monthly’s U.S. Soundtracks on CD is an essential tool his throne…and find him in a park for any soundtrack collector. In today’s explosion of film music releases, dressed as a woman. They’re very lovable guys, and there’s something kind of noble Soundtracks on CD is a must have for every music buff and film afficio- about what they’re doing.” nado. Find out what’s hot and what’s not. 154 pages, softcover. $17.95 “Noble” is the watchword for Clinton’s take on the material—in fact, a better word Use the order form between pages 40-41, or buy online at www.filmscoremonthly. might be “grandiose.” “For the king’s theme com Retailers: call for wholesale orders 1-888-345-6335 I’ve used Copland’s Fanfare for the Common Man, and it really works great, because you can’t get more common than these guys,” Order yours today! the composer notes. “It has the noble quality

F i l m S core M ont h l y 17 F e b r u ar y 2 0 0 0 d o WNB E A T Page, and they have to make he did find the work a valuable their way to the top of the third research tool. “When I went to and also a rock aspect where I used a rock cage and whoever survives on add woodwinds and strings to band and percussion and Japanese Taiko their way to the top takes the the piece, I studied that open- drums. I threw a lot of elements together belt and is the champion of the ing of the last movement where but they have a strangely unifying effect world. And this is a very rock- he uses the fanfare, and I stud- along with the songs. When I know the songs oriented piece of music and at ied the way he used the strings are staying, I try to follow them in the next the big finale goes into some- and woodwinds that he added cues with some kind of continuation tonally thing like Wagner with Taiko as part of the last movement of and harmonically of what the audience has drums.” his symphony, so even though been hearing before that, to make it feel like Although Clinton didn’t it’s not a quote of material that there’s some intentional continuity. The big excerpt Copland’s Third he used, it hopefully is within finale is where Jimmy King has a three-cage Symphony, which incorporates the intention or style that he wrestling showdown with Diamond Dallas Fanfare for the Common Man, used. It was very interesting for me to see how he used the fanfare at the beginning of that movement as the opening for a symphonic movement instead of as a stand-alone piece.” In addition to the score’s rock elements, there was other material of less-than-clas- sical origin. “One of the wrestlers is Sting, who performs in white face makeup, and all the wrestlers have their own themes written by a staff composer for the WCW, which play when they come out into the arena,” Clinton explains. “The recording he had was all syn- thesizer and not a good recording, so I decided to re-record it.” When asked about whether or not any of his music is going to wind up on the soundtrack album, Clinton ruefully admits to the results of this Faustian bargain: “At this point it looks like it might be Sting’s Theme…” the composer laughs, noting that while the soundtrack album might not be the best showcase for his efforts, the work- ing atmosphere on the film was more than accommodating. “The director did Varsity Blues and does a lot of programming for Nickelodeon, and working for him was a real pleasure. And working with John Houlihan is always great—I worked with him on Mortal Combat and the Austin Powers movies and we have a great working relationship. It makes it a lot easier when you don’t have to get to know somebody every time out.”

A Spy’s Legacy With an on-again, off-again Austin Powers score CD still waiting in the wings, Clinton is philosophical about whether his shagadelic work on the Powers franchise has been a help or a hindrance in furthering his career. “It’s both,” he admits. “Everybody is aware of it and they’re impressed by the fact that I did the music for it, but at the same time if they have a very sensitive, dramatic movie and somebody brings up my name and somebody else says, ‘Isn’t that the guy who did Austin Powers?’ then it takes my manager a lot of work and convincing and sending of demos for them to realize that I can do a lot more than that.” —Jeff Bond FSM

FE B R U AR Y 2 0 0 0 18 F i l m S core M ont h l y TheGood The BAd AND T he O scaRS We asked four of our esteemed FSM writers to give us their take on last year’s film music. So strap yourselves down, ’cause here we go!

Returns, Mars Attacks! to name a few. Sleepy Hollow proudly earns its place in that pantheon. Over Burton’s moody foliage and animated Personal Bests titles, Elfman crafts an endlessly creative series of variations on his Sleepy Hollow theme. Like a lyrical-minded Edgard Varèse, Elfman Best Application of Blood Varnish stings us with just the right amount of dissonance deeply embedded into the mottled blacks of the low-end orchestrations. As always, I’m convinced that, had it not been for the oversexed faux Paganini Elfman not only matches Burton’s mood beat for beat, but defines it sequence, would have been a major award contender. under his own terms. —D.A. Nevertheless, its score by modern concert hall staple John Corigliano was one of my favorites of the year. Best Album Presentation It was almost a forgone conclusion Being John Malkovich—Good film. that it would be intelligently com- Good score. Fun album. More and more, posed; but it was the attention paid album presentation is becoming an to spotting that took me by sur- important element of the composer’s prise. Nowhere was this more evi- creative process. (Or not. Witness the dent than in the opening sequence paring down of Williams’ densely lay- where the violin maker first applies ered Phantom Menace into a labori- the blood varnish to his master- ously dull CD.) Sure, the Being John piece of a violin. Heretofore the Malkovich CD has approximately two film’s theme was connected pri- Björk songs too many, but between the well-played Bartók move- marily with this character’s wife— ment and the “Carter Explains Scene 71 to the Orchestra” cut, it’s she is prominently heard singing obvious someone was having fun with this thing. Hats off not only the tune. As the violin maker first to Burwell the composer, but to Burwell the producer. —D.A. touches his brush to the violin’s wood the violin picks up the theme, inexorably tying the fates of the Best Stylistic Potpourri wife and the instrument. It’s an incredibly moving moment both musi- Anyone acquainted with my tastes knows it’s no surprise to find cally and dramatically. —Doug Adams Elliot Goldenthal on my year-end list. But my own predilections aside, how could you not love the audaciousness of the adrenaline-pumped- big- band-swing-cum-deep-fried-techno-cum-modern-orchestral-deli- Best Main/End Titles cacies Goldenthal cooked up for Titus? Goldenthal’s high-concept When matching images and sounds, no director/composer team approach to film scoring has earned him both his highest praise and comes close to the achievements and have his most vicious knocks. Julie Taymor’s retelling of Titus, however, accomplished throughout the decade. To wit, they have regularly practically demands it. The mixture of time frames, the overheated crafted some of the most enduring and memorable main- and end- Shakespearean drama, the larger than life visuals—Strauss waltzes title sequences in recent memory—, Batman just wouldn’t have cut it. And as it turns out, the crosscut time frames

BY JEFF BOND, JONATHAN Z. KAPLAN, DOUG ADAMS and Jesus Weinstein

F i l m S core M ont h l y 19 F e b r u ar y 2 0 0 0 lead Goldenthal to the best overall concept he’s worked with since of his best. Both projects allowed the composer to eschew the low-key Butcher Boy. Thanks to the cohesive voice of a composer used to blandness that’s infected some of his other recent efforts (like The regularly stretching his limits, Goldenthal’s Titus never turns into a Haunting) and let loose with lots of blasting action music. If you’re jumble. It’s a carefully balanced mixture of elements that complement addicted to Goldsmith as I am, you’ve probably listened to both these each other without surrendering their individuality. —D.A. scores far too many times by now. —J.B. The Vanguard Award Angela’s Ashes’ appeal can be summa- Highly Anticipated Scores that Failed to rized in six words: It’s very, very good John Williams. Seeing as how good John Meet Their Impossible Expectations Williams is usually better than 80 percent of everything else…well, you know the rest. Ashes finds Williams at his melodic and col- The Iron Giant oristic best, his crystal clear orchestrations Michael Kamen Kamen’s music here is artful, complex and far from juxtaposing large string orchestra with del- bad—but for such a consummately American movie, the score is too icate woodwind palettes. His harmonies are just chromatic enough centered around a European classical sound and lacks a strong melody to engender a dramatic longing while retaining their lushness and for the giant itself. —J.B. beauty. His music evokes Old World Britain without once resorting to shamrock-tinted jigs or any such silliness. —D.A. The Phantom Menace John Williams I’ve rarely felt emptier than I did while sitting through Best Finale this incomprehensibly soulless prequel. I know many (probably most) Howard Shore is the unsung hero of modern readers loved it, but something’s wrong when a movie makes you long film scoring. Where's the rabid fandom when for the linear plot dynamics and moving character arcs of Star Wars. you need it? Dogma was yet another quality As a composer, Williams continues to develop and become more subtle Shore score to go unheralded. (Add his ’99 score and sophisticated...but that may not be what this movie required. for eXistenZ to the list as well.) Those who In any case, the 70-minute album inexplicably neglects most of the picked up Dogma were treated to wonderfully movie’s action set pieces for endless, atmospheric dialogue scoring, colorful action licks, Herrmann-esque chiller making this by far the least exciting Star Wars album. —J.B. cues featuring a Journey to the Center of the Earth-like collection of organs and keyboards, and a sweetly ethereal theme for the film’s Sleepy Hollow heroine. But it’s the tenderly powerful choral Danny Elfman Elfman’s latest teaming with director Tim Burton is a music from the finale that you’ll find imme- visual feast that’s drenched in meticulous, gothic atmosphere; but the diately unforgettable. Reminiscent in mood of disjointed story and nonexistent character relationships produced a Schubert’s famous Ave Maria, this is some of score from Elfman that is all luxurious ornamentation with no themes the most extrinsically emotional in the Shore to grab onto. —J.B. canon. —D.A.

ARGUABLE ACHIEVEMENTS Guilty Pleasures Best Music for an Electrocution Lake Placid “The Bad Death of Eduard Delacroix” from The Green Mile John Ottman Apart from an impressive giant alligator and Ottman’s Thomas Newman hasn’t scored a real since The Lost Boys title music, this is a truly annoying movie that seems to think it is the (if even that counts), but this jolting, rumbling orchestral attack shows first film in history to tell a horror movie story with tongue planted in him more than capable of genre work that’s as compelling as the more cheek. Ottman’s rolling, adventuresome title music (which puts me in intellectual fare he usually writes for. —J.B. mind of Goldsmith’s Caboblanco a bit) suggests what might have been Jaws set on a lake, but unfortunately, Hollywood proved more than 20 Creepiest Music Cue years ago that it has no idea how to recapture the charm and scariness “Masked Ball” from Eyes Wide Shut Say what you want about the of Spielberg’s fish tale. —Jeff Bond film, Jocelyn Pook’s eerie, backtracked vocal chants for the movie’s limp orgy sequence is the most Lovecraftian music I’ve heard since Goldsmith’s Freud. —J.B. and Jerry Goldsmith With their super-jumbo orchestral forces Most Effective Score I Hated and Hollywood Easternisms, The Thomas Crown Affair by Bill Conti John McTiernan’s elegantly these would-be blockbuster shot romantic caper represents his best work since The Hunt for Red scores are two sides of the same October (sorry, Andy) and makes for a far better James coin. Depending on whether Bond adventure than The World Is Not Enough. The film’s music (a you are listening to Variety or mix of Bill Conti underscore and other elements) is an oddball mix that certain collectors on the inter- would drive me up the wall were it playing on CD in the same room net, The Mummy is either with me—but it works like gangbusters in the movie for one simple Goldsmith’s worst score or one reason: it’s actually mixed loud enough for the audience to experience

FE B R U AR Y 2 0 0 0 20 F i l m S core M ont h l y it as a visceral element of the film, playing brilliantly to its pacing and more standout work from the same team. Don’t make the mistake of characterization. —J.B. thinking this was a holiday throwaway. It’s worth every penny. —J.Z.K.

MOST PRONOUNCED FEELINGs OF Deja Vu Payback by Chris Boardman Boardman did a brilliant job of rear- LEAST favorite Scores ranging ’s title music from The Taking of Pelham One Two Three for this compromised remake of John Boorman’s Point Blank. But when the similarities are this close, the result should Deep Blue Sea either be litigation—or a credit for the original composer. —J.B. Trevor Rabin Jaws it ain’t. Can somebody please invent a new sound for terror that doesn’t include screaming horn trills repeated until the viewer slips into uncon- sciousness? —J.B.

Jawbreaker by Stephen Endelman Not as blatant an...homage... Runaway Bride as Payback, but since Jawbreaker plays out like a crass update of James Newton Howard Blessed with the mix of perfect ingredients Heathers it’s unfortunate that the textures of Stephen Endelman’s that was 1990’s Pretty Woman, James Newton Howard produced one of well-crafted score echo David Newman’s influential music from the the most lovely and affecting love themes of the decade. But someone 1990 Wynona Ryder original. —J.B. evidently reasoned that simply putting together all of the same on- and off-camera talent behind that movie into the same production would automatically equal a movie that was just as good. Sadly, Runaway Most Disappointing Score Bride made almost as much money as Pretty Woman, but it was the Fight Club by the Dust This wasn’t actually bad—but I missed equivalent of watching a bad two-hour improvisation. Forced to score the Howard Shore music that the movie needed and deserved. some of the most painfully unfunny comedy antics in recent memory, —Jonathan Z. Kaplan Howard settled for a lot of mickey-mousing that was appropriate for the cartoon-level attempts at humor in the movie. —J.B. SCORE MOST ENHANCED BY ITS Album Sleepy Hollow Most of the better scores of 1999 have inadequate album releases. (South Park: Bigger, Longer & Uncut is missing the GALAXY QUEST underscore, Election has a compressed suite, The Phantom Menace is a David Newman The one thing lacking in this disaster, etc.) Thanks to Hollywood Records (and a London recording), otherwise highly enjoyable little comedy was we have plenty of this one to enjoy. The overpowering sound effects and a score that was as ingratiating as the film. lousy mix in the film make this album even more of a rescue. —J.Z.K. I’m sure that the idea was to create a musical theme that was as cheesy as the original Galaxy Quest TV show from the early ’80s was sup- SCORE MADE ANNOYING BY ITS Album posed to be...but although TV Angela’s Ashes (on Sony Classical) The theme in the preview makes show themes are often cheesy, they’re also often me curious for more, but as a matter of principle I am unable to buy good listening. Check out the themes from Star the dialogue-ridden American release, Sony’s most offensive blunder Trek, , Battlestar Galactica, Space: yet. I’ll have to get the overseas “score only” version from Decca 1999...hell, even Stu Philips’ theme from Buck instead. —J.Z.K. Rogers in the 25th Century makes for better listening than the maddening Galaxy Quest fanfare. And since the Quest theme needs to Best Non-Soundtrack by a Film Composer take on increasing dramatic weight as the movie Trey Parker and Marc Shaiman The Mr. Hankey’s Christmas Classics proceeds and its aging stars become real heroes, it’s counterproductive album is a perfect companion for Bigger, Longer & Uncut, featuring to use music that’s intentionally dumb-sounding. —J.B.

“Gabriel Yared for The you’ve got a win- score is quite good. It’s a And the Oscar Talented Mr. Ripley. As much ner.” —D.A. good bet to win as part of an Goes to…? as I’d rather see Newman or American Beauty sweep. Corigliano add this illustrious “My money’s For Best Original Song, my “Hopefully this will be the paperweight to their respective on Thomas wallet says Randy Newman. first time in five years that I’ll be desks, Yared has the advantage Newman. He isn’t brought in $200 wrong about this, because I see of a commercial movie in an towering, though million+ at the box office. The Cider House Rules beating established genre. Add this to his he is respected. Hmmm... couldn’t hurt. American Beauty by a nose. And status as an Academy darling (he Seemingly This could finally be Randy I can’t imagine anything beating won previously for The English everyone loves Newman’s turn at bat.” —J.B. that Tarzan song.” Patient), and the prominence of American Beauty —J.Z.K. music in the film, and I think as a film, and the

F i l m S core M ont h l y 21 F e b r u ar y 2 0 0 0 TOP PICKS FOR’99 Bond’s Best

American Beauty Thomas Newman This score is I rarely got that tingly “I’ve as haunting and darkly hued as got to own this on CD” feeling while Conrad Hall’s often-stygian cin- listening to a score in a theater this year, ematography. but hearing Don Davis’ explosive post- modern scoring of the opening sequence of this surprisingly cool movie from the Election Wachowski Brothers certainly produced Rolfe Kent Alexander Payne’s sadly it. Davis’ score is all dazzling effect, but neglected satire on high school pol- that’s perfectly appropriate for a movie itics receives a great boost from whose characters exist in a world that is Kent’s clever, inexorable score. one big special effect in itself. Unfortunately for Kent, Payne’s ingenious and startling use of Ennio Morricone’s primal scream title music from Navajo Joe will The Sixth Sense probably be the only music anyone James Newton Howard A great example of how a unique approach remembers from the film. can inspire a composer. Howard’s score for the similarly themed Stir of Echoes wound up sounding more and more like his music from The Fugitive as the increasingly formulaic thriller went on. But for the For Love of the Game more sophisticated The Sixth Sense, the composer provides a wonder- Basil Poledouris Too often typecast as a blood-and-thunder epic com- fully intelligent, subtle and disturbing musical palette. poser ever since Conan the Barbarian, Poledouris has long been per- fectly suited for the sort of romantic assignments that James Horner has dominated lately. For Love of the Game has some of the most mov- South Park: Bigger, Longer & Uncut ing and carefully chosen mixes of music and imagery of any film this Parker and Shaiman The most effective use of music in a film this year, but the movie tanked and Poledouris’ score got washed out by an year. It figures that after a number of nominations Marc Shaiman overload of pop music. (along with collaborator Trey Parker) would put together this hysteri- cal blow-out of indescribably funny songs and rambunctious, full-bore scoring for a film that no Motion Picture Academy member would Goodbye Lover even see, let alone vote for. And as the final insult, new voting rules John Ottman Ottman’s scores continue to stand out from the pack eliminated Shaiman’s score from Oscar consideration altogether. simply because he seems to actually be interested in conjuring up Perhaps in a more enlightened century, Shaiman will get an honorary music rather than just rearranging the temp track. Nobody saw this Oscar for writing the song “Uncle Fucka.” quirky movie starring Patricia Arquette, but Ottman’s score has a lovely, playful Ennio Morricone quality. Three Kings Carter Burwell The mostly percussive music for this dazzlingly Instinct well-directed movie manages to set the Middle Eastern desert locale Danny Elfman Elfman’s been on a low-key without harping on clichés. And as the story’s forces gather for a sur- kick lately, but he wrote a surprisingly rich prisingly moving con- and lively score for this clusion, Burwell’s gift clunker that makes for one of the year’s for melodic Americana more listenable albums. pays off in spades. This was the first motion picture score to be offered only on Titus the internet as mp3 Elliot Goldenthal Goldenthal’s fiery, genre-blending score is the perfect files...but mp3 files match to Julie Taymor’s visually dazzling Shakespeare adaptation. just don’t look as cool on my shelf as a pack- aged CD does.

