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To EDWZOOMOM- Love your thread because it gives others with similar tastes the opportunity to search for the film scores you like or love that you mention here. I also really enjoyed ONLY YOU-Saw it back during it's theatrical release, cute film and a very nice score. Same for CIRCLE OF FRIENDS, which as I remember was one of my ex-girlfriends favorite cassette tape scores[remember those] DANCING AT LAUGNASA and LOVER'S PRAYER were nice , must check out the other two when I get a chance.
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Game of death-79- Love theme is really lovely by John Barry.
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A friend of mine gave me a copy of this fascinating CD featuring a suite from THE SKULL (Hammer - 1966). Music composed by Elizabeth Luytens, a tremendous artist.
http://www.classicstoday.com/review/review-12327/
And the best part is that the CD cost my buddy a mere 1.00$! Value of the music: priceless!
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Terence Blanchard - Inside Man
I enjoy the jazzier scores, and I just keep going back to this one.
If you like jazzier scores, you'll probably love this one:
http://www.amazon.com/dHenri-Georges-Clouzot-Henri-Georges-Clouzots-Inferno/dp/B005OBQIRE/ref=sr_1_1?ie=UTF8&qid=1386563169&sr=8-1&keywords=l%27enfer+alexiu
In 1964, director Henri-Georges Clouzot undertook the making of Inferno, an ambitious psychological thriller which promised to be a landmark in the history of French cinema. Serge Reggiani starred as a husband obsessed with the alleged infidelities of his younger wife, embodied by the seductive Romy Schneider. The German born actress was then prepared to give her very best to overcome the too wholesome image associated with her Sissi character. Paradoxically, the more than comfortable budget that Clouzot benefited from for Inferno, thanks to the participation of the Americans, finally proved to be detrimental for the project and indirectly caused ts abandonment after a series of episodes that were widely reported by the press at the time. 45 years later, cinema historian Serge Bromberg managed to persuade Clouzot's estate to grant access to the 185 cans of Inferno's rushes in order to reconstitute the genesis of this legendary misadventure. His movie, produced with the collaboration of Ruxandra Medrea, carried off the César for Best Documentary in 2010 and other international awards. It features scenes on location played mainly by Reggiani, Schneider and Dany Carrel, as well as kinetic art tests that deal with movements of forms and colors. In the contemporary part of the documentary, actors Bérénice Béjo and Jacques Gamblin perform additional scenes taken from the original Clouzot script, and there are numerous testimonies by some technicians who worked on Inferno. On this fascinating narrative framework, Bruno Alexiu composed a rich, vibrant and sensitive score that also appears to be a tribute to famous predecessors like François de Roubaix, Georges Delerue and Michel Magne, with an occasional nod to Bernard Herrmann. Sensuous jazz and electric guitar rhythms embellished with brass alternate with more abstract sonic experimentations, the whole effectively reflecting the typical effervescence of the sixties.
But please don't buy it there. That price is outrageous.
Write me a note and I'll see you get a complementary copy.
kvns93674 AT gmail DOT com
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Bruce Rowland's THE MAN FROM SNOWY RIVER is a beautiful, melodic score that deserves more attention than it receives.
Actually, the sequel score, Return to Snowy River (II - for some reason), is even better. The original one sounds kind of thin.
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Howard Shore's Nobody's Fool is a great little score. I wouldn't say it needs to be reissued or expanded or anything, but as music, it's pretty nice if you find it laying around somewhere for cheap.
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And always, Careful He Might Hear You by Ray Cook, one of the finest film scores I have ever heard. Too bad the guy died soon thereafter.
Other gems include John Scott's The Shooting Party, Walter Scharf's Legends of the Living Sea (technically, a score written for a multimedia presentation, but still!), Robert Ragland's Q-The Winged Serpent, Paul Sawtell/Bert Shefter's Kronos, Hans-Werner Henze's Swan in Love, Peer Raben's Querelle, Philippe Sarde's Choix des Armes, many, many more.
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Defending Your Life by Michael Gore.
Brilliant example of comedy/sentimental scoring without a trace of mickey-mousing. Made an Albert Brooks' film heartfelt - the last thing I expected from him.
"Brave enough for ya?"
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Defending Your Life by Michael Gore.
Brilliant example of comedy/sentimental scoring without a trace of mickey-mousing. Made an Albert Brooks' film heartfelt - the last thing I expected from him.
"Brave enough for ya?"
"There was a GAS leak!"
Dammit, now I have to watch this again.
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Misunderstood-84- Michael Hoppe-The escape artist-83- Georges Delerue.
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