HERE IS SOME INFO THAT SHOULD GIVE YOU NIGHTMARES.
TPV is based on reality - dozens of witnesses to the JFK murder were themselves killed. just like in TPV. The film is not a "paranoia thriller' but a fictional counterpart to a horrible reality. that is why it was made. Not just to entertain but to enlightren. It is the Warren Commission report that is a 'conspiracy theory'. the critics were not 'theorists' but dedicated investigators searching for the truth. too bad the liner notes do not reflect this fact.
Tommorrow will be the last day (for a while at least) i have access to a printer. Can you please get those liner notes up asap. pretty please.??? thank you me Lord. bruce
Curly: I'll do it when I'm ready! Moe: Are you ready? Curly: Yeah, I'm ready.
Still - it's hard to believe I'm holding the CD. After all this time. I first saw Marathon Man at the drive in during it's initial run, this was before I discovered William Goldman, but, it was my introduction to his brilliance. Even back then, the music haunted me, stayed with me.
VHS, DVD's years later, rereading the book, reading Goldman's script - Michael Small's evocative, eerie score was always there. And now it's here. My God even with another brilliant 70's thriller as a backup score.
FSM guys, thanks for listening to us, thanks for recognizing this music needed to be out there.
Still - it's hard to believe I'm holding the CD. After all this time. I first saw Marathon Man at the drive in during it's initial run, this was before I discovered William Goldman, but, it was my introduction to his brilliance. Even back then, the music haunted me, stayed with me.
VHS, DVD's years later, rereading the book, reading Goldman's script - Michael Small's evocative, eerie score was always there. And now it's here. My God even with another brilliant 70's thriller as a backup score.
FSM guys, thanks for listening to us, thanks for recognizing this music needed to be out there.
I think a BIG THANKS also should go to Paramount for allowing all these pearls to be released.
I'm probably the only member of this board who hasn't seen MARATHON MAN yet, but I'm listening to the score right now and it's CAAAAAAAARRRRRRRRAAAAAAAAAZZZZZZZZYYYYYYYY!!!!!!!!!!!!!!!
I was so jazzed that the entire score for Marathon Man is supported by text. Found this out by accident when I pressed the info button on my CDP remote! Got the CD in the mail today at 3 PM and it has not left my player since!
Hey Miggy, to get myself amped up for the soundtrack (arriving in my mailbox today I think), I watched Marathon Man this weekend (only my second viewing). Man, what a friggin' masterpiece. There are SO many great scenes. It's brilliantly shot and edited, and I tell ya, the bathroom scene when the thugs are whispering in the other room and then try to get through the door...that was horror film material! Also, two of my favorite actors, William Devane and Roy Scheider, were perfect. There really isn't a bad thing I can say about this film. Just exceptional in every way, and Small's score was such an important part. I love that theme that first plays when Szell arrives. Scrumptious.
Youre right Allardyce, its a sizzling movie. And the score just joins to it and becomes part of it (bit like the pistol in videodrome!). I like the line from someone earlier in the thread that said the plot was - paraphrasing but basically a bit complex and baffling - it is true, all the strands were hard to follow, like Bullitt almost, but its such a gripping film that the need to understand each element of the plot becomes irrelevant. Youre right about the way its shot and the cutting too - think of that bomb scene and the doll? And the assassin with the garotte and the clips through the balcony door - isnt there an old man watching from opposite? It's been a while since I saw the film. I always loved the scene at the beginning between szell's brother and the old boy, bumping cars, swearing at each other and racing.
Most of all I love the scene I posted earlier in the thread where the poor Holocaust survivor sees Der Weisse Engel in the street - its only her speaking - a monologue almost - cut with him hurrying down the street. But the way she starts muttering, at first, her verbal disbelief, then true horror, seeing almost a ghost - it's a very simple scene but a very powerful one. Szell?!! Oh my God, he gets away!' Superb acting on that lady's part, for a bit part player, quite remarkable to deliver such an engrossing scene - and you really feel her helplessness as everyone treats her like a ranting nutter. Apparently IMDB lists her as Old Lady on 47th Street (as Lotta Andor-Palfi). It seems she had an earlier career - then a big gap. Also appeared in All that jazz. I hope her grandchildren are proud of that scene.
Earlier someone mentioned Olivier's performance and some of the lines he has during the dentist scene. 'What I apply next is down to you'; "simple oil of cloves" etc. What I particularly admired about the way Olivier made his pure evil persona believable was the quietly-spoken, almost meek manner he employs. Attenbororugh did this also very well in 10 Rillington Place. Quite chilling to have such a despicable beast talking gently while causing such torment.
disappointed to read that the background material for PARALLAX VIEW calls the DOCUMENTED suspicious deaths of many witnesses to the JFK murder a "rumour"
Hey Miggy, to get myself amped up for the soundtrack (arriving in my mailbox today I think), I watched Marathon Man this weekend (only my second viewing). Man, what a friggin' masterpiece. There are SO many great scenes.
don't forget Szell's walk thru the garment district - classic!
so these CDs have started to arrive - and now the thread is dropping like a discarded stone.
anyone care to give us a few quick reviews? - some of us in europe dont have it yet.
It's wonderful! Listened to MARATHON MAN last night. When I got to track 12, I had to repeat it about a dozen times (it's the first variation of Szell's theme). I've saving Parallax for tonight, but every track of MARATHON was awesome and I'm so glad to have it.
Here's something to ponder...just what IS it about Michael Small's flutes and other orchestrations that make his work singularly unique? His sound and textures sound like nobody else IMO, and those flutes, ohhhh those dark and foreboding flutes that are prevalent in most of his thriller scores. I've never heard flutes sound like that in other scores or that give me such a strong reaction.
Here's something to ponder...just what IS it about Michael Small's flutes and other orchestrations that make his work singularly unique? His sound and textures sound like nobody else IMO, and those flutes, ohhhh those dark and foreboding flutes that are prevalent in most of his thriller scores. I've never heard flutes sound like that in other scores or that give me such a strong reaction.
I have to agree with this. Small had a way of making this instrument which is usually considered rather "delicate" and make it so disturbing!
