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Posted: |
Nov 4, 2018 - 5:30 AM
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By: |
juhana
(Member)
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I don't get what's so great about Jerry's Total Recall. A nice enough score that functions well in the film, but a rather challenging listen as a C&C presentation.
I prefer the score of Superman II to the first film. Certainly the first score is the more important and artistically superior one (since sooo much of #II is recycled from it), but I think #II works far better as a C&C listening experience. I suppose this is partly because the episodic nature of the first film also affects its score. The Krypton and Smallville segments are pure grade A Williams, but after that it settles to being just a regular "good" score that pales in comparison to what came before. Superman II spreads out it's thematic material more evenly. I also prefer Thorne's credit sequence arrangements of the main theme, and he gets more mileage out of the personal theme than Williams did.
Bernard Herrmann is hard to warm up to outside of the films (where he undisputably is great), especially in regards to his work with Hitchcock. Some exceptions aside, I find C&C presentations of his scores difficult to listen all the way through. His music works much better in shorter suites, such as his own concert suite recordings, or the compilation discs by Gerhardt and Salonen.
Alex North and Leonard Rosenman belong to the "appreciate artistically more than enjoy" category for me, with some exceptions. Maurice Jarre almost goes to this category too.
Jurassic Park is an overrated score. The action/suspense music is too screechy and shrieky, and the two main themes are rather banal and simplistic. I enjoy it well enough regardless, but not so much as others.
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I agree with a lot of what you’ve said, juhana, particularly on Superman: The Movie — both film and score sink dramatically for me in the second half. I wouldn’t say I prefer either of the Thorne scores though, because that first half is still so strong. Superman IV on the other hand does give the first score a run for its money as a more consistent complete listening experience though.
Oh, and The Lost World > Jurassic Park.
Yavar
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Posted: |
Nov 6, 2018 - 4:57 AM
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By: |
Jim Phelps
(Member)
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I don't get what's so great about Jerry's Total Recall. A nice enough score that functions well in the film, but a rather challenging listen as a C&C presentation.
I prefer the score of Superman II to the first film. Certainly the first score is the more important and artistically superior one (since sooo much of #II is recycled from it), but I think #II works far better as a C&C listening experience. I suppose this is partly because the episodic nature of the first film also affects its score. The Krypton and Smallville segments are pure grade A Williams, but after that it settles to being just a regular "good" score that pales in comparison to what came before. Superman II spreads out it's thematic material more evenly. I also prefer Thorne's credit sequence arrangements of the main theme, and he gets more mileage out of the personal theme than Williams did.
Bernard Herrmann is hard to warm up to outside of the films (where he undisputably is great), especially in regards to his work with Hitchcock. Some exceptions aside, I find C&C presentations of his scores difficult to listen all the way through. His music works much better in shorter suites, such as his own concert suite recordings, or the compilation discs by Gerhardt and Salonen.
Alex North and Leonard Rosenman belong to the "appreciate artistically more than enjoy" category for me, with some exceptions. Maurice Jarre almost goes to this category too.
Jurassic Park is an overrated score. The action/suspense music is too screechy and shrieky, and the two main themes are rather banal and simplistic. I enjoy it well enough regardless, but not so much as others.
I agree with everything written above. Every damned word of it...except for Superman II being the superior work to Superman: The Movie, that is. 
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Posted: |
Nov 7, 2018 - 5:47 AM
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By: |
Thor
(Member)
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This is a topic that we've had many times. Mikhail's earlier thread is but one of many. Some off the top of my head (most of which are wellknown around here):
* I can't stand C&C releases, i.e. arranged-for-listening albums are almost always better
* I prefer rerecordings over original recordings, especially for older scores
* I don't care about Horner's occasional references, which is blown out of proportions anyway
* Hans Zimmer is one of my favourite composers! I LOVE the "power anthem"
* I like Jerry Goldsmith, but think he is vastly overrated in this forum
* John Barry bores me / grates me
* I think film music is as vibrant and exciting as ever, and I just shake my head to the prolific "everything used to be so much better back in the day"-isms around here
* Collector issues bore me to tears (availability, ltd. ed.-talk, CD artwork, cracked jewel cases, postal service issues, rights holders etc.)
* Max Steiner often goes on my nerves, as do elements of Rozsa's music
* I don't automatically think music is better just because it's orchestral or thematic
* These days, I prefer calmer, more ambient stuff over the typical bombastic, brass&percussion-driven fan fare
* SPARTACUS is a fine score, but severely overrated in this forum.
* I only saw my first pre-Brosnan Bond film a few years ago. Never been a Bond fan.
* Never been a Trekkie/trekker. Never seen a single episode of the original series, and only sporadical episodes of the sequels.
Several more...those are some that came to me right away.
Revisiting this 8 years later, I feel pretty much the same thing about all of these issues. I could perhaps add a few new points, for example that I don't generally care for Desplat, and especially not Giacchino. I could also adjust my view on Barry. There are still certain parts of his 'sound' I don't like (especially his action writing), but he's a brilliant tunesmith and I've actually acquired a few Barry soundtracks since then.
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I hardly own any soundtracks before the 70's. Almost all of my start at the mid 70's with John Williams. I find soundtracks before the 70's to be overly dramatic, like a lot of the acting in films. There are a few exceptions but overall it's true. The only Bernard Herrman I like is Psycho.
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