FE B R U AR Y 2 0 0 0 22 F i l m S core M ont h l y Kaplan’s Kudos Weinstein’s Winners Sleepy Hollow Danny Elfman Sleepy Hollow features the best stand-alone piece of Being John Malkovich symphonic music (“Main Titles”) written this year. I am taking Carter Burwell Had to deal with difficult for liking this score more than I am allowed to, but Sleepy Hollow material and made all the right choices. makes my Top 10 list for the decade. Felicia’s Journey South Park: Bigger, Longer & Uncut Eclectic mix of source, folk Parker and Shaiman It’s still tough and modern chamber writing. to compare musicals to instrumental underscore, but this achievement has to rank near the top of whatever “Best South Park... of” list it gets pushed onto (it’s also Parker and Shaiman Pure comic genius on my Top 10 list for the decade). The with memorable tunes to boot. worst song in this film is better than the best song written for any other picture this year. The underscore bril- Titus liantly recycles the songs to smooth Elliot Goldenthal A time- out the edges of the plot. transcending powerhouse with something for everyone. Snow Falling on Cedars James Newton Howard This was JNH’s strongest year since 1993 with The Talented this romantic effort leading the way. Three simple and exquisite themes Mr. Ripley (with influences ranging from Vaughan Williams to Elfman) pace an Gabriel Yared Surprisingly otherwise monotonous and eerily laid-back film. Howard’s attention to crisp—makes Matt Damon’s drama is pristine except for the outrageous choral cues that accompany Ripley seem more clever equally inane scenes in the movie. than he actually is.

Election The Thomas Crown Affair Rolfe Kent Both Matthew Broderick’s Bill Conti If only the bold and hilarious original music (habañera) and Reese Witherspoon’s hadn’t given way to Spanish source. (folk) themes are worked over in numer- ous stylistic variations, some of which you’re unlikely to pick up the first time The Mummy around. Election also benefits from the Jerry Goldsmith More fun than the usual Goldsmith of the smartest (by a huge margin) use of ’90s , recalling Wind and the Lion and The Challenge. source music in any movie this year. The album release is not only lacking the best source music (Ennio Morricone’s Sleepy Hollow Navajo Joe) but the best Kent material as well. Danny Elfman A lot of notes—but most of them kick ass. The Sixth Sense James Newton Howard The music backs up the film’s gimmick with a Bicentennial Man soul. Strong opening and closing cues frame a coherent body of plain- James Horner He’s the one of a select few composers tive, spirited underscore, while Malcolm’s theme (and the fact that he FSM feels comfortable bashing, so I’ll put in a good has one) is stirring. The homages to Goldsmith’s are also word for him. welcome. Howard, using a less-is-more technique, has reached a pin- nacle in his career. eXistenZ Howard Shore The most intelligent interaction Star Wars Episode One: The Phantom Menace between music and story—hypnotic as an album. John Williams While the days of The Empire Strikes Back may be dead, this score is light years better than its representation on Ken Wannberg’s album release. “Anakin’s Theme” is as enchanting as Anakin himself is a gumdrop-headed little pig. There are powerhouse Next Month: tracks (most of which are unreleased) but there’s more meandering The results of the FSM Reader Poll here than in the usual Williams epic adventure score. .

F i l m S core M ont h l y 23 F e b r u ar y 2 0 0 0 MUSIC BY JERRY FIELDING A 20th Anniversary Reminiscence n Peter Shaffer’s marvelous play Equus, Dr. and no others—I don’t know. And nor does anyone else.” Dysart, a psychiatrist, posits the following: “A His question is posed as he attempts to unravel a teenager’s child is born into a world of phenomena all equal tragic and incomprehensible act of brutality, but the bril- in their power to enslave. It sniffs—it sucks—it liance of the question lies in its universal application. strokes its eyes over the whole uncomfortable We are all the sum of our parts, but how come these are range. Suddenly one strikes. Why? Moments snap our parts? It is truly impossible for any of us to understand together like magnets, forging a chain of shackles. what attracts us to anything, but it is a certainty that most Why? I can trace them. I can even, with time, pull of us will develop strongly felt passions for things or people them apart again. But why at the start they were ever mag- that will last our whole lives. Inetized at all—just those particular moments of experience or me, one such passion began in the spring of 1970. There was nothing exceptional or even especially interesting in the prospect of seeing the “new” western that was playing in our local cinema that week. Remember, in those days it sometimes took a year or more for a film to Freach the suburbs from the center of London, and my cinema, The Rembrandt, (which I eulogized at length in an article for FSM a couple of years ago), was a first-run ABC theater guaranteed to show movies for a week-long engagement once the premiere showcase was over. That spring, the new western was , which nobody had heard much about. My friends at the time were not all that keen on films; I was pretty much alone in that. We were a standard group of 14-year-olds, galva- nized by Chelsea Football Club, general mayhem, girls and alcohol—but occasionally the fighting stopped long enough to take time out in the darkened world of movies. Westerns were kind of passé by then, and drew groans when it was suggested we see one. I don’t know exactly how long it was into the film before I realized that this was a life-changing experience. It might have been as early as the title-card, or maybe earlier. A half-second before the image fades in, right under the Warner-Seven Arts logo, there is a low, long-held note. The note speaks volumes, because right there in that second of timeless blackness, the magnets snapped together. A double whammy. The music of Jerry Fielding and the blistering imagery of . Weeks later I was still dazed by the power of The Wild Bunch; its jagged, off-kilter rhythms, both visual and aural, and its unforgettable Francis Bacon-like mar- riage of beauty and carnage, myth and legend; an elegiac horror show of hitherto unknown dimension. From then on, cinema existed for me solely in the context of that film. Powerful art—visceral entertainment. Peckinpah joined the ranks of the elite; before him Hawks, Ford, Kurosawa,

FE B R U AR Y 2 0 0 0 24 F i l m S core M ont h l y Walsh, Ozu, Dreyer. This was the standard by which cin- Fielding as a leader—a crusader who had jeopardized his ema should be judged. career many times because of his unwillingness to pander The Wild Bunch had a soundtrack album, but many to mass popularity, and his unshakable faith in artistry and movies of that period did not. In order to hear much of passion that he then felt was utterly lacking in the new Jerry Fielding’s subsequent musical work, it was necessary Hollywood. Shortly before his death he told radio personal- to seek his movies out. The early ’70s were an enormously ity Larry Cole: “I’m suffering at the moment a kind of pri- creative time for this unusually talented composer, and it vate inner turmoil in myself. I’m not at present delighted was great fun spotting his name in a movie’s billing-block with what I’m able to do musically. I’m just not. I don’t feel and going to see it purely to hear his music. I might oth- that I’m making new discoveries at the rate I used to make erwise have missed Lawman, Chato’s Land, Scorpio, The them. Or that I have things that are bursting to come out Bad News Bears, The Mechanic, The Outfit, The Super of me that I can’t wait to say.” Jerry Fielding had made an Cops and The Gambler, but Fielding’s name ensured I did indelible contribution to his chosen field and the price had not. It was endlessly frustrating that I couldn’t take this been a heavy one. music home, and many despairing trips to record stores I don’t remember where I was or how long after the fact inquiring about these obscurities yielded the predictable it was that I found out Fielding had gone. After all, I didn’t nothing. But it didn’t matter because his music would know him, had never even been to Hollywood. I do remem-

A LONG-HELD NOTE: Fielding’s credit from The Wild Bunch (above). Sinister Silliness: always be in the films for which it was written, and I could ber feeling sad, and experiencing a sense of loss. The opening bar from the theme revisit them like an old friend, time and time again. And Not personal in the conventional meaning, but to Hogan’s Heroes (below). there would always be another Fielding film some months an irritating deprivation. No more Fielding. That down the line. stinks! In 1982, when Garner Simmons’ biography Jerry Fielding died tragically, unexpectedly, of congestive of Sam Peckinpah appeared, he dedicated it to Fielding and heart failure on February 17, 1980, in a hotel room used a quote in the flyleaf of the book by Jerry that read: at age 57. He’d been in Toronto to work on a piece of crap “I’m not on speaking terms with half of the people here called Funeral Home. His untimely death devastated many because I tell them what they don’t want to hear while they people in the Hollywood film music community who viewed stand around like a bunch of glad-handing, back-slapping jackasses congratulating each other on what they don’t understand to begin with.” It seemed to me that Fielding was not your everyday kind of guy.

e was born in Pittsburgh, , on June 17, 1922, and showed great musical promise at an early age. He won a scholarship to the Carnegie Institute Hand became very proficient on the clarinet. His education was derailed as a result of an unspecified illness that rendered him bedridden for almost two years. Later, Fielding learned the art of arranging with Max Atkins in Pittsburgh, and by the time he was 19 had recorded his own charts for bandleaders like . He toured with various bands, and by 1945 he was arranging for Kay Kyser and appearing regularly on

F i l m S core M ont h l y 25 F e b r u ar y 2 0 0 0 the radio. Relocating to Hollywood, he became a at a time. Upon meeting Camille, who is a wonderful, bandleader for a number of radio programs, includ- worldly no-nonsense woman, I felt an immediate affin- ing You Bet Your Life with . Fielding’s ity. I hoped that she wouldn’t resent my intrusion and politics were always left of center, and as he moved reawakening of painful memories. into television with his own Jerry Fielding Show, he Camille met Jerry in in 1957. She was joined a group called the Independent Progressive dancing with Cesar Romero Party. Thought to be a front for the Communist in a show, Party, the Independent Progressives were targeted in the ’50s by the House Un-American Activities Committee, and Fielding’s career was ruined by the blacklist. The timing was horrible because he was just beginning to secure composing work in television and was very much in the ascendant. The blacklist killed any hope of work in film or TV, and Fielding returned to his former occupation of arranging and conducting for vocalists, principally in Las Vegas. His exile would last until 1961.

y 1990, I had relocated to Los Angeles and was Bhelping out with soundtrack projects at the newly formed IT BEGAN IN VEGAS: Lobby Bay Cities label. cards promoting the bandleader. Bruce Kimmel and I were always thinking about relatively for- and Jerry was the gotten material, and musical director. They married in 1963 I regularly bored him and had two daughters, Elizabeth and with my interest in Claudia. When Jerry died in 1980, Camille Fielding. Bruce also and the children felt the loss brutally. The admired him though, girls were 14 and 15, respectively, a par- and we discussed ticularly difficult age to lose a parent. with Tony Thomas Camille thought she would never get the possibility of over it, and for several years didn’t know “reissuing” one of how she coped day to day. But now it was his old LPs. In the 1990, and 10 years had passed. It was no late ’70s, Tony had easier, but Camille welcomed the possibility of re-pre- produced with Fielding an album called Four senting Jerry’s work to anyone who cared to hear it. She Film Suites that Fielding had sanctioned as a graciously gave me the run of Jerry’s musical archive. “promotional” release. In addition, Tony had also done an album of Fielding’s gorgeous score hen the blacklist unofficially died, Fielding for , which was also under the was welcomed back into the Hollywood aegis of the composer. Tony concurred with our fold. It was as if he never left, except for the idea but realized it couldn’t fly without per- fact that those bastards had taken years of mission from Fielding’s family. As luck would his life for no reason. His first real film- have it, I had recently met Katy Haber, a composing job was for , lovely lady who had been a long-time associate Wwho was making a habit of hiring formerly blacklisted and intimate friend of Sam Peckinpah (who people. The film was Advise and Consent and it presented had passed away in 1984). Katy was a pro- Jerry with a great opportunity. He suffused the film with ducer of note herself ( Runner is among gentle, tonal sounds and flashes of dissonant violence. It her credits), and she told me she would take summed up the way he felt at the time—grateful but very me up to meet Camille Fielding, Jerry’s angry. That fierce yin-and-yang would never leave him. widow. On the memorable drive to “Fielding What followed is well known—the theme for Hogan’s Manor,” Katy regaled me with dozens of Heroes, the movies of Sam Peckinpah, the six films for anecdotes about Peckinpah and Fielding , his work with . He (not many of them printable, but all of them received Oscar nominations for The Wild Bunch, Straw fascinating). The two men really had been Dogs and . He worked constantly close, and Peckinpah often bunked down in television, on MacMillan and Wife, The Night Stalker, on Fielding’s sofa, sometimes for months Bridget Loves Bernie and the outstanding “Trouble with

FE B R U AR Y 2 0 0 0 26 F i l m S core M ont h l y PEAK PERIOD: The composer with the cast of Straw Dogs, (left); the poster from The Big Sleep (middle); music from The Night Stalker (above).

Tribbles” and “Spectre of the Gun” episodes of Star Trek. He was awarded an Emmy posthumously for He fought tirelessly to raise the stan- High Midnight. His music was always thought-provok- dard of his own work, and he spurred ing, complex and full of tension. The Mechanic, one of his own his colleagues on to greater effect. He was a vocal supporter of favorites, swirls with a controlled chaos few film scores possess. the Composers and Lyricists Guild and always championed the His efforts in the 1970s number among the most delicate and underdog. He called a spade a spade and never backed down from ferocious ever committed to film. Straw Dogs is a pastoral classic, anyone or anything. He told chat show host Tom Snyder on televi- shot-through with frightening menace. The Gambler, based on sion that he was “not for sale.” Gustav Mahler’s Symphony No. 1, literally reinvents the older work, lovingly deconstructing it in the title character’s private fter Bay Cities released the 2-CD set Jerry Fielding: hell. His rejected score for The Getaway imbued the movie with Film Music in September 1990, hundreds of people a disturbed calm. Peckinpah associate Gordon Dawson described whose lives had been touched by Fielding called to it as being “like a man in a green suit walking in a forest.” Its request a copy. It had only been manufactured in a rejection by the film’s star and producer Steve McQueen was one numbered, limited edition of 1,500, and there were of the bitterest pills of Jerry’s career. Toward the end he exhib- hardly enough to go around. As per our arrange- ited a weary disillusionment with the business in general. Its ment with Camille, hundreds of these CDs were relentless pandering to the bottom dollar was beginning to wear given away and donated to libraries and other him out. But he pressed on, hopeful that things might change. Ainstitutions. It was the first soundtrack CD to be released as a HEAD TRIP: Music from Bring Me the Head of Alfredo Garcia.

F i l m S core M ont h l y 27 F e b r u ar y 2 0 0 0 “promotional” copy, and none of us saw then the industry that this quake, and Camille called to tell me she was concerned about the release would spawn. Everyone who ever worked with Peckinpah or survival of Jerry’s archive. He was a packrat and saved everything— Fielding wanted this souvenir. People called to tell me that Fielding scores, tapes, manuscripts, correspondence. What would happen if had changed their lives and that this was like having a personal another quake or natural disaster wiped it out? I told her that housing momento. Music editors started “temping” contemporary films with the material in a university would be the best way to go, and although this disc, and I was told that an company was trying she agreed, I could see this would be a terrible emotional parting. She to license Fielding’s unused score for The Getaway as the music for had received offers over the years, but none had struck her as right. their film. I have been privileged to meet, know and count as friends I told her I knew James V. D’Arc at Brigham Young in Provo, Utah, so many people who were part of the Fielding/Peckinpah circle, and and that the facility there was second to none. We arranged to meet Jerry’s music is the common denominator. Jim on his next trip to L.A., and we’d see if it might be suitable. Over In January 1994, Los Angeles shook under the weight of a sizable several years, Brigham Young negotiated successfully to be the reposi-

TWENTY YEARS GONE Camille Fielding Remembers Jerry

“Jerry had such faith in the human being. dinner parties. He’d never go to any big soirées. If given a chance. He thought the mind was a remarkable thing. He “We had a big party here for Peckinpah’s enjoyed making people think. He loved drawing people in and making 50th. It was a big do for 250 people. It was put together by Katy them think. He was never interested in gossip. He would talk that way Haber and Sam’s sister Fern Lea and me, and it was up to Sam’s with adults and children. He asked provocative questions, and it was brother Denver to get him here. We had to hide all the and it always such fun to talk to him. He was greatly interested in all sorts of was all a big secret and Sam didn’t have a clue by the time he got things as well as music. Space! He was fascinated with the moon land- here. Everyone was waiting inside and the house was dark, and ings. We sat outside on our balcony and looked up at the moon when everybody was standing around waiting for him to get here. We it was all going on. Nothing escaped him and I tried to catch him out. heard Sam and his brother approaching the house and before he I’d read the newspaper, looking for the most obscure things, and I’d gets to the door, Sam stops to take a pee in the rose bushes. We could bring them up to him—but he knew all about them! I never knew how all hear him. You know, he couldn’t wait till he got inside...It was he did it, or found the time. He was amazing that way. only six more steps! But this was typical Sam. Sometimes he would take a pee off the balcony in the middle of a sentence. Jerry thought “Nothing would make him angrier than a Sam’s behavior was despicable...but funny. discussion about politics. He would listen to the speeches and dissect them so quickly. He always went straight to the heart. “Jerry loved The Mechanic. It was really one Would cut through the crap. of his favorites. He loved Scorpio, and of course it goes without saying He watched all of Watergate. HALL OF FAME: Fielding Oscar nominations The Wild Bunch meant a lot to him. I loved The He was glued to it all the hanging at Jerry and Camille’s home. Nightcomers, which is absolutely wonderful. He time and he didn’t miss five studied everything. When he wasn’t working on a minutes of it. When Nixon picture he would write music for himself, and study stepped down he (Jerry) was and listen to all kinds of things. He would collect so happy...talk about opening classical music; he loved Bartók and Lutoslawski the champagne! It wasn’t just and studied them endlessly. There’s miles of music American politics that fasci- down there in his office that I have no idea what nated him...he followed it all it is. around the world. His inter- “He was always doing something, and we only est never waned, even after went on one vacation—a Caribbean cruise—and we that (blacklist) fiasco. But went to Europe. He wasn’t a vacation person. He in the end the music pulled loved rainy weather; he hated the sun. He felt that him away from it. He got so he had to get a lot done and it was a waste of time wrapped up in his work that to not be doing something. He slept from 4 a.m. to 9 he wasn’t active in it like he a.m. and took a two-hour nap in the afternoons. He used to be. He got involved, though, in the composers’ strike and in the would have dinner with us, and then he would disappear downstairs CLGA case. All those depositions. Miles of them. The music commu- again. He was a fabulous father and he adored the girls. One night nity respected him because he was honest. He was a no-bullshit person he would take Elizabeth out for a walk, and the next night Claudia. and some people didn’t like him for that. He was honest though, in a Never both at the same time. He always talked to them and never at town that values dishonesty. He couldn’t lie. He told you exactly how them. He had time for them and really listened to what they had to he felt. It cost him work because he wouldn’t kiss ass. He wouldn’t go say. They love him still. to cocktail parties. I’d have to go instead. He could only stand small

