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Posted: |
Oct 17, 2013 - 12:26 AM
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By: |
Rollin Hand
(Member)
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What do you think of "The Young Stranger" as a score?
I was lucky to obtain a region 2 DVD of John Frankenhimer's first film THE YOUNG STRANGER (1957).
This is how I got to hear Rosenman's music for it.
I'd say that THE YOUNG STRANGER is not as heavyweight a score as REBEL WITHOUT A CAUSE (the premise of which THE YOUNG STRANGER resembles very much).
THE YOUNG STRANGER was shot in black-and-white and has that unique TV-to-cinema feel as does EDGE OF THE CITY and TWELVE ANGRY MEN, etc.
The cues of EDGE OF THE CITY are more hard-hitting than the music from THE YOUNG STRANGER, too.
I suppose this makes THE YOUNG STRANGER sound derivative and not a top-drawer priority for Rosenman followers, but it's still something I think would be nice-to-have on disc.
There's some lighter/comedic passages, but overall TYS continues in Rosenman's vein of contemporary Americana. If you like EAST OF EDEN and REBEL, then you'd already be receptive for TYS.
Otherwise, if your appetite for Rosenman does not extend beyond sci-fi, then TYS would not be on your radar.
[think of how many FSMers own STAR TREK IV but do not own THE COBWEB/EDGE OF THE CITY.  ]
I own THE COBWEB/EDGE OF THE CITY and not STAR TREK IV: I'm from the old school.
I watched THE YOUNG STRANGER on the cable twenty years ago: I vaguely remembered a family drama but not the music. From your rundown, the music is sparse, is in the background, folksy and do not underline the drama. Unlike REBEL in which the music is vivid and urban.
Additional question:
I wonder now how the music work on Rosenman's military films: BOMBERS and PORK—is it like the composition leaning of HELL and COMBAT! ?
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Posted: |
Oct 17, 2013 - 4:18 PM
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By: |
ToneRow
(Member)
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[startquoteAdditional question:
I wonder now how the music work on Rosenman's military films: BOMBERS and PORK—is it like the composition leaning of HELL and COMBAT! ?
I've always like HELL IS FOR HEROES and PORK CHOP HILL when I view the movies.
Actually, I had previously considered PORK CHOP HILL to be more memorable than HELL,
but that's changed since I got the Intrada CD of HELL (which I've been playing in repeated loops almost every day since I got in September).
My appreciation for HELL IS FOR HEROES has increased thanks to the soundtrack album.
PORK CHOP HILL's main title theme is explicitly Asian in character, but the remainder of this (yet another) sparse score is rather similar to HELL especially during the fighting sequences.
BOMBERS B-52 is different from either of the war stories.
BOMBERS B-52 focuses on the manufacturing of jets and is set during late-'50s peacetime.
Karl Malden plays the father of Natalie Wood who attempts to protect his daughter from romantic involvement with Efram Zimbalist, Jr. (who has a reputation within the Air Force as a ladies man).
BOMBERS B-52 is a very domestic (& rather earthbound) drama about familial & social conflicts; only towards the climax are there 'men-in-danger' aerodynamics and rescue-mission action.
Rosenman's music is, for the most part, written in the customary Hollywood romantic idiom.
There is, however, some good suspense music near the end during the mountain search for the stranded Zimbalist.
Overall, LR's BOMBERS is conventional and one shouldn't expect a masterpiece of Americana which EAST OF EDEN truly is.
[by the way, the 19 minutes of COMBAT! which is on the FMS CD seems to me rather like a program of 'easy listening' music from the show which may have been designed for one side of an LP that never materialized. When watching the COMABT! episodes themselves on home video, one is struck by how dark and modern the music Rosenman created is (and how much different it is from those surviving 19 minutes)].
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Posted: |
Oct 17, 2013 - 6:08 PM
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By: |
Rollin Hand
(Member)
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I've always like HELL IS FOR HEROES and PORK CHOP HILL when I view the movies.
Actually, I had previously considered PORK CHOP HILL to be more memorable than HELL,
but that's changed since I got the Intrada CD of HELL (which I've been playing in repeated loops almost every day since I got in September).
My appreciation for HELL IS FOR HEROES has increased thanks to the soundtrack album.
PORK CHOP HILL's main title theme is explicitly Asian in character, but the remainder of this (yet another) sparse score is rather similar to HELL especially during the fighting sequences.
BOMBERS B-52 is different from either of the war stories.
BOMBERS B-52 focuses on the manufacturing of jets and is set during late-'50s peacetime.
Karl Malden plays the father of Natalie Wood who attempts to protect his daughter from romantic involvement with Efram Zimbalist, Jr. (who has a reputation within the Air Force as a ladies man).
BOMBERS B-52 is a very domestic (& rather earthbound) drama about familial & social conflicts; only towards the climax are there 'men-in-danger' aerodynamics and rescue-mission action.
Rosenman's music is, for the most part, written in the customary Hollywood romantic idiom.
There is, however, some good suspense music near the end during the mountain search for the stranded Zimbalist.
Overall, LR's BOMBERS is conventional and one shouldn't expect a masterpiece of Americana which EAST OF EDEN truly is.
[by the way, the 19 minutes of COMBAT! which is on the FMS CD seems to me rather like a program of 'easy listening' music from the show which may have been designed for one side of an LP that never materialized. When watching the COMABT! episodes themselves on home video, one is struck by how dark and modern the music Rosenman created is (and how much different it is from those surviving 19 minutes)].
To sum-up your rundown, PORK is the work to get immediatly.
I wonder if the tapes from GARRISON'S GORILLAS are available.
Since, there was one single season, that could make a great CD.
What do you think about it?
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