When listening to--and grooving to--Grusin's jazzy, funky masterwork cue, I feel as though I'm wearing a turtleneck sweater, maroon-leather jacket, tan slacks--slightly flared, of course--while having a drink in the darkest lounge in Tokyo.
Who today could look as good in those duds as Mitch, James Coburn, or Steve McQueen? Samuel L. Jackson most likely. I'm not sure about anyone else.
Fantastic movie with a score to match. I'm very happy that I bought this CD a couple of years ago.
'Shine On' is, as Jim Phelps pointed out a long time ago, a funky Grusin masterwork. Like Lalo Schifrin, he can conjure up appealing source music cues that aren't merely background musak; there's some serious jazzin and soloin' going on.
Grusin's Assignment Vienna score has several of these type of cues - the only reason I bought the TV Omnibus set really.
As for The Yakuza, I like the fact that it's an atypical score - lots of calming music, flutes and tinkling percussion. A very atmospheric late-night listen.
1. Grusin's Assignment Vienna score has several of these type of cues - the only reason I bought the TV Omnibus set really.
2. As for The Yakuza, I like the fact that it's an atypical score - lots of calming music, flutes and tinkling percussion. A very atmospheric late-night listen.
1. I disagree. Grusin's "Assignment Vienna" scores are very repetitive and formulaic: cimbalom ad nauseum.
2. "The Yakuza" is the companion piece to the melancolic "The Heart is a Lonely Hunter". Please listen to "Tokyo Return", "20 Year Montage", "Scapbook Montage". "The Yakuza" is also very ethnico-esoteric: see the eerie waterphone use in "Tanner to Tono" as an example.
That line by Mitchum and the immensity and realization that goes with it, just hit me and it is the most remorseful line of dialogue from almost any movie I've ever seen, such is its weight. The subsequent apology making it all the more so.
There's a tragic beauty about it.
"Apologies" nails the emotional content on screen. "No man has a greater friend." Yes, it's all romanticized and that's what great film can do, but the poignancy and honesty of Harry's (Mitchum) sorrow and need to apologize in "their" way only intensifies the emotions we feel, which are muted as well as deeply moving at the same time. Amazing how they were able to achieve this balance.
I love how "Girl and Tea"--the cue I've been raving about on this thread for the past two years --is reprised in "Apologies." Whereas "Girl and Tea" underscores the budding romance between Richard Jordan and Takakura Ken's daughter, that same lovely cue is used to underscore the deep sense of respect between Mitchum and Ken's character when Mitchum apologizes--not with words, but through a selfless deed. It's amazingly emotional and deeply moving though it's easy to see how such a character interaction might be lost in what is largely thought of as an action film. Or was it? How exactly was The Yazuka marketed back then?
My apologies if this has been brought up before (I didn't read all 73 of the previous posts in the thread), but is there any chance of FSM making some more of these? I missed out on this one, unfortunately, and have heard really good things about it....
I certainly recommend it! It's more flawed than FRIENDS and YAKUZA, but it has its own gritty and even sentimental charm. (The sentiment only made me cringe once - when someone boisterously tells another character, "I hope you live forever," which is always an obvious ironic foreshadowing.) NICKEL RIDE also makes me wish Jason Miller and the lovely Linda Haynes (the relationship of their characters is the real heart of this movie) had made more films.
And, yes, Bo Hopkins at his most sleazily ingratiating.
Anyone know where the source cues "Shine On" and "Bluesy Combo" appear in relation to the rest of the score? I wouldn't mind giving The Yakuza another watch in the near future to found out myself, but just wondering if anyone knows offhand for making a chronological playlist.