FE B R U AR Y 2 0 0 0 28 F i l m S core M ont h l y tory of the Fielding Papers. chatted with Camille about Jerry’s life, work, legacy and 20 years without him. amille let the material out of her hands in a It is strange to reflect on all that has happened over steady piecemeal fashion, across the course of the last 10 years. I never knew Jerry Fielding, yet I did. many meetings, and on February 10, 2000, a week Through Camille, her family and friends, he has come before the 20th anniversary of Jerry’s death, Jon alive for me in a unique way. I knew his music but now I Burlingame, Lukas Kendall and I visited with know him. I know the man who was an irascible perfec- Camille on the occasion of Jim D’Arc’s final trip to tionist. The man who would not tolerate fools, slackers Ccollect the last few boxes. Memories flew freely through the or incompetents. The man who fought for his art, his air as we watched Jim take the remainder of Jerry’s articles life, his career. The man who was a loving father to his back to Utah. We wandered around, took photographs and daughters, and the man who threw a chair at Peckinpah when he criticized a cue. Jerry was tough on the job and tough on people, and he didn’t care who it was. When Sam Peckinpah turned 50 in 1975, the party was held at Fielding’s home. Among the celebrity guests were Bob Dylan, Keith Moon and . When this trio snuck off for a few drags of pot, they unfortunately chose daughter Elizabeth’s bedroom as the venue for lighting up. Fielding sniffed the air and chucked them out. “I don’t care what you do—but not in my kid’s room!” Few 11-year- olds in town could have had the chance to see three of the world’s biggest pop icons getting their asses chewed. I’m going to close this piece, kind of where I started, and although it’s a bit of a non-sequitur I hope you see the point. In 1980, Sam Peckinpah was still alive but his professional life was in tatters. He had only one movie left in him and he was relegated to the movie periphery. Later that year, a The FIELDING PAPERS: Treasures critical study of his work was published, authored by Paul destined for the BYU Archives. Seydor, a professor of literature and budding film editor. Titled Peckinpah: The Western Films, it was then, and is now, “I went to the best study of Peckinpah’s style ever written. It contains his sessions all the time. Sometimes the finest essay on The Wild Bunch ever to be penned. In the girls would go. Once all the kids from Oakwood School 1990, shortly after our Fielding CD came out, I ran into David went with Elizabeth. They met Clint Eastwood and had a Weddle at the Academy Library in Beverly Hills, who was then great time. He could be tough on the podium, but would researching his forthcoming biography of Peckinpah called If always apologize if he came down too hard. The guys who They Move Kill ‘Em. I asked him if he knew Paul. He said he worked with him would tape his comments. He was very did and gave me his phone number. I phoned apprehensively funny and would laugh at himself. His great strengths because I revered Paul’s book and wanted to meet him. He were his honesty, that’s at the top of the list, and his sar- received me politely, and although he was going through a dif- castic, dry humor and his intelligence. ficult period then in his own life, he entertained me for hours in his home. He even loaned me precious materials pertaining “I had one of those funny things to Peckinpah. Paul and I became good friends, and in the mid- when I first met him in Las Vegas. I looked at him and ’90s he and Weddle and Garner Simmons were instrumental in was totally drawn in. A very powerful thing that drew me Warners’ restoration and theatrical reissue of The Wild Bunch. to him. This was at the old Dunes Hotel. We became great Around the same time, I was engaged by Warners to restore friends, and we would laugh at the town which we both Fielding’s score for the film. During this period, an amazing hated. We kept in touch for years; I was touring with Dan discovery was made: Seventy minutes of black-and-white foot- Dailey and other people, and it was inevitable that Jerry age was uncovered of Peckinpah on the set directing The Wild and I would get together sooner or later. We got married Bunch. Executives at Warners suggested that maybe a documen- in 1963. tary should be produced. I said, “Could you give the stuff to me? “We’ve lived in this house since 1965. It’s been hard I’ll see what I can do.” On the way home I called Paul. “You’ll since he died. I miss him so much. And I was angry with never guess what just fell into our laps.” him for checking out when he did, leaving me with two A year later, Paul and I had completed our documentary, and on teenage girls. I was lonely and lost for so long afterwards, February 11, 1997, he and I were awarded Oscar nominations for but friends have been terrific. our contributions to it. We had received this accolade for making a movie about the movie that made us both want to get into movies “It’s fantastic that there has been in the first place. a resurgence of interest in Jerry’s music. He would have Those damned inexplicable magnets. You never know where loved the idea of another generation responding to his they are going to strike. FSM work. I’m so excited I’m beside myself. Every day was such a treat with Jerry. I listen to his music, and every- (For more detailed biographical information on Jerry Fielding, see thing we’ve done to preserve it these last years is almost Dictionary of American Biography: Supplement Ten, 1976-1980, entry by like having him back again. It’s like he’s here again and Nick Redman; published by Charles Scribner’s and Sons, 1995.)

F i l m S core M ont h l y 29 F e b r u ar y 2 0 0 0 Oliver Stone assembles a crack team of musicians for his football epic Any Given Sunday By Jeff Bond

If it takes a village to raise Brown (a composer for CD-ROM games and a sound effects editor on Hoodlum and Lost Highway); Paul Kelly a child, imagine what it (who’s composed music for Calvin Klein and Miller Lite ads and doubles as a film editor); Michael A. Levine (com- takes to make a movie about poser for a number of documentaries and short films); musicians Moby (who contributed music for Michael Mann’s Heat) and Swizz Beat (who also contributed football. Oliver Stone’s songs to Heat); Tom McAnaney (who scored the 1994 BBC miniseries Crocodile Shoes); and musician Robbie Any Given Sunday takes Robertson (who worked with director on The Last Waltz, Raging Bull, The King of Comedy and the standard sports drama The Color of Money). to epic level, employing Coaching the Team Corralling all of these disparate talents (as well as song dozens of cameras and a kalei- contributions from more than a dozen artists including Jamie Foxx, one of the film’s lead actors) was veteran doscope of editing and cinemato- music supervisor Budd Carr, whose work with Oliver Stone dates back to 1986’s Salvador and includes such graphic techniques in its gridiron epics as Platoon, Wall Street, Born on the Fourth of July, JFK, Nixon and U Turn. “From the beginning Oliver felt that the movie had an eclectic group of characters and, action and exploring the personal therefore, influences, just from the way it was developing when he shot it,” Carr says. “And in order to address that lives of a large and stellar cast correctly he wanted to have music come from multiple sources. In Natural Born Killers we did that by licens- of characters. While review after ing the music and not having a composer. He felt that maybe this was an opportunity for him to work with some review commented on the movie’s people that we’d met along the way, things that had been

submitted for other movies, and people whose music we s.

liked. He felt that maybe this was an opportunity to give ro dazzling look and the strategies B these people a chance to get involved with the film, as

opposed to going to one particular composer. He said they rner Stone developed to create it, less a

should have different influences because the characters W in the film do. Al Pacino likes jazz, we’ve got hip-hop and

has been made of the film’s musi- ©1999 rap, we’ve got rock guys, let’s see what we can do with k that.” cal soundtrack, which is every According to Carr, Stone has the musical approach for w or

his movies in mind from the very beginning. “He writes Art bit as innovative. No fewer than things into his scripts and before we shoot he’ll meet with people and start to talk about what to do musically,” Carr nine musicians receive credit notes. “We’ll clear tons of source music that he likes to for music on Any Given Sunday: Richard Horowitz (Three play on the set; for Any Given Sunday there must have

Seasons); Camara Kambon (The Tiger Woods Story); Bill been a dozen Sharks (football team) themes written before ANY GIVEN SUNDAY

FE B R U AR Y 2 0 0 0 30 F i l m S core M ont h l y Oliver Stone assembles a crack team of musicians for his football epic Any Given Sunday By Jeff Bond

the movie started by different guys that Oliver and I knew, asked me to watch all of the dailies, all million because he knew he wanted a theme song for them and he five hundred thousand feet, with seven cam- didn’t just want a composer to write the theme—he want- era angles, and then go home and compose ed somebody who would write something like ‘We Will from osmosis.” Rock You’ or even Jaws—we even thought about talking Horowitz found that Stone’s philosophical to Spielberg about using the Jaws theme for the Sharks.” approach to filmmaking resonated with his With the film’s composers engaged in the scoring pro- own ideas. “He talked about mythological cess in much the same way that the songwriting artists souls of his modern gladiators,” Horowitz were, some crossover occurred. “Swizz Beat got some recalled. “He thought my music could reflect composing stuff, in addition to the songs he wrote for the ancient historical soul of the film. He the movie,” Carr explains. “Oliver just loved his take, talked about Greek and Roman history; he loved his black sensibility and felt there was something didn’t seem to care that I knew nothing about he got about these characters that added a flavor to the football. He talked about being sucked into movie that Oliver continually went back to him for. A lot the whirling vortex of history, about the nobil- of the eclecticism that Richard Horowitz had from the ity of fighting as a team.” Moroccan influences and the hip-hop gave another level Composer Paul Kelly was introduced to to it. There are numerous spots in the movie where you Stone when some of his music was cut into have layers, where you have Richard, Robbie Robertson U Turn, a film that was eventually scored by and Swizz Beat playing at the same time.” Ennio Morricone. “I composed music with the script in mind for U Turn, but eventually Gridiron Crossovers all of it was pulled,” Kelly recalls. “After that I would Veteran composer Richard Horowitz wound up work- periodically send Oliver music and I would get a call or ing on the movie at an early stage in the production. “I postcard back, some vague pointers, but I didn’t know went into Oliver’s office and saw some of the early cuts,” he was working on Any Given Sunday.” Stone eventu- Horowitz recalls. “[Editor] Keith Salmon had already cut ally brought Kelly on board and began producing music some of my music into the night game. It was music that I specifically for the football film. “One of the end scenes had originally done for a documentary called Life Without where Pacino is talking about life being a game of inches, Death, a film Frank Cole had made of his 7,000-mile, 11- that piece, which is called ‘Peace,’ was used earlier in the month solo trip across the Sahara with his 16-millimeter film when Pacino was drunk on the phone with someone, rewind camera. When I first wrote the music for him it and Oliver liked that track so much that he wanted it to was about ultimate risks against all odds and enormous loop back at the end and be his theme song. It was a two- pressure. To see it cut into Oliver’s ‘football movie’ made and-a-half-minute track that I stretched out to four min- perfect sense to me.” utes. There was no percussion, just guitar and bass and While Horowitz had no objections to how his music was its own rhythmic guitar percussion underneath. It builds being used, he does point out that the working process into something orchestral, and I did a synth keyboard took some getting used to. “There were six editors on the demo of it—I wanted to bring in a real orchestra, but they film,” he explains. “I had never worked on a film with six liked the original version I did enough to use it. Robbie editors before, only two and that was because one had Robertson actually sang a kind of Native American chant been fired. Everyone was very friendly, working hard and over that track. very psyched. Still there were two things that made me “There was really only one track that was music-for- wary—one was the six becoming a hydra-headed monster hire; most of it was stuff I was working on anyway for with each head sending me in different directions; the myself,” Kelly says, noting that a large part of his job other was the score to U Turn, which I didn’t like. Oliver was finessing music he had previously composed for final was not letting any cuts out of the office at that point and inclusion in the film. “It was temp music that turned

F i l m S core M ont h l y 31 F e b r u ar y 2 0 0 0 final. There’s about 18 minutes of my music. There’s going to get me, but it was a great experience.” one track called ‘Drive’ that carries out an argument Budd Carr won’t go so far as to say that will be Stone’s between Cameron Diaz and Pacino, which is just low- approach on future film projects. “He approaches every end bass, kind of tribal-sounding, and it glues this movie fresh,” Carr says. “In his body of work, some of the argument together, and comes back in a montage of films are similar in their approach, but I think he looks the football players. None of my stuff made it into the at every one as a new palette. He loves music and he’s actual football plays, it was mostly in the emotional a voracious listener of music. The number of different parts of the film.” Like many of the other composers, sources and the kinds of ideas he explored on Any Given Kelly didn’t know until he actually viewed the final Sunday were unusual. If you talk to John Williams or cut of the movie exactly how much of his music was Ennio Morricone about working with Oliver, they’ll tell used in the film. “It was really interesting to see the you that they got challenged and they got their buttons end result up there,” he says. “I was bruised by the U pushed, and anybody who does a job wants that to hap- Turn involvement, and this time I was very aware and pen. He gets in there and makes them do some of the best cautious, doing all this work not knowing where it was work they’ve ever done.” FSM

The unexpected, unintended success of NFL’s greatest hits

Since last year’s release of the example of that was the AT&T ads with Paul Reiser. They hired Harry Callas, who’s one of our main voice-over guys, CD The Power and the Glory: and they used my music and they have Paul Reiser with a football on his lap and he’s obviously getting ready to watch Music From NFL Films, view- football but he’s calling everybody because the AT&T rates are so cheap on Sundays. The problem with that is that ers of ESPN and TV in general Sprint pays millions of dollars to be the telecommunica- tions company for the NFL, so it was a very dangerously may have noticed themselves hearing the music of close-to-offending-Sprint kind of situation.” Sam Spence, Tom Hedden and David Robidoux a While written as generic library music, the work of bit more often. Tracks from the album, distributed Spence, Hedden and Robidoux can’t escape its NFL asso- on the Tommy Boy label, have shown up not only ciations with the viewing public. “When somebody uses in ads for the album running on ESPN, but in your licensed library music, the idea is that it’s written network promos for ESPN and The Classic Sports generically, but we’ve found that people are using it to Network, Miller Beer ads and other venues with glean an association with the NFL,” Hedden says. “Apart growing frequency. But as Hedden explains, having from the fact that we do good library music and it sounds the instantly recognizable style of NFL Films music good in productions, it has the added cachet of the National all over the airwaves isn’t necessarily a good thing Football League, and we hadn’t planned on that.” for its creators. “The marketing plan from Tommy Hedden says the problem is inherent in the way the Boy was to do TV commercials with NFL Films program- music has been sold. “In a production music library you are ming,” Hedden explains. “We’ve been pushing it as library limited as to how much you can ,” he notes. “We did music independent of the record release. I think once the build a clause into the licenses; the generic boilerplate on record came out and the commercials started to run, people the CD says it can’t be used for pornography or gambling wanted to license the cuts the way they would license a advertising, those kinds of things. The problem is that commercial song.” library is inherently nonexclusive, and our motivation was to pump some money back into music production.” Doing an End Run Despite the high profile of the NFL Films music, Hedden According to Hedden, the status of using a highly identifi- says the Tommy Boy album release has been only mod- able musical style has risen considerably in the advertising erately successful. “We don’t have a real handle on the world. “We live in a day and age of music licensing for sales but it certainly isn’t a gold record at this point,” he advertising—all of the jingle companies are kind of sucking admits. “We have a lot of great material that isn’t on that wind and everyone wants Creedence Clearwater Revival CD and we have to think about whether a record label is for their commercial. So having the music out there com- really the way to go to market that. We’ve thought about mercially really helped its library usage, but it’s been very doing it directly, and we’ve been approached by other labels painful for us in the past year. The marks and logos of the who are lukewarm in their interest. We’re afraid to get NFL are very valuable and people pay dearly for the use of into another situation like we did with Tommy Boy where them, and having the music available as library music has people sort of think it’s something different than it is. been a way for ambush marketers to try and horn in on the It really takes a special marketing approach.” —J.B. appearance of an NFL relationship. The most high-profile

FE B R U AR Y 2 0 0 0 32 F i l m S core M ont h l y R E V I E W S B est ★ ★ ★ ★ ★ R eally G ood ★ ★ ★ ★ O F C U R R E N T A verage ★ ★ ★ RELEASES t i n g s W ea k ★ ★ a O N C D W orst ★ R

Mark Isham’s Body Shots, the Shame on you, FSM! import disc of the original double SCOREWe interrupt our regularly scheduled arrogant J.W. ponders the ques- C.H. Levenson album), and a noble but only reviews for a word from regular FSM tion if the composer is writing Lakewood, New Jersey partially successful attempt at contributor C.H. Levenson: music at all, or just “marking the re-recording the entire score FSM and their passage of time.” John Frizzell’s Just to respond to one of C.H. Levenson’s (Varèse’s John Debney-conducted Sadistically Negative Teaching Mrs. Tingle, while questions: Yes, all of us here at Film Score release from last year), it has Character Assassination scoring a “very good” rating, is Monthly are spoiled, extremely rich dilettantes taken almost 22 years to get the nonetheless berated by Jeff Bond. real deal: this 2-CD, remastered, o you people over at FSM born with silver spoons clasped firmly between Most of the review is given over deluxe edition courtesy of Rhino all have comfortable “day- our gold fillings. We only write for FSM as a D to trashing Frizzell’s earlier work Records and producers Mike jobs,” allowing your involvement hobby, and even as a hobby writing ranks far on Alien: Resurrection rather Matessino and Nick Redman. with the magazine to be a second- below our other favorite activities of yacht than complimenting him on his Just as Matessino did with the ary diversion rather than your racing, casino gambling in Monte Carlo and Teaching Mrs. Tingle score. excellent expanded editions of the primary source of income? Are hunting human beings for sport. However, What kind of a magazine are Star Wars: Special Edition CDs, you all rich, thus explaining how, when someone bothers to actually say “Shame you running? What sort of audi- issue after issue, you can dump on you, FSM!” we can’t help but sit up and ence are you seeking with this on those artists whose discipline take notice of such uncompromising language. sort of drivel being such an inte- and art you claim to chronicle? Maybe C.H. Levenson has a point. Contrary to gral part of the FSM package? Does the motion-picture industry popular belief, we don’t actually hate every- Shouldn’t you be fair? Shouldn’t pay you, thinking (wrongly) that thing, nor do we all think we’re better than you at least be restrained? Could even mean-spirited, critical notice everyone else. It’s in that spirit that we dedicate it be that fairness, maturity and of the music (and the artists) this month’s SCORE section to the tireless efforts other such virtues have not been associated with thier (sic) product of C.H. Levenson to improve FSM’s efforts and taught to you, or have you just is better than no notice at all? outlook. All reviews this month are at least rejected these in favor of toxicity? These questions asked, I must three stars and all of them have something nice It is—and always has been— tell you that it was excruciat- to say about the scores and composers in ques- one thing to knock ingly painful for me to tion. We’ve avoided insulting anybody wherever someone down in a read most of possible (except for me calling Jacqueline fair fight (there are, your December Susann a “smut-mistress” in my review of Isn’t after all, winners Superman has been re-organized 1999 issue She Great—but I’m sure that, were she still and losers in every to adhere to the chronological (Vol. 4, No. 10). living, Susann would wear the description of aspect of life), but structure of the film, with various This would be “smut-mistress” like a badge of honor!), and it is quite another tracks slightly expanded and/or because most attempted to level praise as often as possible. thing to use brass re-edited (such as the “Prelude of the issue was So enjoy, C.H. Levenson—this is your issue! knuckles, kick and Main Title March,” which given over to CD By the way, we hope you enjoy the “previously the groin, bite now features the original, previ- reviews and most available” soundtracks of Rio Conchos and The and scratch or to ously unreleased prologue music of these CD reviews Flim-Flam Man that you just ordered from us. use a baseball as heard in the picture), as well were negative... So until next month’s letter from C.H. bat. FSM excels as a bounty of never-before-heard no—correction—not Levenson, please sit back and savor the rich at groin-kick- tracks. In addition, various con- merely negative, but aroma of these all-positive reviews! —J.B. ing and makes cert from the origi- sadisticly (sic) nega- no apologies about this! How nal soundtrack have been includ- tive. Out of 22 reviews of Superman ★★★★★ sad. I am a “senior citizen” and ed (as are the album’s end credits, new or recent material, most JOHN WILLIAMS thus remember a time when now designated “Main Title were punctuated with acid-based Rhino R2 75874 “critical review” was just that... March [Alternate]”), along with slurs, outright mocking or arro- Disc One: 17 tracks - 75:21 movies that were bad or boring one source cue (the Hawaiian gant charecter (sic) assassination. Disc Two: 18 tracks - 73:41 (or otherwise not top-flight) were “Luthor’s Luau”) and a couple Even when one of your writers sk, wait and ye shall receive. not subjected to the rack or cat-o- of alternates for both the film’s resisted the urge to cut and slash, Those who have clamored nine-tails...no! They were merely A Main Title (which uses different the resulting reviews were, for for a definitive presentation explained, citing where the direc- transitions and ) the most part, highly critical of John Williams’ classic score tor or the actors could have made and “Can You Read My Mind.” rather than merely explanatory from the 1978 / improvements. Few films were If you bought the Varèse or—god forbid—laudatory. Dave Alexander Salkind cinematic deemed so horribly bad as to re-recording to hear Williams’ Grusin’s work on Random Hearts adaptation of DC Comics’ high- warrant the sort of treatment brilliant underscoring of the heli- was not just another item in his flying hero have finally been that is, for FSM, seemingly a copter sequence (the marvelous “slushy catalogue” (and “boring” rewarded. Despite multiple matter of course. Record-ings action-filled “The Big Rescue”) or to boot!), and Eric Serra’s The soundtrack releases (including a were likewise treated with some the funeral scene (“Death of Messenger consisted of “noise 2-LP set, an abbreviated single respect—even the bad ones. (continued on page 35) and a crushing sound mix.” With domestic CD and a Japanese

F ilm S core M o n thly 33 F ebr u ary 2 0 0 0 Pocket CD Reviews ...All the info you need, without the fat!

Who did it? What is it? To buy, or not to buy?

Animal Farm Another Hallmark made-for-TV effort, Richard Harvey’s version of George While it was a little overbearing in the show, the 1 Orwell’s Animal Farm picks up where Babe left off. Harvey provides a music is well-written and the recording and play- ★★★ /2 surprisingly lyrical and polished orchestral score. ing are far better than on the standard Hallmark RICHARD HARVEY There are two main themes (both of which are Zimmerish) and militaris- project. The themes are used so much that if you Varèse Sarabande tic/propaganda songs (performed by various animals). At times, Harvey’s music listen to the whole album you’re unlikely to for- 302 066 082 2 sounds more like Star Wars than does The Phantom Menace. get them. You may want to give this a try. 23 tracks - 66:21

Supernova The trailer music for Supernova’s initial promotions made it look like garbage. There’s an extended and amusing Jaws homage ★★★ Later that pop music was replaced, but the damage had been done. The actual in “Distress Call.” Several ideas elsewhere in the score does a decent job projecting a sense of space-wonder. score cross an old John Williams feel with Horner The orchestra isn’t as relentlessly thick and busy as it typically is for films like or Elfman. Unfortunately, you probably won’t be DAVID WILLIAMS this. But at times the music is almost too straightforward, both rhythmically and able to find this disc. Promo MGM harmonically, for a genre that allows for liberties to be taken. Even the frantic 26 tracks - 57:52 music (as in “Descent”) has a safe, controlled edge to it.

Onegin Based on a poem by Alexander Pushkin, the Onegin feature film was put togeth- The Fiennes underscore is generally better ★★★ er by the Fiennes siblings (with Ralph starring, Martha directing, Maya playing than the source. “Unquiet Heart” and “Duel” and Magnus scoring). are as effective as they are understated, while Martha Fiennes “wanted to avoid a big thematic approach,” so the resulting “Sketches” borders on ethereal. The album is MAGNUS FIENNES score is made up of ambient or classical folk arrangements (both song and instru- well-presented and boasts attractive art design. Milan 73138 35900-2 mental) that range from famous to obscure to original. “Onegin’s Theme” may as 18 tracks - 56:15 well be a source piece.

Simpatico It’s a small orchestra (with synth and wordless vocal backing) driven by quirky, Stewart Copeland performs the percussion. Stan ★★ folksy guitars and percussion. Sounds like country-rock Americana with dashes Ridgway’s vocals actually help the material in of Thomas Newman and Jerry Goldsmith thrown in. Most tracks are directionless, “Free of It All.” But songs take up more than six layering percussion and guitar effects with an occasional (sexual minutes of the skimpy running time. STEWART COPELAND malice) string motive. I thought, eight seconds into “Bad Sex,” that Mr. Hankey Milan 73138 35901-2 was starting to sing—but it turned out to be a strange synth/guitar effect. 19 tracks 31:20

P.T. Barnum Beau Bridges plays Barnum in Simon Wincer’s film for Hallmark and A&E. It’s not The music creates an energy that adds both ★★★ Year of the Comet, and Hummie Mann is restricted by the genre (is there a shred pompous nobility and heart to Barnum. Despite of dissonance in this score?), but this orchestral music nails the period and the all the circus atmosphere, track titles include sentiment. The main theme is prevalent and it’s varied mainly by genre/stylistic “Frances Dies,” “Caroline’s Baby Dies,” “Charity HUMMIE MANN shifts. The first track, “Main Title//Young P.T. & Charity,” cycles from Dies,” “Pauline Dies” and, last but not least, “P.T. HMCD 1000 Sousa to sentimental Hollywood (Marc Shaiman and Hans Zimmer—or to be Dies.” 13 tracks - 61:19 pickier, Randy Newman and James Horner).

Isn’t She Great plays irrepressible smut-mistress Jaqueline Susann, struggling to get Bacharach hasn’t scored a movie since 1991’s 1 her life together and convince her publisher to get Valley of the Dolls into print. , so fans of his inimitable, offbeat style ★★★ /2 Visualize Susann’s ’60s and ’70s-era lifestyle as a frothy ’60s comedy. should welcome him back. This is a tuneful pop- Breezy, slickly produced Bacharach quirkiness, although its authenticity is flavored album with sweet moments. Bacharach’s Decca 289 466 981-2 sometimes undermined by some distinctly ’80s-sounding synth keyboards that gift for melody is enough to make you forgive 17 tracks - 39:13 made me flashback to Goldsmith’s score for The Lonely Guy. There’s a hint of some goofball moments that play to the film’s Bacharach’s famous “The Look of Love” melody in here, plenty of mellow saxo- unrewarding attempts at comedy. phone solos and Dionne Warwickesque chorus.

The Wizard of A magical, mystical wizard, special effects guy and filmmaker (Mike Jittlov) This film is a beloved cult artifact for readers of Speed and Time attempts to introduce the audience to the wonderful world of movie magic while the early days of Starlog magazine, one of the ★★★ struggling against the soul-crushing bureaucracy of Hollywood unions. few publications that promoted the movie when it Incredibly chipper, busy, happy-happy Americana music and songs, perfect to was released as a marketing tool for Disney’s The MIKE JITTLOV & accompany a caffeine-induced cleaning or exercise spree. Hummable, maddening Black Hole in 1979. Its unrelenting cheeriness will JOHN MASSARI themes (many of them literally hummed by filmmaker Jittlov and arranged by either delight the listener or drive him up a wall. Intimata Music/ composer Massari, as demonstrated on the album) played by orchestra and lots Green Gems Music of electronics. Also includes plenty of cute dialogue from the movie. 39 tracks - 71:20

F e b r u ar y 2 0 0 0 34 F i l m S core M ont h l y Jonathan Kent,” with its Good, More Reviews! icles Superman’s initial appear- composer. Americana-laced, Cowboys-like We’ve got too many CD ances in Metropolis (“Super At the center of Snow motif), you can now relegate reviews to print in the maga- Crime Fighter”) and becomes glo- Falling on Cedars is the love that album to the bottom rung zine. But we post reviews that riously romantic when recount- story between Ishmael (Ethan of your collection. Both cues are don’t make it into print on the ing the Man of Steel’s relation- Hawke), a Jew, and Hatsue present on the Rhino release. our website at ship with Lois Lane. (Youki Kudoh), who is Japanese. They sound terrific, and when www.filmscoremonthly.com. While Williams’ work on the Howard addresses this ill-fated combined with other fascinat- Go to the “Daily Articles” link Star Wars and Indiana Jones pic- culture clash with his orchestra- ing, unreleased tracks (including to view them. Check out: tures is equally masterful, there tions. For the most part, he’s “The Terrace” and “Star Ship has always been something about on familiar ground with a large Escapes”), complete a work Seven Days his score for Superman that studio orchestra supplemented that has always ranked among by Scott Gilman (sci-fi TV) has made it perhaps even more by the L.A. Master Chorale. But Williams’ best—and can now be enduring with listeners and the he also pits two symbolic solo considered definitive. —Film Score Daily 2/8/00 general public. There are equal instruments against each other: Those familiar with the origi- Crusade amounts of rousing, old-fashioned the Western sound of a mournful nal album will find many tracks by Evan H. Chen (sci-fi TV) heroic themes and bombastic cello and the Eastern colorings of extended, some by only a small —FSD 2/8/00 scherzos (“Superfeats”) as in the shakuhachi. (Anyone recoil- edit here or there, but others S&M the aforementioned classics, but ing at the mention of the s-word complemented with new mate- by Metallica and Michael beneath all of the triumphant should note that the instrument rial. The “Finale and End Title Kamen (not a film score) marches, Superman has a dis- is used melodically and in all March” contains the film’s actu- tinctive, warm and decidedly al end credits arrangement; the —FSD 2/21/00 human undercurrent that sur- “Planet Krypton” now features Hail, Britannia! and faces throughout—not just in the music written to underscore Richard Addinsell: Film Music “Love Theme” (still one of his the sentencing of General Zod, by Richard Addinsell finest stand-alone compositions), Ursa and Non to the Phantom —FSD 2/29/00 but also in the sections detailing Zone; and perhaps most signifi- The Bone Collector Kent’s maturation (“Growing cantly, the “Can You Read My by Craig Armstrong Up”). The mystical, wonderful Mind” reading by Margot Kidder John Williams: Greatest Hits 1969-99 “Fortress of Solitude” bridges has been eliminated from the on Sony Classical an earthy, new-agey mix of syn- orchestral passages, resulting Things to Come, Discourse for thesizers with orchestra and in a solitary cue of underscore Orchestra, Miracles in the Gorbals multiple motifs that say more (“The Flying Sequence”) that by Sir Arthur Bliss about the character in musical most listeners will find worth terms than virtually any kind of the price of the disc by itself. that is wrapped inside the dust on-screen exposition ever could. its fascinating registers, setting Sadists needn’t worry—Kidder’s jacket, but is too large to fit in Superman remains a testament it apart from James Horner’s reading from the original album the actual CD case. Thus, you to Williams’ capabilities as a film drones). Material for these solo has been included at the end of have to squeeze the booklet and composer, and with Rhino’s ster- instruments is developed early disc two, along with an unheard case together to get them to fit ling new release, we can celebrate on in “Carl’s Fishing Net” and “pop” underscoring that also fea- back inside the cover. Whatever this music in the way it needed to “Hatsue and Ishmael Kiss,” as tures Margot’s dialogue. As if the happened to the days of the be preserved. —Andy Dursin the cello’s tragic lament is inter- rest wasn’t enough, Matessino double-CD case? Nevertheless, rupted by a burst of Eastern has also included this ’70s pop- this is a relatively insignificant percussion and the shakuhachi arrangement of the song without quibble when so much care has Snow Falling on Cedars itself. The cello falls into an the words, just so nobody will been given to the restoration and ★★★★ arpeggiated pattern and the complain that the new album expansion of the music itself. JAMES NEWTON HOWARD wordless sings Howard’s isn’t “complete!” As far as the score, there Decca 289 466 818-2 main theme. This theme is made The audio transfer is generally isn’t a great deal to add about 27 tracks - 67:30 of closely shifting block chords excellent; cues from the original Superman that hasn’t been said now Falling on Cedars induc- (a familiar Howard technique) soundtrack are presented here already. The music is a pinnacle Ses a visceral response to the combined with the percussive with minimal hiss and a much in Williams’ list of achievements, sweeping beauty of its cinema- use of metal mixing bowls, warmer sound than the preced- something that this Rhino release tography and production, not to tapped quickly with fingernails, ing CD issue (I’d rather have a adeptly confirms in presenting mention the seamless interaction to create a dense and passionate bit of hiss than a noise-reduction his work in chronological film between its images and James atmosphere. process that cuts out the high order. Williams’ music begins Newton Howard’s score. It’s not Howard continues introducing end altogether). Predictably, the with an epic, sweeping scope surprising that the underscore thematic gold in the early stages audio on the unreleased cues var- representing the Planet Krypton plays a vital role in this film, as of the album. “Kendo” employs a ies from good (“The Big Rescue”) and its subsequent destruction director (Shine) is thick texture of high strings play- to wobbly (the alternate of (much of which was excised from well aware of the power of mar- ing a cyclical chord pattern over “Superman March”). the theatrical prints), changes rying image to music. Isolated on a bass pedal. This elegiac sound More people, however, are in tone and attitude to fit the CD, Howard’s Snow Falling on is expanded with more bass per- likely to find the CD’s packag- passages related to Clark Kent’s Cedars is every bit the master- cussion and cello each time the ing troublesome. Matessino’s adolescence, revels in comic-book piece it is in the film. Its pairing theme returns in “Seven Acres,” insightful liner notes are included villainy (“March of the Villains”), with The Sixth Sense marks “Susan Marie Remembers” and in a slightly oversized booklet turns broadly heroic as it chron- 1999 as a standout year for the the climactic “Tarawa” cue. In

F i l m S core M ont h l y 35 F e b r u ar y 2 0 0 0 SC o r e less celebrated films like Josh take this score to deeper emo- used in the film) and the album and S.A.M. or tional levels. The simple open builds nicely through the last few “Tarawa,” the theme explodes —the closest relative to Beauty) fifths of the piano in “Any Other lengthy tracks to a climax (“Last with full chorus and orchestra in will be hooked. Name,” delicately accompanied Pitch”) that sounds unexpect- a sequence of five chords, repeat- With American Beauty by electronics and a disarmingly edly like something out of The ed with increasing power and Thomas Newman returns quiet string orchestra, make for Greatest Story Ever Told (exclud- volume to breathtaking extents. to his roots, favoring pulse, a sense of tragic integrity. While ing the electric guitar solo). “Tarawa” joins “The Evacuation” rhythm and color over melody. American Beauty may not be the There’s a full choir here (that and “Humanity Goes on Trial” The rhythm is provided by a perfect soundtrack, perfection probably cost Varèse plenty), so as music that’s overbearing even variety of tuned and untuned does lay therein. —J.T. complaints about this album’s when isolated on CD. The unnat- percussive textures (marimbas, 30-minute length should be kept urally high soprano and tenor piano, harmonics and various to a minimum. —Jeff Bond voice parts, coupled with the bell and chime-like sounds) For Love of the Game labored use of traditional Jewish that, in combination, are seduc- ★★★ 1/ folk-song harmonies, recall the 2 tive and dreamy. A powerful BASIL POLEDOURIS Broken Arrow ★★★★ excesses of Cliff Eidelman’s bass riff is added to the mix in Varèse Sarabande 302 066 092 2 HUGO FRIEDHOFER Triumph of the Spirit and are “Dead Already” and “Power of 10 tracks - 33:31 Brigham Young FMA-HF105 or Love of the Game was 24 tracks - 43:13 Fstrike three of Kevin roken Arrow is one of Hugo Costner’s attempt to rekindle his BFriedhofer’s finest achieve- career after the failures of The ments. While it was his first full- Postman and Message in a Bottle. fledged western score (as noted This latest film, elegantly direct- in the booklet, he did write for ed by Sam Raimi, casts Costner the genre as a staff composer as a burnt-out pro baseball pitch- during the ’30s), he already had er looking back on his life while over 100 soundtracks under his in the midst of throwing a perfect belt. Broken Arrow boasts a gor- game. Costner’s remarkable geous take on Americana that resemblance to an in-his-prime shows both dramatic precision Gary Cooper also gives the film a and attention to subtlety that bit of Hollywood resonance with are ahead of their time. echoes of Cooper’s performance The 1949 film is notable inappropriate in this otherwise Denial.” Quirkier tracks such as as Lou Gehrig in Pride of the for its sympathetic treatment subtle score. “Root Beer” and “Choking the Yankees. Unfortunately, the film of Indians, so the greatest of Howard is most comfortable Bishop” forego tuned instru- saddles Costner with an uncon- Friedhofer’s tasks was to con- with the romantic parts of the ments altogether, leaving the vincing romance with gorgeous front the Hollywood cliché of story. “The Strawberry Field” sparse rhythms of metal mix- Kelly Preston, and was soundly Indian music, dilute it and mix introduces one of the loveliest ing bowls (struck with finger- rejected by the public. it with humanizing elements. melodies he’s written. It’s a nails) and a detuned mandolin. The movie’s failure is espe- He gave the Indians their shad- simple folk-like tune for a distant Stylistically, American Beauty cially disappointing, because ing and contrast by compos- solo violin accompanied by gentle also finds Thomas Newman at the choice of Basil Poledouris to ing a wealth of themes, some strings and an ethnic flute. This his most minimalist to date, or score this unashamedly roman- closer to traditional Hollywood music disappears until the exqui- at least since 1985’s Desperately tic look at baseball is a perfect source than others. The bolder site final cues, “Snow Angels” Seeking Susan. Every cue is one. Working off of a swelling, Indian ideas (like the main and “Can I Hold You Now?” constructed out of small, end- slowly building elegiac melody, “Cochise” theme) hint at Elmer where the melody is developed lessly repeating phrases, with Poledouris fashions a score that Bernstein’s seminal The Ten and enhanced by a motive of ris- little variation (a simple thin- gives lip service to the movie’s Commandments —or even Heavy ing and falling chords. These cues ning of the texture for eight barrage of pop songs and the Metal. (Oddly, one of the stron- offer some of the most emotional- bars often suffices) and few sport’s commercial backing. He gest Indian cues was written by ly wrought music Howard’s ever modulations. This technique uses plenty of guitar and elec- Alfred Newman, based on the composed. —James Torniainen makes a 1:30 track pass in what tric bass lines, but the primary Friedhofer themes.) The forceful seems like double the time. The feeling is a gorgeous Americana brass and percussion-dominated 1 American Beauty ★★★ /2 fact that most of the early cues that could compete with Randy pieces are contrasted with a THOMAS NEWMAN are repeated later on (there are Newman’s The Natural —if only resonant Americana, including a Dreamworks 0044-50233-2 seven near-exact pairs of tracks it were twice as loud. Cue titles hymn-like passage used first in 19 tracks - 37:29 on the album) makes for a tire- like “Relationship Montage” give “Good Samaritan” and revisited he demand for a score-only some listen. an idea of what Poledouris was throughout the score (at the TAmerican Beauty album However, Newman’s painstak- up against while scoring this pic- conclusion of “Tom and Cochise” was understandable; Newman’s ingly specific use of instrumental ture, but the baseball sequences and in “Death of Sonseeahray”). music is a spot-on accompani- and electronic colors deserves themselves are so specific and This idea, referred to in the liner ment to a film that turned out the most attentive of listening. powerful that it makes one won- notes as “The Treaty,” is a cross to be an unexpected master- It is these colors (the single der why Basil wasn’t pegged for of Copland and . Its piece. It’s also instantly accessi- breath of a flute, or a shimmer- this kind of romantic work a long homophonic motion and ble, and anyone unfamiliar with ing, glass-like electronic whisper) time ago. “No Hits” is particu- this side of Newman (found in that define Newman’s style and larly fruitful (despite not being (continued on page 42)

F e b r u ar y 2 0 0 0 36 F i l m S core M ont h l y SC o r e of working with anyone else, but his respect and admiration CDs from the Japanese record (continued from page 36) for Newman is legendary. company SLC. Now all of the similarity in shape and tempo The two composers have scores originally released by liken it to Fanfare for the vastly differing styles, so it’s Varèse have been compiled on Common Man. For the same rea- a miracle that the score is as this four-CD set from Silva sons it also bears resemblance to coherent as it is. This new Treasury, making it easy and the intimate side of Alex North recording, by the Moscow affordable to own the first (but also orchestrationally and Symphony Orchestra and Twilight Zone scores available. harmonically—with embedded Chorus conducted by William The first two CDs are devoted parallel fifths and sevenths) T. Stromberg, presents the to specific composers. Bernard as later witnessed with his cues in film order (with score Herrmann scored the pilot epi- Crassus and Varinia theme from restoration and reconstruc- sode “Where Is Everybody?” Spartacus. tions by John Morgan). Most Twilight Zone 40th Anniversary with a typically spellbinding Broken Arrow is dated only of the early action music is by Collection ★★★★ evocation of fear and confusion, by the age of the original tracks Herrmann, with Newman con- VARIOUS winding down into a surpris- and perhaps by the occasional centrating on the mystical and Silva Treasury STD 2000 ingly beautiful resolution. dose of the (Alfred) Newman theological aspects of the latter Disc One: 22 tracks - 73:55 Herrmann also provided the string sound. Friedhofer’s writ- stages of the story. Disc Two: 10 tracks - 71:46 moody, undulating first-season ing has a surprise around every Herrmann’s main love theme Disc Three: 10 tracks - 72:11 title music for the show. The corner. Classic tracks like “White for the picture, “Nefer-Nefer- Disc Four: 9 tracks - 73:12 Herrmann disc also includes Painted Lady” (a gorgeous string Nefer,” ranks as one of the most roduced in the wake of his “Outer Space Suite,” a col- elegy over distant drums—bril- beautiful cues he ever wrote. Its P groundbreaking dra- lection of atmospheric library liant dialogue music) and “Death seven-minute length allowed the matic television anthologies music tracked into several Zone of Sonseeahray” (a tragic restat- composer more room than usual like , Rod Serling’s episodes—and not included in ing of the key elements in the to develop his material, and took advan- the original Varèse Twilight score) show the care and origi- the high-register oboe melody, tage of the first few years of Zone releases—and other nality that this seasoned com- later taken up by the strings, musical scoring for live TV by Zone scores like his incredibly poser put into his work. offers far more insight into the signing on some of the biggest delicate and yearning “Walking The jam-packed notes, by story than did Michael Curtiz’s talents in film and TV scoring Distance”; his grim and doleful William H. Rosar, describe the long-forgotten film. Herrmann’s to produce music for one of “Hitchhiker” radio score (used music as it works with the livelier material is just as the best TV series ever made. for the show’s adaptation of the film—plus, they don’t shy away good. “The Chariot Ride” and The result was a legacy of sto- story); his alternate main titles from citing possible influences. “Pursuit” are two highlights, ries and music that, like the (used as stingers in episodes —Jonathan Z. Kaplan both offering up the kind of original Star Trek, has created like “The Howling Man”); and orchestral violence for which the its own nest in the collective his glistening, ethereally tex- This recording is available exclu- composer was so renowned. consciousness of American tural “The Lonely.” sively from Screen Archives Newman’s work on The television viewers. Sure, just Disc two features the familiar Entertainment, PO Box 500, Linden Egyptian is also excellent. His about anybody can whistle theme and VA 22642 for $25.00 plus shipping writing is always exceptional for Marius Constant’s familiar devotes the rest of its running (www.screenarchives.com). Proceeds films with strong religious con- Twilight Zone title music, but time to then up-and-coming go toward the acquisition and pres- notations (The Robe, The Song the use and re-use of many of composer Jerry Goldsmith. He ervation of film music materials at of Bernadette, The Greatest Story the cues throughout the show’s is represented by some harpsi- BYU. Ever Told). “Hymn to Aton” six seasons have made melodies chord-driven suspense for the continues this tradition; the text and effects created by Bernard mediocre time travel episode The Egyptian ★★★★ dates from before Christ, but the Herrmann, Jerry Goldsmith, “Back There”; a beautifully BERNARD HERRMANN, music is unmistakably Newman. Fred Steiner, Nathan Van melancholy, bluesy score for ALFRED NEWMAN When the material is reprised Cleave and others into familiar “The Big Tall Wish”; classi- Marco Polo 8.225078 for “Death & Exile,” the effect is TV landmarks. cally agitated and scary music 30 tracks - 71:30 breathtaking. While DVDs and The Sci- for the dialogue-free “The he Egyptian (1954) must be The Egyptian represents the Fi Channel have brought the Invaders”; arid western stylings Tunique in film music leg- work of two composers at their original series back in the pub- for “Dust”; and a virtuoso bit end: Its score was written by two peaks. The performance is good, lic eye, finding Twilight Zone of staccato, ticking underscor- mega-talents of the time, Alfred though the close miking—per- music has been a problem for ing for “Nervous Man in a Four Newman—godfather of film haps in response to recent several years. In the early ’80s, Dollar Room.” music—and Bernard Herrmann. criticisms of the concert hall Varèse Sarabande Records put Disc three focuses largely This collaboration came about ambience of Varèse Sarabande’s a number of Twilight Zone epi- on the underrated Nathan after Newman realized that time re-recordings—produces a sode scores out in a collection Van Cleave, who broke ground pressures were too great for sound that borders on tinny, of five popular LPs, which they in electronic effects with his him to complete the score alone. particularly in the percussion. later compiled and condensed Twilight Zone scores and pro- Darryl F. Zanuck, studio chief Nevertheless, this is another fine onto two CDs. But many of the vided some of the show’s eeriest at Fox, wanted Franz Waxman release from Marco Polo. scores from the original LP musical moments. “Perchance to assist, but Newman held out —James Southall collection never made it to CD to Dream” mixes comic city for Herrmann. It’s unlikely that in the U.S. and were available elements, an electronic pulsing Herrmann would have approved only on expensive, hard-to-find and bizarre effects from ther-

F e b r u ar y 2 0 0 0 42 F i l m S core M ont h l y music exclusive The Omega Man to FSM! The Complete, Unreleased Ron Grainer Sci-Fi Score! The Omega Man is a sci-fi classic featuring Charlton Heston as Robert Neville “the last man on Earth,” who battles a tribe of vicious Luddite barbarians, the “Family.” This action-adventure is made memorable by Ron Grainer’s beautiful pop-flavored score, which mixes baroque, jazz, avant garde and dramatic orchestral styles into a seamless whole. From its gorgeously elegiac main theme to the distinctive melodies for Neville and the Family, The Omega Man earns its reputation as one of the most unforgettable genre scores of the ’70s. The disc features stunning stereo sound, unused score cues, specially arranged source music and a rejected, alternate end title. $19.95

Take a Hard Ride 1964’s Rio Conchos, a tuneful work that cascading Indian attacks. The score has The Complete Score is at times spare and folksy, at others been remixed in its entirety in stereo- for the First Time! savage and explosive. In many ways phonic sound from the 20th Century-Fox A spaghetti western, buddy movie, it is the prototype for the aggressive archives. $19.95 blaxploitation epic and kung fu thrill- action music for which the composer er—Take a Hard Ride has it all, includ- has become famous, but it also probes ing one of Goldsmith’s most enjoyable the psychology of the story with constant western scores. While emphasizing melody. This is the first release of the action, Hard Ride benefits from a rous- original film recording of Rio Conchos, ing, full-blooded adventure theme, and complete in mono (54:58) with bonus consciously references Morricone-isms tracks of a vocal version of the theme that recall The Good, the Bad and the (2:36) plus six tracks repeated in newly classic tradition of The Adventures of Ugly. This is the uncut, fully-restored mixed stereo (19:43). $19.95 Robin Hood and Star Wars. It features a version of Goldsmith’s penultimate dynamic set of themes and variations for western, presented as he wrote it—in the hero, princess, villain, mentor (sound stereo. $19.95 Prince of Foxes familiar?) in a stirring symphonic setting. The Unreleased Alfred Newman The CD includes the complete score as marketplace Adventure Score! it survives today, newly remixed from the 20th Century-Fox archives in good stereo- This 1949 Tyrone Power/ phonic sound with bonus tracks. It’s our costume epic boasts Alfred Newman’s first Golden Age Classic! $19.95 arguably greatest achievement at 20th Century-Fox: a colorful, rollicking score capturing the spiritual renewal of the Renaissance, yet conjuring up the evil inherent in all tyrants. It’s adventurous, / spirited and darkly atmospheric, with Leave Her to Heaven a vintage Newman love theme. The CD The Flim-Flam Man/ Two Alfred Newman Classics! features the score remixed to stereo, with fsm A Girl Named Sooner FSM dives headfirst into the several unused cues. $19.95 Two Complete voluminous legacy of Alfred Newman with Goldsmith Scores! this doubleheader restoration of All About This new CD presents two complete Eve (1950) and Leave Her to Heaven Goldsmith outings in the gentle (1945). All About Eve is Newman’s tribute Americana vein that has always brought to the theater world and sympathetic Patton/ Welcome to forth the composer’s most tender and underscoring of the Academy Award-win- The Flight of the Phoenix heartfelt writing. The Flim-Flam Man ning film’s sharp-tongued women; Leave Classic Goldsmith tracks plus the FSM tells the story of a veteran Southern con Her to Heaven is his brief but potent score rare Frank DeVol adventure score man and his escapades. The score was to the Gene Tierney-starring noir tale of together on one CD! Marketplace! previously available only in excerpts on love and murderous obsession. Jerry Goldsmith’s Patton (1970) is a a limited tribute CD, but this release It’s terrific! $19.95 brilliant definition of General Patton, We’re pleased to offer is complete, in stereo, with all of the from the jaunty Patton march to the hard-to-find, unusual echoplexed trumpet triplets that conjure instrumentation and “sweeteners” intact. soundtrack-related A Girl Named Sooner is cut from a similar Monte Walsh up the ghosts of an ancient, martial past. cloth (presented in clean mono) making a John Barry’s First Previous albums have been re-recordings; products, including: breezy, heartwarming duo. $19.95 Western Score! this is the original film soundtrack.The Exclusive CDs Two decades before Dances with Wolves, Flight of the Phoenix (1965) is a superb Books for music lovers Barry scored this 1970 character study adventure film about a cargo plane that of aging cowboys (Lee Marvin and Jack crashes in the Sahara desert. Frank Books for composers Palance) with his impeccable melodic DeVol’s rousing, kinetic score melodi- One-of-a-kind collectibles touch. The score (never before released) cally delineates the film’s sharply drawn To order, call toll free features a title song performed by Mama conflicts and the characters’ struggle 1-888-345-6335, Cass, beautiful lyrical moments, a thun- against the encroaching threat of the mail or fax the handy form derous mustang-herding cue, and a dash desert. $19.95 The Comancheros of 007. Also included are outtakes, source between pages 40-41, The Complete Elmer Bernstein music, and the 45-rpm single recording or visit our Western Score! of “The Good Times Are Coming.” $19.95 Never before released! secure server online at This 1961 film marked Elmer Bernstein’s Original Goldsmith soundtrack! first of many famous western scores for Prince Valiant 100 Rifles (1969) is Jerry Goldsmith’s www.filmscoremonthly.com Rio Conchos John Wayne: a rousing, melodic Hollywood Classic Adventure Score by most outrageous western score, featur- Complete Original Score! western with a dynamite main theme— Franz Waxman! ing bellicose brass, wild percussion Jerry Goldsmith came into his own as a sort of “The Magnificent Eight”—plus Prince Valiant (1954) is a stirring and melodic Mexican nuggets. The CD creator of thrilling western scores with classic moments of quiet reflection and knights-and-adventure work in the features the score twice: in newly remixed

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com Join the Classics Charter Club Step to the front of the line! Send us your name, address and credit card info (VISA, MasterCard or AmEx), and we will automatically send each CD upon release. You can return any disc for a full refund or credit within 30 days. Each CD costs

The Poseidon Adventure is the classic of the film; FSM has obtained a limited $19.95 plus shipping ($3 U.S./Canada, or $5 rest of world); no stereo and in the mono mix originally 1972 Irwin Allen disaster movie, with a number of discs to be sold exclusively charges until shipping. made for the film. It’s an audacious, rip- stunning title theme and suspenseful through the magazine. $19.95 roaring hunk of Mexican adventure, never interior passages. The Paper Chase is the Pre-order A Send me everything! before available. You’re gonna love it! acclaimed 1973 comedy drama about Enter the Dragon $19.95 Harvard law students, with music ranging Lalo Schifrin ’70s Slugfest— Pre-order B Send me each Silver Age CD for $19.95. Expanded Edition! from a light pop love theme to Baroque Pre-order C Send me each Golden Age CD for $19.95. adaptations to the haunting “Passing of Bruce Lee’s most famous film introduced Wisdom.” Also includes Americana 6-min. him to mainstream American audiences To order multiple copies of releases (up to six each), just write main title to Conrack (1974). $19.95 and cemented his superstar status. Lalo Schifrin scored this 1973 adventure with how many copies you want on the form between pages 40-41. his greatest fusion of funky backbeats, catchy melodies, screaming orchestra and wild percussion. It is the ultimate combination of symphonic fury with crazy cop thriller, Shire’s fat bass ostinatos and Laws, with lyrics by Jules Bass, features ‘70s solos. A short CD was released in creepy suspense cues glue it all together. the vocal talents of Boris Karloff, Phyllis Japan; this newly remixed and remastered A sensational, driving, pulsating score Diller, Ethel Ennis and Gale Garnett. The disc features the complete score (57:14) in a class by itself. New packaging; liner deluxe package includes a 16-page color in chronological order. $19.95 notes by Doug Adams. $16.95 booklet with dozens of never-before pub- The Return of Dracula lished photographs and concept drawings Gerald Fried 2CD set also by Mad Magazine alumnus Jack Davis and including I Bury the Living, Don Duga. A wacky and fun blast from the The Cabinet of Caligari and Mark of the Vampire. Stagecoach/The Loner From the composer of Star Trek’s “Amok Original Goldsmith scores! watch what Time” and “Catspaw” comes this historic Stagecoach is the 1966 remake of the 2CD set of four of his early horror scores: John Ford western. The Mainstream CD is you listen to The Return of Dracula (1958) is based on a re-recording; this CD is the first release the , I Bury the Living (1958) fea- of the original soundtrack, as conducted tures creepy harpsichord, The Cabinet of by the composer. The Loner is Goldsmith’s Caligari (1962) has a beautiful, romantic complete contribution to the 1965 western theme, and Mark of the Vampire (1957) TV series by Rod Serling (sounds like Rio Deadfall recalls Fried’s score for Stanley Kubrick’s Conchos): main and end titles and two The Exorcist Catch John Barry ’60s Vibe! The Killing. 24 pg. booklet. $29.95 episode scores. $19.95 The Classic Horror Soundtrack! First time on CD! John Barry scored this (Shipping charges are same as for a single CD) ’s 1973 thriller of demonic 1968 Bryan Forbes thriller in the midst Warner Home Video has led the way possession is arguably the scariest film of his most creative period of the ‘60s. It in recent years for video restoration with of all time, and it was enhanced by these features his 14-minute guitar concerto, elaborate laserdisc, DVD and videocas- frightening, avant garde compositions “Romance for Guitar and Orchestra,” per- sette box sets of the studio’s most famous by Penderecki, Webern, Henze and other formed by Renata Tarrago and the London films. The company has also produced modernist composers. This CD also Philharmonic; the title song “My Love Has soundtrack CDs available to the public includes all of the rejected music (14:14) Two Faces” performed by Shirley only within the larger video packages— which Lalo Schifrin recorded for the Bassey (“Goldfinger”), plus two never- Basil Poledouris: until now. FSM has acquired copies of the film—never before heard! (Regrettably, before-heard alternate versions of same His Life and Music following CDs to sell via direct mail only “Tubular Bells” & “Night of the Electric (vocal by Malcolm Roberts and instru- An intimate visit with the to our readers. Insects” are omitted from the disc.) $19.95 mental); and vintage, dramatic Barry composer of Conan the Barbarian, underscore. Liner notes by Jon Burlingame Big Wednesday, Free Willy, Starship . $16.95 Troopers and Lonesome Dove. Take music from a tour of his work and lifestyle—in Retrograde! his own words—from his methods The Complete Unreleased Score of composing to his love of sailing by Leonard Rosenman! The Taking of Pelham 1-2-3 and the sea. The video runs 50 Fantastic Voyage is the classic 1966 sci- First time anywhere! minutes and includes footage of ence fiction movie which follows a min- David Shire’s classic ’70s 12-tone Basil conducting and at work on iaturized surgical team inside the human jazz/funk for the 1974 subway hostage synthesizer mock-ups of Starship body. The score by Leonard Rosenman thriller. Part disaster movie, part gritty Troopers, as well as dozens of (composer of Lord of the Rings, East of behind-the-scenes and family Eden and Star Trek IV) is one of his most photos, and special appearances famous and has never been available in by wife Bobbie Poledouris and any form. It is a powerful, modern orches- The Wild Bunch daughter Zoë. Discover the man tral work with breathtaking musical col- Restored edition. Limited behind the music, in a close-up ors, presented here in complete form, in availability courtesy Warner Mad Monster Party way you’ll never see on commercial stereo. $19.95 Home Video! 30th Anniversary TV, or experience in print. The classic Jerry Fielding score, in brilliant Collector’s Edition ! New Reduced Price! The Poseidon Adventure/ stereo, to the 1969 Sam Peckinpah west- From Rankin/Bass, the creators of TV’s NTSC (U.S. Format) $19.95 The Paper Chase ern. The 76-minute CD was meticulously Rudolph the Red-Nosed Reindeer, comes PAL (European Format $19.95 Original unreleased soundtracks restored and remixed by Nick Redman for the original soundtrack to Mad Monster by John Williams! inclusion only with the 1997 laserdisc Party. The jazzy score by composer Maury

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com meters...Listing and tutorial of standard annotated to help collectors differentiate North, Bernstein, Duning, Rosenman, books for timing-conversion formulas for 24 fps film between originals and reissues, com- Goldsmith, Mancini, Schifrin, Scott, Shire, speed...Tutorial in SMPTE-to-Absolute time mercial albums and rare promos. Find out Broughton and Poledouris. composers conversion...Frames-to-Seconds conver- what’s out there, what your prized rarities Published by Silman-James Press, sion tables for U.S. and European film and are worth, and how much you should 330 pp., softcover. $19.95 video speeds. expect to spend to fill out your collection. 430 pp. Price is the industry standard for Author Robert L. Smith also surveys the click books; this one gives more value for present state of the market and provides a the money! $149.95 checklist for the top 50 collectible CDs. New Updated Edition! Published by Vineyard Haven LLC, 154 pp., softcover. $17.95

Getting the Best Score for Your Film: A Filmmakers’ The Score: Interviews Guide to Music Scoring with Film Composers by David Bell by Michael Schelle marketplace Respected television composer David Bell Some of FSM’s best-ever features wrote this book in 1994 to help producers 2000 Film/TV Music Guide have been the interviews with film and directors get the most out of film From the composers—the question-and-answer music. It’s aimed at filmmakers, but also Music Business Registry MusicHound Soundtracks: The format gives the reader a sense of the provides useful professional information Is your career worth investing $95? Essential Album Guide to Film, personality involved. The Score (1999) to composers and musicians—or any fan Contains exhaustive directories of record Television and Stage Music is in that conversational tradition, interested in the process. Topics include labels, music publishers, film/TV music Edited by Didier C. Deutsch, featuring lengthy transcripts with Barry, fsm spotting, communicating, recording, bud- depts., music supervisors, music editors, Forewords by Lukas Kendall and Bernstein, Blanchard, Broughton, Chihara, geting and licensing, with explanations of composer representatives, composers, Julia Michels Corigliano, Howard, Isham, Licht, McNeely, the various personnel and entities involved clearance companies, recording studios, If you liked VideoHound’s Soundtracks, T. Newman, Shaiman, Shore, Walker and C. in each; also included are lists of agents, performing rights societies, and music you’ll love this expanded second edition, Young. The author is himself a composer, clearance companies, glossary terms and libraries—names, addresses, contact featuring over 3,000 capsule reviews of and the conversations, while not wholly resources. numbers. $94.95 soundtrack CDs—including compilations, technical, pry deeply and precisely into the Published by Silman-James Press, shows and song collections. Many of the composers’ ideas. Published by Silman- 112 pp., softcover. $12.95 reviews are by FSM’s regular contributors: James Press, 432 pp., softcover. $19.95 books for Jeff Bond, Lukas Kendall, Andy Dursin, Give a music lovers Daniel Schweiger, Paul MacLean. There special gift are also helpful cross-indexes, lists of soundtrack-related websites, stores, to a friend! record labels and publications, and com- poser interview snippets culled from FSM. It’s the ultimate guide to every soundtrack under the sun. Published by Visible Ink Press, 872 pp., softcover. $24.95

The Album Cover Art of Soundtracks We are happy to accept by Frank Jastfelder gift orders and send them & Stefan Kassel, to whomever you please, The Click Book Foreword by Saul Bass complete with your message Comprehensive Timing Tables This 1997 coffee table book is a stunning and identification. Please for Synchronizing Music to Film collection of soundtrack LP covers. From Created by USC student and composer U.S. Soundtracks on CD: paintings to photographs to designs, from write on the order form or a Cameron Rose. Click-tempo tables for Scores for Motion Pictures westerns to blaxploitation to sexploitation, separate piece of paper the 6-0 through 32-0 frame click-tempos and Television 1985-1999 it’s a gorgeous dossier of vivid artwork, name and address of the (6-0, 6-1, 6-2, etc.)...Each timing table Price Guide with covers both ubiquitous and rare. The gift recipient, and any note covers beat 1 to beat 999 at the given by Robert L. Smith book is sized like an LP jacket (12” by click-tempo...Large, bold, easy-to-read FSM’s market-standard price guide is back 12”), allowing many of the best covers we should include. click-tempo values and equivalent met- with a new-look second edition, featur- to be reproduced full-scale. Take a trip Maybe Grandma isn’t ronomic values at the top of each page... ing over 2,400 listings of album titles Music from the Movies: down memory lane, or experience these dying to hear Fantastic Timing, frame and footage breakdowns with composers, label numbers, special 2nd Edition powerful images for the first time. This Voyage, but there has to for rhythmic subdivisions within each collectible information and—most of by Tony Thomas German-published book originally sold for be a fellow fan in your life click-tempo—including compound all—estimated values. The listings are This was the original film music book $29.95—it’s now out-of-print, to boot, (from 1971), the “alpha” from which but we have obtained a limited number of who would groove to one of all others followed, telling the stories of copies for our faithful readers. our exclusive albums...and Check Your Order Online Hollywood’s most successful—if hitherto Published by Edition Olms AG Zürich, come to think of it, maybe We’re updating our website, www.filmscoremonthly.com, to include full tracking unknown—composers. This updated edi- 128 pp., full color, softcover. $24.95 All About Eve is Grandma’s tion came out in 1997, shortly before the capabilities where you can check your order and subscription status. The site will author’s death. Composers covered (many More books on the next page! favorite film? We’re stand- also remember your information (with your permission) for future reference, so you with photos) are Stothart, V. Young, Green, ing by for your order! can save time when ordering. Thanks for your support! Newman, Tiomkin, Waxman, Kaper, Rózsa, Steiner, Korngold, Herrmann, Friedhofer, Raksin, Antheil, Thompson, Copland, to find. It is a brilliant illumination of Published by University of California Rare! $24.95 * #44, April ’94 Joel McNeely, Poledouris the musician and the man and probably Press. 396 pp., softcover. $24.95 (On Deadly Ground); SPFM Morricone tribute the best film composer biography ever & photos; lots of reviews. written. * #45, May ’94 Randy Newman (Maverick), Published by University of California Graeme Revell (The Crow); Goldsmith in Press. 416 pp., hardcover. $39.95 concert; in-depth reviews: The Magnificent Seven and Schindler’s List; Instant Liner Notes, book reviews. * #46/47, June/July ’94 Patrick Doyle, Newton Howard (Wyatt Earp), John Morgan (restoring Hans Salter scores); Tribute to Henry Mancini; Michael Nyman music for films, collectible CDs. * #48, August ’94 Mark Mancina (Speed); Chuck Cirino & Peter Rotter; Richard Kraft: The Music of Star Trek: advice for aspiring composers; classical Profiles in Style music in films; new CAM CDs; Cinerama by Jeff Bond New Updated Edition! LPs; bestselling CDs. This is the first-ever history of Star Trek Film Composers Guide #49, September ’94 Hans Zimmer (The soundtracks, from the original series to Year 2000 Fifth Edition Lion King), Shirley Walker; Laurence the movies to the new incarnations, by Hugo Friedhofer: Compiled and Edited by Rosenthal on the Vineyard; Salter in FSM’s own Jeff Bond, with a foreword by The Best Years of His Life Vincent J. Francillon memoriam; classical music in films; John Star Trek II and VI director Nicholas Meyer. Edited by Linda Danly This is the ultimate resource for finding Williams in concert; Recordman at the Featured are interviews with composers U.S. Exclusive—Only from FSM Introduction by Tony Thomas out what composers have scored what flea market. Jerry Goldsmith, Alexander Courage, Fred John Barry: A Life in Music Hugo Friedhofer (1901-1981) was a films—over 2,600 composers cross- #50, October ’94 Alan Silvestri (Forrest Steiner, Gerald Fried, Leonard Rosenman, by Geoff Leonard, Pete Walker gifted musician whose Hollywood classics referenced with 25,000 films! Never be Gump), Mark Isham; sex & soundtrack Cliff Eidelman, Dennis McCarthy, Ron and Gareth Bramley included The Best Years of Our Lives, An puzzled again. Also contains agency sales; Lalo Schifrin in concert; Morricone Jones, , David Bell, Paul This 8.5” by 10.75” tome is a definitive Affair to Remember, The Young Lions and contacts, Academy Award winners and Beat CDs; that wacky Internet; Recordman Baillargeon; producer Robert Justman; history of John Barry’s music and career, One-Eyed Jacks. His Golden Age nominees, record company addresses and on liner notes. and music editor Gerry Sackman. from his earliest days as a British rock contemporaries (Newman, Raksin, more. 8.5” by 11”, 416 pp. Lone Eagle #51, November ’94 Howard Shore (Ed The book also contains an up-to-date, and roller to his most recent films and Waxman and others) often considered Publishing. Retail price $55; Special to Wood), Thomas Newman (Shawshank complete list of every score written for all London concert. It is not a personal him the most sophisticated practitioner FSM readers: $39.95 Redemption), J. Peter Robinson (Craven’s four TV series; a guide to understanding biography but rather a comprehensive of their art. In the 1970s Friedhofer gave New Nightmare), Lukas’s mom interviewed; how certain shows were tracked and chronicle of every single thing John Barry a lengthy oral history to the American music of Heimat, Star Trek; promos. credited; Classic Trek manuscript excerpts has ever done: from records to films to Film Institute, rife with anecdotes, opin- backissues of FSM * #52, December ’94 Eric Serra, Marc from Fred Steiner, Gerald Fried, Sol Kaplan television to concerts, with plenty of pri- ions and wit, which is reproduced as the Shaiman Pt. 1, Sandy De Crescent and George Duning (in their own hand); mary source material from Barry and his main part of this new book. Also included (music contractor), Valencia Film Music and complete cue sheets from selected many collaborators. is an introduction by Thomas; a short Volume One, 1993-96 Conference, SPFM Conference Pt. 1, episodes and films. James Bond fans will be thrilled by biography by Danly; an epilogue by Gene Issues are 24 pp. unless noted. StarGate liner notes, Shostakoholics Published by Lone Eagle Publishing. 224 the many behind-the-scenes photographs Lees; the eulogy from Friedhofer's memo- Most 1993 editions are xeroxes only Anonymous. pages, softcover, illustrated. $17.95 (from scoring sessions for You Only Live rial service by David Raksin; Friedhofer's * #30/31, February/March ’93 64 pp. #53/54, January/February ’95 Shaiman Twice, Diamonds Are Forever and The correspondence with the late Page Cook; Maurice Jarre, Basil Poledouris, Jay Pt. 2, Dennis McCarthy (Star Trek); Sergio Living Daylights) and information relating a complete filmography; photographs; Chattaway, John Scott, Chris Young, to 007. In fact, Barryphiles overall will be and even reproductions of Friedhofer's Mike Lang; the secondary market, Ennio astounded at what is probably the biggest cartoons. Published by The Scarecrow Morricone albums, Elmer Bernstein Film International Readers collection of Barry photographs in the Press, 212 pp., hardcover. $39.95 Music Collection LPs; 1992 in review. Take Note! world, from all stages of his career—at #32, April ’93 16 pp. Matinee temp-track, work, at home, and at events. Also includ- SPFM ’93 Conference Report, Star Trek ed is a complete film/discography and music editorial. album and film artwork, some in full color. * #33, May ’93 12 pp. Book reviews, classi- Published by Samsom & Co., U.K. cal/film connection. 244 pp., hardcover, illustrated. $44.95 * #34, June ’93 16 pp. Goldsmith SPFM award dinner; orchestrators & what they Overtones and Undertones: do, Lost in Space, recycled Herrmann; Reading Film Music spotlights on Chris Young, Pinocchio, Bruce by Royal S. Brown Lee film scores. Royal Brown is best-known as the long- * #35, July ’93 16 pp. Tribute to David time film music columnist for Fanfare Kraft; Pt. 1; scores vs. songs, magazine, whose illuminating reviews Herrmann Christmas operas; Film Hollywood Composers A Heart at Fire’s Center: have placed film music in a serious aca- Composers Dictionary. Stamp Sheet The Life and Music of demic context as well as entertained with #36/37, August/November ’93 40 pp. by the Bernard Herrmann their sharp observations. Overtones and Bernstein, Bob Townson (Varèse), Richard Postal Service by Steven C. Smith Undertones is his 1994 book, the first- : A Portrait Kraft & Nick Redman Pt. 1, John Beal Pt. Imagine! Six Hollywood Composers Bernard Herrmann (1911-1975) stands as ever serious theoretical study of music in by Christopher Palmer 2; reviews of CAM CDs; collector interest on first-class stamps (33¢) in the a towering figure in film music: not only film. It explores the relationships between This 1984 book (T.E. Books, out of print!) articles, classic corner, fantasy film scores Legends of American Music Series: was he the most influential film composer film, music and narrative and chronicles by the late Christopher Palmer is the of Elmer Bernstein. Max Steiner, Dimitri Tiomkin, Alfred of all time, who scored such classic films the aesthetics of the art form through authoritative study of legendary composer * #38, October ’93 16 pp. John Debney Newman, , as Citizen Kane, Vertigo, Psycho and Taxi several eras. Key works analyzed are The Dimitri Tiomkin (1894-1979). Long out of (seaQuest DSV), Kraft & Redman Pt. 2. Bernard Herrmann and Franz Driver, but he was an irascible, passionate Sea Hawk (Korngold), Double Indemnity print, a few copies have surfaced from * #39, Nov. ’93 16 pp. Kraft & Redman Pt. Waxman. We are selling sheets of personality famous for his temper and (Rózsa), Laura (Raksin), Prokofiev’s music the U.K. publisher and are now for sale— 3, Fox CDs, Nightmare Before Christmas 20 stamps as issued by the USPS; outbursts. This 1991 book is the definitive for Eisenstein, Herrmann’s music for when they’re gone, they’re gone! The book and Bride of Frankenstein reviews. each sheet has three Steiners, biography of the legendary composer, cov- Hitchcock, and several scores for the films is hardback, 144 pp., and divided into * #40, Dec. ’93 16 pp. Kraft & Redman Pt. Korngolds, Newmans and Tiomkins, ering his film, television, radio and concert of Jean-Luc Godard. A supplemental sec- three sections: a biography, overview of 4; Re-recording The Magnificent Seven. and four Herrmanns and Waxmans. work as well as his personal life: from his tion features Brown’s probing interviews Tiomkin in an historical perspective, and * #41/42/43, January/Feb./March ’94 Postage is free with any other item, beginnings in through his with Rózsa, Raksin, Herrmann, Mancini, specific coverage of his major landmarks 48 pp. Elliot Goldenthal, James Newton $1.50 if ordered alone (fear not, we three marriages and many professional Jarre, Schifrin, Barry and Shore. (Lost Horizon, High Noon, the Hitchcock Howard, Kitaro & Randy Miller (Heaven & won’t use the stamps as your post- associations. If you are a film student interested films, Giant, 55 Days at Peking and many Earth), Rachel Portman, ; Star age!). $9.95 This book is actually still in print, but in writing about film music, you have to more). Also includes a complete filmog- Wars trivia/cue sheets; sexy album covers; it can be hard read this book. raphy, 41 b&w photos, and 9 color plates. music for westerns; ’93 in review.

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com Bassetti, Jean-Claude Petit & Armando Day), Michel Colombier, Recordman Goes to Downbeat: Elfman, Young, Beltrami, Trovajoli in Valencia; Music & the Academy Congress, Bond’s summer movie column. Eidelman, D. Cuomo, Kamen. Awards Pt. 1; rumored LPs, quadraphonic #72, August ’96 Ten Best Scores of ‘90s, LPs. T. Newman’s The Player, Escape from L.A., Volume Four, 1999 #55/56, March/April ’95 Poledouris (The conductor John Mauceri, reference books, Issues 48 pp. Jungle Book), Silvestri (The Quick and the Akira Ifukube CDs. Vol. 4, No. 1, January ‘99 Music for NFL Dead), Joe Lo Duca (Evil Dead), Oscar & #73, September ’96 Recordman on War Films (Sam Spence), Goldsmith at Carnegie Music Pt. 2, Recordman’s Diary, SPFM Film Soundtracks Pt. 1; Interview: David Hall, Danny Elfman Interview (Psycho, Civil Conference Report Pt. 2. Schecter: Monstrous Movie Music; Ifukube Action, A Simple Plan), Wing Commander #57, May ’95 Goldsmith in concert, Bruce CDs Pt. 2, Miles Goodman obituary. game music, book reviews, Indian funk Broughton on Young Sherlock Holmes, Miles #74, October ’96 Action Scores in the ‘90s soundtracks. Goodman interviewed, ’94 Readers Poll, Star (intelligent analysis); Cinemusic ‘96 report Vol. 4, No. 2, February ‘99 Goldsmith Trek overview. (Barry, Zhou Jiping); Vic Mizzy interviewed. Buyer’s Guide: The ‘90s, The Exorcist #58, June ’95 Michael Kamen (Die * #75, November ’96 Barry: Cinemusic (the lost Schifrin score), David Shire Hard), Royal S. Brown (film music critic), Interview (very big); Recordman on War Film (Rear Window remake), Recordman Loves Annette, History of Soundtracks Pt. 2, Bond’s review column. Alloy Orchestra (scoring silent films), Golden (Koyaanisqatsi), TVT sci-fi CDs, promo CDs. Soundtrack Collecting Pt. 1. * #76, December ’96 Interviews: Randy Age CD reviews. Vol. 4, No. 3, March ‘99 The Best of 1998: *#59/60, July/Aug. ’95 48 pp. Sex Sells Edelman, Barry pt. 2, Ry Cooder (Last Man Vol. 2, No. 9, November/ December ’97 Essays by Jeff Bond, Andy Dursin & Doug Too (sexy LP covers, lots of photos), Standing); Andy Dursin’s laserdisc column, Arnold (Tomorrow Never Dies), John Frizzell Adams; Wendy Carlos interview; Goldsmith Maurice Jarre interviewed, Lukas’s reviews. (Alien Resurrection), Neal Hefti (interview), Buyer’s Guide Part 2: The ‘80s; Hammer Remembered, History of Soundtrack U-Turn & (long reviews), original soundtracks on CD, Recordman, Collecting Pt. 2, film music in concert pro Volume Two, 1997 Razor & Tie CDs; begins current format. Downbeat, ST:TMP CD review. and con. First color covers! Issues 32-48 pp. Volume Three, 1998 Vol. 4, No. 4, April/May ‘99 Franz Waxman: marketplace * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars Expanded format! Issues 48 pp. Scoring Prince Valiant (big article, photos, issue: Williams interview, behind the Vol. 3, No. 1, January ’98 Williams Buyer’s musical examples); 1998 Readers Poll; Special Edition CDs, commentary, cue Guide Pt. 1 (Star Wars to Amistad), Mychael Goldsmith Buyer’s Guide Late ‘70s; DIVX editing minutia/trivia, more. Also: Bond’s Danna (The Sweet Hereafter), Titanic soundtrack festival report; John Barry bios review column. music supervision, readers poll, laserphile, reviewed; Charles Gerhardt obit. * Vol. 2, No. 2, Mar./Apr. ’97 : Silvestri lecture, Rykodisc reviews. Vol. 4, No. 5, June ‘99 Star Wars: The Simpsons (big interview); promotional * Vol. 3, No. 2, February ’98 Glass The Phantom Menace scoring session report

CDs; Congress in Valencia; Readers Poll (Kundun), Williams Buyers Guide Pt. 2 (The and analysis of Trilogy themes; fsm ’96 & Andy’s picks; Bender’s Into the Dark Reivers to Black Sunday), H20 postmortem; Downbeat: Affliction, Free Pool Pt. 2 (Manchurian Candidate), Goldsmith Enterprise, Futurama, Election; Lots of CD roundup, including collections of animation, * Vol. 2, No. 3, May ’97 Michael Fine: Re- on Varèse, Pendulum CDs (interview & reviews: new scores, Roy Budd, Morricone, Morricone, horror, Golden and Silver Age recording Rózsa’s scores; reviews: reviews), poll results, TV CDs. TV, A Simple Plan. Hollywood, concert work CDs and lots more; Poltergeist, Mars Attacks!, Rosewood, more; Vol. 3, No. 3, March/April ‘98 Titanic/Horner Vol. 4, No. 6, July ‘99 Elmer Bernstein: Wild plus our reader poll. Lukas’s & Bond’s review columns. essays, Best of 1997, Cinerama Rides Wild West; George S. Clinton: Austin Powers Vol. 5, No. 1, January ‘00 Super Vol. 2, No. 4, June ’97 Elfman (Men in Again, Remembering Greig McRitchie, 2; Goldsmith Buyer’s Guide: Early ‘70s; USC Rescue: Inside Rhino’s reissue of John #61, September ’95 Goldenthal (Batman Black), Promos Pt. 2, Martin Denny and Fox Newman Stage photos, Elfman Oscar film scoring program; CD reviews: 1984, Williams’ Superman score; the film Forever), Kamen Pt. 2, Chris Lennertz (new Exotica, Lady in White, the Laserphile Nominations. and cue sheet analysis; ’50s Superman composer), Star Trek: The Motion Picture on DVDs, obituary: Brian May, The Fifth Vol. 3, No. 4, May ‘98 Bruce Broughton (Lost TV score; Howard Shore on Dogma; (analysis), classical music for soundtrack Element reviewed. in Space), (Godzilla), Making Downbeat: Goldenthal, Barber, Tyler, fans. Vol. 2, No. 5, July ’97 Goldenthal (Batman & the New Close Encounters CD, Williams Debney and Robbins; pocket reviews debut, #62, October ’95 Danny Elfman Pt. 1, Robin), Mancina (Con Air, Speed 2), George Buyers Guide Pt. 3; Score Internationale, Laserphile and more. John Ottman (The Usual Suspects), Robert S. Clinton (Austin Powers), ASCAP & BMI Laserphile, Downbeat (Ed Shearmur), Fox Townson (Varèse Sarabande), Ten Most award photos; Reviews: Crash, Lost World. Classics reviews. Index Influential Scores, Goldsmith documentary Vol. 2, No. 6, August ’97 Schifrin (Money Vol. 3, No. 5, June ‘98 Mark Snow (X-Files How much stuff have we printed in FSM? reviewed. Talks), John Powell (Face/Off), Shaiman feature), Classic Godzilla reviews/ overview, We’re not even sure anymore. Here’s a handy * #63, November ’95 James Bond Special (George of the Jungle); remembering Tony Jay Chattaway (Maniac, Star Trek), Bruce index of all reviews and articles through Vol. Issue! John Barry & James Bond (history/ Thomas; Summer movies, TV sweeps. Broughton Buyers Guide Pt. 1, Downbeat 4, No. 9, compiled by Dennis Schmidt. Cost: overview), Eric Serra on GoldenEye, essay, Vol. 2, No. 7, September ’97 Zimmer vs. (David Reynolds, Dennis McCarthy, Anne same as one backissue. favorites, more. Also: History of Soundtrack FSM (big interview, Peacemaker cover), Dudley), SCL Conference Report. *photocopies only Collecting Pt. 3, Davy Crockett LPs. Marco Beltrami (Scream, Mimic), Curtis Vol. 3, No. 6, July '98 Trevor Rabin * #64, December ’95 Danny Elfman Hanson (L.A. Confidential); Dursin’s: (Armageddon), John Barry's London Concert, Pt. 2 (big!), Steve Bartek (orchestrator), Laserphile, Bender’s: Film Music as Fine Art, (The Truman Show), Sword and the Sorcerer, The Mummy, The Recordman Meets Shaft: The Blaxploitation Recordman. Christopher Gordon (Moby Dick), Debbie Matrix, more. Soundtracks, Kamen Pt. 3, re-recording * Vol. 2, No. 8, October ’97 Poledouris Wiseman (Wilde), '70s soul soundtracks Vol. 4, No. 7, August ‘99 Warner Animation House of Frankenstein. (Starship Troopers), Shore (Cop Land, The reviewed. Scoring (Shirley Walker on Batman/ * #65/66/67 January/February/March Game), Zimmer vs. FSM Pt. 2 (interview), Vol. 3, No. 7, August ‘98 South Park (Adam Superman, Bruce Broughton on Tiny Toons, ’96, 48 pp. T. Newman, Toru Takemitsu, Berry, Bruce Howell), Baseketball (Ira more); Phantom Menace music analyzed; Robotech, Star Trek, TenInfluential compos- Newborn), retrospective, BMI & Michael Kamen on The Iron Giant; Stu ers; Philip Glass, Heitor Villa-Lobos, songs Subscribe Now! ASCAP dinners, Bruce Broughton Buyers Phillips on Battlestar Galactica; percussion- in film, best of ‘95, film music documentary Issues are mailed in polybags for Guide Pt. 2, Downbeat (Schifrin, Bernstein, ist ; ASCAP awards. reviews (Herrmann, Delerue, Takemitsu, added protection. Legrand). Vol. 4, No. 8, September/October ‘99 “The Hollywood Sound”). * Vol. 3, No. 8, September ’98 Lalo Tribute to Stanley Kubrick: interview (Jocelyn Shipping info #68, April ’96 David Shire’s The Taking U.S. Schifrin (Rush Hour), Brian Tyler (Six-String Pook) and analysis of Eyes Wide Shut, plus of Pelham One Two Three; Carter Burwell 2 years (20 issues) Samurai), Interview: Trevor Jones, John Kubrick compilation review; Poledouris on CDs/video: $3 first item, (Fargo), gag obituaries, Apollo 13 promo/ $59.95 Williams concert premiere, ASCAP scoring For Love of the Game; Goldsmith Buyer’s $1.50 each additional U.S./ bootleg tips. save 40% off newsstand seminar, Rykodisc CD reviews. Guide: Late ‘60s; Jeff Bond’s review/advice Canada. $5 first item, 1 year (10 issues) #69, May ’96 Music in Plan 9 from Outer Vol. 3, No. 9, October/November ‘98 on Goldsmith concerts. $36.95 $3 each add’l rest of world. Space; John Walsh’s funny movie music Erich Wolfgang Korngold: Biographer Vol. 4, No. 9, November ‘99 U.S. Postal Books: $5 each U.S/Canada, glossary; Herrmann & Rózsa radio pro- six months (5 issues) interview and book reviews; John Williams’s Service Composer Stamps; Papillion film grams; Irwin Allen box set review; Bender’s $19.95 Tanglewood film scoring seminar; Carter and score retrospective; interview with $10 rest of world. “Into the Dark Pool” column. Canada/Mexico Burwell (interview), Simon Boswell, Citadel king of German schwing, Peter Thomas; Backissues: Shipping FREE #70, June ’96 Mancina (Twister), final 2 years (20 issues) Records, Halloween laserphile. Downbeat covers Inspector Gadget, The within U.S./Canada. desert island movie lists, Jeff Bond’s sum- $69.95 Vol. 3, No. 10, December ‘98 The Thomas Crown Affair, and more; BMI $5 surcharge rest of world mer movie column, TV’s Biggest Hits book 1 year (10 issues) Prince of Egypt (Hans Zimmer, Stephen awards night. review. $42.95 Schwartz), Emil Cmiral (Ronin); Holiday Vol. 4, No. 10, December ‘99 “Scores per order. #71, July ’96 David Arnold (Independence Review Round-up: 50+ new CDs; of Scores 1999”: our annual review

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com emin and novachord to create warm-up for his work on Trek series creator and host Rod by his contemporaries and its mood of escalating mad- episodes like “” and Serling. The sound quality is enforced a more traditionally ness, while the “Elegy” score is “What Are Little Girls Made uneven but decent considering classical sound for his record- mischievous and diabolical yet Of?” He also wrote a disturb- the age of many of these record- ings. wistful. The post-apocalyptic ing, dissonant score for “King ings, which, it should be pointed While at MGM, he was “Two” features a grim score Nine Will Not Return,” in out, are not the original broad- contractually able to pick and full of sneaky, staccato piano which his music is the voice cast cues written for the spe- choose any of the studio’s films playing,‑while “I Sing the Body for Bob Cummins’ stranded cific episodes. Instead they are Electric” is at the opposite end WWII bomber pilot. Also here re-recordings done outside the of the spectrum—tunefully is Steiner’s reflective, remorse- country, shortly after the epi- sentimental with the episode’s ful score for the Civil War story sode sessions, for the program’s “electric grandmother” effec- “The Passerby.” Veteran com- music library. But you’ll never tively voiced by electronics. “A poser Leonard Rosenman lent know the difference. —J.B. World of Difference” features his distinctive, modernistic style more theremin wailings, includ- to “When the Sky Was Opened,” Miklós Rózsa at MGM ing one of the most disturb- while Jeff Alexander provided ★★★★★ ing, guttural musical stings a light, urbane score for “The MIKLÓS RÓZSA this side of Jerry Goldsmith’s Trouble With Templeton.” Rhino R2 75723 Alien. Far more conventional Finally, legendary Golden Age Disc One: 6 tracks - 78:15 is Nathan Scott’s nostalgic, film composer Franz Waxman Disc Two: 7 tracks - 78:20 low-key Americana for “A Stop got the opportunity to riff on f all the Golden Age com- at Willoughby”—nice, but it the territory of Sunset Boule- O posers, Miklós Rózsa is can’t compare to the similarly vard (which he scored for Billy the most accessible to younger to score; his tenure saw him themed “Walking Distance” by Wilder in 1950) in “The Sixteen fans. No matter how many score countless historical epics. Herrmann. Millimeter Shrine.” months of painstaking research Twelve of the 13 scores on this Disc four features several Also included here are some went into each of his projects magnificent double-CD set are scores by Fred Steiner of Star jazz source cues by Jerry and no matter the time or from such films, and each is Trek fame, including his semi- Goldsmith and others later subject matter of the movies, represented by an extended nal “100 Yards Over the Rim,” adapted into score material Rózsa’s scores are all unmistak- suite. The shortest, five minutes a blend of subdued Americana in various episodes, as well as ably his own. He also eschewed from Beau Brummell, repre- and creepy mystery that’s a several opening narrations from the shrill string sound favored sents the entirety of Rózsa’s

Film Score M o n t h l y 43 February 2000 SC o r e the score. Robert Wise’s Tribute raphy. The composer’s acerbic movies. work on the film, while the lon- to a Bad Man, the only western wit shines through with cutting Beast With Five Fingers has gest is a 20-minute suite of the that Rózsa scored, combines the comments about the stars and Steiner mixing his own ener- glorious orchestral exuberance composer’s unmistakable chord entertaining anecdotes about getic horror music with a great from Ivanhoe. progressions with traditional the various filmings. There are Bach chaconne; The Lodger is The first disc opens with 17 American/Hollywood western also production photographs Friedhofer’s dark, melodically minutes from Madame Bovary. writing. King of Kings was and pics of Rózsa himself. The and rhythmically advanced sus- This is based around Rózsa’s given its own release in 1992 by sound quality throughout is pense score that proves Jerry renowned waltz theme and is Sony Music, but it is now out terrific. Miklós Rózsa at MGM Goldsmith wasn’t the first guy one of his most beautiful com- of print, so this 13-minute suite is probably the best film music to play around with staccato positions. There are also suites may be the only way to find this release of the year —J.S. low-end piano playing; and The from Knights of the Round music. The other films repre- Uninvited has Table, Valley of the Kings and sented on disc two are Green Murder and Mayhem essaying a warm, lyrical ghost Moonfleet (not the science fic- Fire, The King’s Thief, The Great Horror Scores story score with material for tion picture one might infer World, The Flesh and the Devil From Hollywood’s Golden Age piano and orchestra reminiscent from the film’s title, but actu- (the only non-historical film ★★★★ of Rachmaninoff. ally the name of the English here) and Diane. MAX STEINER, HUGO It has terrific sound and a town in which it is set). Ben-Hur is one of two notable FRIEDHOFER, VICTOR YOUNG great performance from the The second disc continues absentees from this set; its Marco Polo Records 8.225132 Moscow Symphony Orchestra to serve up one highlight after omission is explained away 27 tracks - 60:06 under the direction of Bill another; it is a pleasure at last by Rhino’s lavish double-CD he Beast With Five Fingers Stromberg—plus music pains- to hear the original tracks from release in 1996. The source Tplays out the old crawling takingly reconstructed by John Lust for Life, the Van Gogh tapes for the other missing hand gag after a mad pianist Morgan, and educational liner biopic starring Kirk Douglas. gem, Quo Vadis, have appar- dies an unholy death; The notes by Bill Whitaker in a Previously available only as a ently been lost. This release Lodger follows a boardinghouse 30-page booklet. But, caveat re-recording performed by a includes a 48-page booklet fea- lodger who may or may not be emptor: All of these tracks have German orchestra and conduct- turing detailed notes by Fred Jack the Ripper; The Uninvited already been released in other, ed by the composer, the original Karlin about each of the films is a sophisticated haunted composer-themed collections. recording of Lust for Life shows represented—along with many house story. All three date from —J.W. FSM the true depth and ingenuity of excerpts from Rózsa’s autobiog- a kinder, gentler era of scary

Screen Archives Entertainment Large selection of new domestic and import releases, older releases and out-of-print CDs Major credit cards accepted. Write for free catalog! PO Box 500 Linden, VA 22642 ph: (540) 635-2575 fax: (540) 635-8554 e-mail: [email protected] visit: www.screenarchives.com

F e b r u ar y 2 0 0 0 44 F i l m S core M ont h l y SC o r e i N t e r NA t i o NAL E

’ve been away from this column

for a while but it’s great to be Sexy Shorts, Socialist Injuns I back. the principal excuse i can and Strassenfeger tender for my absence is an absolutely wonderful extended trip to europe. by John Bender

My wife, karen, and i had never been overseas before, and we found and England irresistible. The people are gracious urbanization; it reflected and the constant presence of historical refer- the then-new sensations ences is endlessly fascinating. Of course, I of uselessness and isola- also spent much time pursuing my film music tion that the relentlessly passions. I was fortunate enough to be able artificial conditions of city to visit one of Europe’s greatest soundtrack life can induce. collectors (who wishes to remain anonymous). To stay with Prato’s In all honesty it is possible that this individual Renaissance man for a has accumulated over 90% of all film music moment, Roberto has recordings of the past 40 years. From what just put out a special I could tell, he seemed to have a complete CD starring the incom- representation of not just the British releases, MONDO ITALIANO: If ‘60s America only knew parable Mrs. Dell’Orso, but Italian, American, French, German, and what it was missing... Edda Dell’Orso: It’s those of just about every other major indus- Time to Sing (Hexacord trialized nation. This mind-boggling collec- off is that while a teenage Roberto Zamori HCD 9305, 14 tracks tion is so huge that he had to have his home was sitting in a darkened cinema watching - 58:52). I’ve written architecturally reinforced so it could support a snappy psychotronic flick like Europa: before about this amaz- the weight of all those platters! Amazing. I Operazione Strip Tease, I had to be content ing woman, but for the should also take this opportunity to express with a scratchy, silent three-minute “loop” in sake of the uninitiated: my sincere gratitude to the many European a cramped, smelly peep booth in Pittsburgh. Edda Dell’Orso is “The lovers of film music I met who were kind The final injustice here is that Roberto got to Voice of the Italian enough to express their appreciation of FSM enjoy a great film score as he sat transfixed Cinema.” For the dura- in general and Score Internationale in par- by the awesome vision of the female body (all tion of the 1960s (and ticular—thanks to all! I got to listen to were the worrisome noises well into the ‘70s) And now, the music—Professor Roberto coming from the booth next to mine). At least she was called upon Zamori, in conjunction with the Plastic label Roberto has finally balanced the situation to voice hundreds of of Prato, Italy, has released a CD that he has by putting together 24 of the best cues from scores, and she has worked for every major probably dreamt of producing for many years, the original Mondo Movie soundtrack albums Italian film composer. She is most familiar to Mondi Caldi di Notti: Italian ’60s Mondo by Armando Sciascia. He has culled sweet American movie lovers as the operatic siren Movie Sexy Themes (Plastic PL009, 24 tracks- stuff from eight different scores, and all of it heard at the center of Ennio Morricone’s 54:55). Roberto’s humorous, biographical is good, mostly clean fun. Sciascia wrote for majestic “Finale” from Once Upon a Time liner notes make it clear what this is all about. full orchestra and chorus, and there is one in the West. During the early ’60s in Italy, local cinemas vocal—a priceless gem titled “Sexy World,” This new CD helps shine a whole dif- showed occasional “news reel” style films performed by Miss Mondo. The arrangements ferent light on Edda’s splendid gifts. Here that showcased examples of erotic nightclub bear the influence of the preced- she is finally given the chance entertainment filmed in various European ing two decades’ fling with the to express her passion for the cities. As Roberto explains, these “Mondo” sound. Having said that, A second- American musical. Track 7 is a and “Sexy” movies had a strong appeal, giving there are also a number of cuts suite of three standards, “New the middle class a chance to experience some that express a more modern edgi- and-a-half of York, New York,” “Summertime” of the titillating shows that were then just ness, a darker tone comparable to bare breast and “Cabaret.” I’m the wrong becoming available in major cities like Paris, Italian and French film music at man to address these selections in Rome and Berlin. Roberto writes amusingly the time, especially in horror and was enough that I’ve never had any interest about the five-minute standing ovation that suspense pictures. A good example in the musical format, but I can was spontaneously generated by the whole would be Suoni di Coregrafia. It to generate attest to Edda’s evident dedica- second-and-a-half exposure of one particu- doesn’t seem to delineate anything a five-minute tion to the songs. She obviously larly beautiful stripper’s nipple! Remember in particular; the music meanders, put heart and soul into her per- that this was taking place during the earli- like a blind person’s hands moving standing formance. Edda also does a sur- est days of the sexual revolution, a rarefied over some object with which they prisingly faithful homage to Billie time when nipples were still a precious com- are completely bored. This bizarre ovation Holiday with the signature ballad, modity for the erotic voyeur. What ticks me texture materialized in response to “Billie’s Blues (I Love My Man),”

F i l m S core M ont h l y 45 F e b r u ar y 2 0 0 0 S C o r e i N t e r NA t i o NAL e has pedal-steel guitar, banjo pickin’, the whole nine yards. “Severino Theme” is a pop-instru- and she is nothing less than heart-wrench- mental that stands out for its lack of a vocal- ing when performing ’ grief- Commies and Indians ist and its likeness to a soft-rock rendition of stricken spiritual from Roots, “Many Rains One of the many things I love about writ- Morricone’s “Man With a Harmonica” from Ago (Goodbye Motherland).” The strang- ing this column is that occasionally I come Once Upon a Time in the West. “Love Your est piece on the disc is “Centro di Gravita across a foreign soundtrack for which I Brother,” which cannot be ignored, is sung Permanente” by Franco Battiato. Edda leads have no frame of reference. Ein Wigwam in English with much gusto by its composer, a full orchestra and chorus on Steht in Babelsberg (aka Dean Reed. Dean must’ve been embracing what I assume to be a bizarre There Is a Teepee Standing the ‘60s flower-child politic at the time he put “concert hall” rendition of a in Babelsberg—Cinesoundz this invigorating power ballad together. well-known Italian pop ballad. ASM 002, 22 tracks - 64:27) Tracks 10 through 22 are instrumental I love it! Her splendid career is one such production. As I themes from the actual Wigwam film scores. in film music is not ignored; listen, I have no idea how to These are orchestral and more serious. Much Edda again puts voice to describe it—it’s so unexpected of this music is in the comforting style of Morricone’s Metti una Sera that I just want to sit here with American Golden Age westerns, but this effect a Cena, Liebeslied (Mio Caro my mouth hanging open and is achieved without mimicking the Newman/ Duttor Grasler) and Sahara’s a look of confused delight on Bernstein melodic template. Overall, this is Dream (Il Segreto dei Sahara). my face. But, as an eclectic and enjoyable release. If our own There is also a suite (track 9) says to himself in Goldfinger: lovable soundtrack importers aren’t carry- of nine different Italian film “Discipline, 007, discipline.” ing the disc, it should be available through score highlights. My favorites First, some background: In the German soundtrack dealer Tarantula of all 14 selections are the first 1963 the West Germans began Records (contact them via fax 011-49-40-34-34- and last tracks, “Night Magic” releasing a series of homemade from Mondo di Notte Oggi “cowboy and Indian” dramas. 07, www.tarantula-records.com, or by email at (composed by Edda’s brother- The films, called the Winnetou [email protected]). in-law Gianni Dell’Orso) and series, were very popular, so “The Hippies Sequence” from popular that the East Germans Deutche Dicks The Short Night of the Dolls were prompted to devise their Another new CD from Germany (also avail- of Glass by Morricone. “Night own variation on the theme. able through Tarantula) is Strassenfeger Magic” gives me the Edda that I love best, a Being a socialist society, they focused on the (Colosseum CST-8077.2, 21 tracks - 51:28), a sensuous avatar of womanhood. “The Hippies oppressed Indians as opposed to the capitalist collection of themes for various police dramas Sequence” is a must-have for all Morricone/ cowboys. In keeping with this unique perspec- that ran on German television throughout the Edda collectors; it is representative of their tive the German filmmakers invested energy ‘60s. These crime thrillers, partially created peak collaborative years, and it has never into serious research, resulting in narratives in response to the American series Dragnet, been available in any format. for the Wigwam series that employed histori- Peter Gunn and Mod Squad, were such mam- Finally, allow me to point out a curiosity. cal events and real Indians. How odd to think moth hits with German television viewers Track 3, a short suite comprising two themes that it was the German Communists who that the programs all earned the umbrella from Caligula e Messalina, is reminiscent of created the first successful series of politically moniker of “strassenfeger,” or streetsweeper. a rare musical moment from the original correct films about the American Indian! This term refers to the effectiveness of strong Star Trek television series. There is a scene The biggest star of these pictures was a law enforcement, “sweeping” the streets in the episode “Conscience of the King” heartthrob named Gojko Mitic. His career clean of crime, but it’s also a sly commentary where sings a haunting started out with a cameo in a West German on the shows’ drawing power—by 8:00 p.m. song called “Beyond Antares.” Obviously, Winnetou film, but he was lured shortly after all Germans were at home watching their cop the captivating similarity between the two across the Iron Curtain by the opportunity to stories on TV. works is a bizarre coincidence. (The entire be the star of Progress Films’ Wigwam series. As the ‘60s wore on, the programs became score to Caligula e Messalina, coupled He and the series became so famous that more gritty and violent, which probably with Nerone e Poppea, has been released singles were recorded not from the films, but exemplifies the powerful international influ- by Roberto on his Hexacord label, HCD rather about the films—and Mitic himself. ence that the Bond films were then exerting 9304, 16 tracks.) These early ’80s The first nine tracks of the CD on many facets of Western pop culture. These works, each written to support are newly digitized examples of shows aged well and now have cult status, erotic dramas of ancient Roman ow odd these wacky spin-offs. The songs akin to our Twilight Zone and Star Trek. royalty, were composed by Edda’s H all have a big band/big studio In the ’80s, German pop star Falco had an husband, Giacomo. On this two- that German sound and the vocalist frequent- international chart-topper with his new wave score disc the weird “Trek-twin” ly is the main man, Gojko Mitic. disco single “Der Kommissar,” which is actu- is identified as “The Messalina Communists “Tokei-Ihto” is my favorite; I ally about one of the most famous German Theme.” The bulk of both scores created think it could even have been a cop shows—Der Kommissar! The theme for was arranged for strings and/ big seller here! As is, it’s sung this show is on the disc (track 2) and it sets or harp, with Edda performing the first by Frank Schobel, a huge star the tone for at least a third of the collection. on a total of seven tracks. The (the German ). Der Kommissar has a rousing, rambunctious music is elegant and romantic, “PC” films The song has an upbeat and quality, much belching brass and percussion and most of the cues are lightly about the catchy ersatz-Indian flavor, like and a sparse melodic line played on electric singed with the airs of tragedy. Cher’s old hit “Half-Breed.” One guitar and bass. It’s similar to familiar jazz- This is an instant collector’s item American of the most recent recordings oriented themes like Peter Gunn, but the jazz for any Edda fan. (1979) is smothered in country element is sublimated in favor of ‘50s-style Indian! shtick—“Ein Mann Kann Vie!” big band quirk. German film composer Peter

F e b r u ar y 2 0 0 0 46 F i l m S core M ont h l y Thomas has recently attained cult status and my love affair with the infinitely mystical and ticular cue Crivelli invested in a clear homage his four cues bear the imprint of the “Thomas bizarre organ works of Oliver Messiaen (the to Bernard Herrmann’s score for Vertigo. If touch.” A number of cuts stray far from what ultimate Phantom of the Opera experience). any European readers can shed light on what an American TV fan would expect of a cop Individual favorites include Khachaturian’s it was about this particular film that prompt- show theme. They evoke fond memories of old Concerto for Piano and Orchestra, and Heino ed the composer to include such a striking American sitcoms: For example, Cliff Dexter Eller’s Elegia for Harp and Strings (one of simulacrum, please feel free to contact me (track 12) = My Three Sons and Gestatten the most chillingly perfect pieces of music through FSM. I cannot over-praise these two Mein Name Ist Cox (track 13) = The Dick Van I’ve ever come across—and I could swear Gil scores; Carlo Crivelli’s name should soon be Dyke Show. This is an entertaining anthol- Mellè must have heard this concerto before on many important filmmakers’ top-10 lists ogy—one of those rare discs that you can go writing his great main titles theme for 1973’s of first-choice composers. back to and find something new with each Frankenstein: The True Story). Just released visit. With 18 different shows and 12 different is a CD that brings classical writing to the Mexicali Mix composers represented, Strassenfeger offers a fantastic realm of film music. The artist is On to the Southwest: I thoroughly enjoyed a lot of options to any adventurous listener. Carlo Crivelli, and his two new scores on one strange little collection just put out by Iago disc are La Balla and Del Perduto Amore Music of San Antonio, Cantina Classics: Music That’s Good and Good for You (Pacific Time PTE8515-2, 16 tracks - 71:36). Music From Mexico’s “Golden Age of I can recall FSM receiving at least one There are no liner notes, but it appears as Cinema” (IAG0213D, 16 tracks - 45:12). All letter from a reader suggesting that more though both films are 1998 or 1999 produc- the music is performed by Frank Corrales, soundtrack buffs expand their tastes to tions. Crivelli’s magnificent music is struc- a talented guitarist and a dedicated fan of include a minimum, semi-regular diet of turally advanced and largely devoid of any 1930s Mexican movies and their music. The modern and contemporary classical music. I recognizable cinematic clichés or gestures. tracks are carefully performed by a small wonder how many of us took this cultured His style is traditional romanticism, rely- combo of guitars, harp, bass and percussion. gentleman’s advice? I confess to being lax ing on 19th-century orthodox melodic and The themes on this disc are irresistible; in keeping abreast of the classical scene. harmonic phrasing. The emotional timbre of the music is very relaxed and full of good However, I do make a point of tuning in to both scores involves subdued renderings of spirits and can easily elevate one’s mood. our local classical station (if only a few times dramatic situations and psychological states, These friendly and charming serenades are a month) and giving a listen for an hour or with an occasional escalation into a pasto- so refreshing that I recommend hardcore so. I do this in the hopes of stumbling across rale. Track 14, a suite of the second score, music consumers to use Cantina Classics something new and exciting that I can per- Del Perduto Amore, features an exhilarating as an aural “palate cleanser.” Whenever I sonally and/or aesthetically connect with. bolero. For any serious soundtrack hound the find myself feeling like I’ve heard too much The neat thing is that this roll of the dice most fascinating aspect of the disc involves of anyone kind of music, I’ll pop this on and occasionally pays off. In this manner I began track 12 of Del Perduto Amore. With this par- (continued on page 49)

The Original Motion Picture Soundtrack

Featuring Garry Bell's quirky Klezmer-based score, and songs by Ghostland

Don't miss the memorable soundtrack album to one of this year's most delightful films.

For more information about “Beautiful People” and other exciting soundtrack releases, please visit www.chapteriii.com

F i l m S core M ont h l y 47 F e b r u ar y 2 0 0 0 r e t r o G R A d e

The Statman Summarizeth A by-the-numbers look at 1999 in film music

b y S t a t m a n

his is the third annual installment of statistics of five others from last year dropped off the list. Citadel’s soundtrack album releases. (see FSM Vol. 4, No. 3 releases are too diverse to pin down. Cinephile made the T& Vol. 3, No. 2 for ’97 and ’98). The numbers are cut reissuing the Roy Budd catalogue, and DRG is back in collected from the catalogue listings of SAE and Intrada, full swing with its series of Italian releases begun a few and the listings and reviews in any film music magazine years ago. Alas, the Pendulum label has apparently folded, Statman gets his hands on. The numbers are necessarily but Rykodisc promises a fuller schedule this year. FSM fuzzy, but hopefully, good enough to identify trends. The itself released eight in 1999 and will probably release at counts are for albums, which can be multi-CD sets or sev- least 10 this year. eral scores on one album. Albums without a decent chunk The most-recorded-composers list is down a few in num- of score, most mass-marketed compilations, bootlegs and ber, and aside from the Goldsmith/Morricone/ Williams everyone’s CD-Rs get lost in this shell game. triumvirate, the list is always volatile, with Japanese and Italian reissues and some self-promotions t h e t r ACK r e C o r d changing the names year-to-year. Roy Budd has already been mentioned. and Total albums promo 35 A. Williams 8 were boosted by a series of Japanese for 1999: 450 Composers with J. Williams 11 reissues. Spanish RCA reissues gave Mancini a Current Films 213 5 or more releases Golden-Age boost. Bruce Broughton, John Debney, Ernest Reissues 95 barry 7 Composer Releases Troost and Alan Williams all did the promo Expanded 10 bernstein 9 Addinsell 1 thing. Nicola Piovani had an assist from First Releases 37 broughton 6 Auric 2 Pacific Time Entertainment, a U.S. label that New Recordings 19 budd 12 herrmann 9 has started issuing his albums, as well as some Composer Collections 48 davis 5 other Italian composers. Limiting the stats Other Collections 28 Korngold 2 to current year’s feature films, Debney and debney 5 Elfman tied with five albums each. Label with Elfman (including Psycho) 5 Moross 2 For those of you beginning to panic over 10 or more releases Goldsmith 10 A. Newman 3 the mysterious fifth Don Davis album, relax. Cinephile 14 herrmann 9 Rózsa 2 Bound had a commercial release in Japan this Citadel 10 lai 7 Shostakovich 2 year. The 10th Goldsmith is a Japanese con- dRG 17 Mancini 8 Steiner 6 cert conducted by O. Suzuki called Goldsmith Milan 19 Morricone (14 score albums) 21 Tiomkin 2 Hollywood Symphonic Spectacular. Piovani 5 Waxman 4 This time the Golden Age composers record- RCA (21 from Spain) 40 Rota 5 young 3 ed have been listed. After a poor showing in Silva Screen 17 Schifrin 5 various 2 1998 (only 15 albums), this category produced Sony 21 Steiner 6 a healthier crop of 41 in 1999. Herrmann Varèse 47 Troost 5 remains the “crossover” superstar. Intrada’s recording of Jason and the Argonauts was widely received as one of the finest re-record- The total number, 450, is down 20% from last year, ings ever. Then, Marco Polo’s re-recording of The Egyptian more in line with 1997’s total. Most numbers are down was found to be equally stunning. across the board, with the notable growth in the number Any trends? Perhaps. Silva Screen is on its way to of albums from the “Golden Age”—almost three times as become Barry re-recording headquarters. The Spanish many as 1998’s abysmal showing. division of RCA continues to reissue RCA’s soundtrack About half the albums are from current films, the rest catalogue. “Classic” film music continues to cross over from older films and compilations. It’s interesting that into classical releases. Marco Polo’s film-oriented releases only 15% of the releases of older music are recorded anew. have crossed over, and Chandos, Koch, Citadel, CPO, and In fact, twice as many albums escaped from the vaults for London are releasing more concert-oriented film music the first time in 1999 as were newly recorded. albums. Chailly’s Shostakovich Film Music album on The busiest recording labels vary year to year, and this London made the “classical” charts. time only eight were counted, as compared to last year’s While many of Statman’s cronies on the internet 10. Silva Screen and Varèse continue to be the busiest of continue to complain bitterly of not getting every note “small” soundtrack labels, with Milan, Sony and RCA rep- from every film, once again Statman feels satiated, if resenting the majors. The other three on this year’s list, not overwhelmed, by another year of more good film Citadel, Cinephile, and DRG weren’t there last year, and music than he can afford to buy or has time to listen

F e b r u ar y 2 0 0 0 48 F i l m S core M ont h l y Score Internationale Mailbag (continued from page 15) part). Besson didn’t have to explain Joan—he just had to make (continued from page 47) her compelling (while I did enjoy Dustin Hoffman’s performance have all the “fat” blown out of my head. Of and standard action movie revenge trope by having the young in the movie, his presence seemed another method of escaping special interest to all spaghetti western col- Joan witness the rape and murder of a young woman by the most the responsibility of making Joan a three-dimensional character lectors will be “Las Gaviotas” from For a loathsome, sweaty and snaggle-toothed Brit available (Joan of herself). For an example of a “mystified” but still compelling movie Few Dollars More, starring Clint Eastwood. Arc...this time it’s personal!). Thereafter, Besson simply tells rather depiction of an historical character, I’ll take David Lean’s Lawrence When I first spotted this particular desig- than shows, except in the case of his well-mounted but pointless of Arabia. For a convincing performance by an actress (rather than nation I must have set a speed record for battle sequences. Minor players are required to mutter asides like, a supermodel) playing a character who believes she’s talking to loading and programming a CD. Morricone’s “They say she’s a prophet...” rather than the decidedly more dif- God, I’ll take Emily Watson in Breaking the Waves. As for Serra and work on Leone’s Dollar trilogy is the “gold ficult proposition of actually showing the viewer exactly how Joan Besson’s score, I’d hardly say it follows the European tradition of of El Dorado” to most Italian western col- inspires worshipful allegiance in everyone around her (in fact, the being lightly spotted—it’s practically wall to wall for the first three lectors. We live in a painful, constant state soldiers Joan meets appear to regard her exactly as I did: as a shrill, quarters of the film. On CD it’s mildly listenable—in the movie of anticipation that someday a CD will be annoying and shallow character—but they nonetheless follow her it’s headache-inducing. FSM released with new tracks of music beyond the into battle after a few moments of unintelligible screaming on her great stuff that has been endlessly recycled since the first appearance of the original three-LP soundtrack albums 35 years ago. “Las Gaviotas” is a traditional Mexican folk tune, and I don’t recognize it as being from the second Man With No Name film, nor was it familiar to any of the Italian western experts I checked with. Finally, I queried the disc’s distributor, Allegro. The word from them is that Frank Corrales claims that the piece does appear in the film as a source cue, but only for about 30 seconds. Can any reader definitively verify this? For —A Symphony of Fear (Graveside Entertainment GSCD004-2, 2 discs, 33 tracks - 153:15) is well-timed to coincide with the current peak of the late Italian horror film director’s cult status, the recent theatrical re-release of his most famous film, The Beyond, and the publication of a new book on his life and films. Most of Fulci’s horror and pictures have had their scores issued on CD during the past decade, and therefore many of the tribute covers performed by goth and jazz/rock bands especially for this recording are actually of original compositions previously available to collectors. I think this makes A Symphony of Fear even more of a treat—comparing the film tracks to these alternative versions is a large part of the fun. The new treatments are successful. They are true to the essence of the various film composer’s intentions, and are invigorated by the great passion and devotion that these younger musicians all have for Fulci and his blood-stained body of work. I’ve never collected rock or top- 20 hits, and I have no appreciation of the whole gothic scene. Nonetheless, I enjoy a good chunk of this, partly because much of the music written for Fulci’s films smooth- ly lends itself to interpretation by demonic stage bands such as Gwar. Beware though, as there are a few death-metal ear-grinders included. These tracks are not based on film music, merely “inspired by” it. Major surprise cue—track 18, disc 1, is a beautiful orchestral rendition of Pino Donaggio’s music for The Black Cat done by award-winning film com- poser Marco Werba. A third CD is promised.

F i l m S core M ont h l y 49 F e b r u ar y 2 0 0 0 CLICK.CLICK. HEAR.HEAR. Com oser Registry

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