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A small observation for anyone making custom covers for the various titles... I notice that THE DEVIL-DOLL is listed in the set with a hyphen, exactly as it is in Imdb and other online references to the film's title. But all the actual movie posters and other graphics from the time show THE DEVIL DOLL without a hyphen.
The correct title (which appears at the beginning of the movie), is really with hyphen (The Devil-Doll). Not always the titles of the posters are 'correct'.
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A small observation for anyone making custom covers for the various titles... I notice that THE DEVIL-DOLL is listed in the set with a hyphen, exactly as it is in Imdb and other online references to the film's title. But all the actual movie posters and other graphics from the time show THE DEVIL DOLL without a hyphen.
Fascinating.
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Posted: |
Dec 16, 2017 - 3:33 AM
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By: |
Ny
(Member)
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To my ears he sounds rather discontinuous and fragmentary, sometime hybrid and disharmonious, often dissonant or changing mood and style suddendly from a note to another.
Interesting. I could list these as reasons why I like his music.
I've tried to illustrate before why Rosza does nothing for me, actual music terminology does not seem to work, and the closest I can come --- to my ears Rosza's music is always pushing up, always leaving behind aspects that appeal to me.
By contrast, Waxman revels in the murk, and he refers back - often - to a track's primal components, even as it takes on significant construction. Here I'm only beginning to identify it from my point of view, but your description has helped.
Looking forward to diving in. I just got my shipping notice from Music Box, so there is a chance I'll get it before Christmas, 
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Posted: |
Dec 17, 2017 - 4:49 AM
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By: |
finder4545
(Member)
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To my ears he sounds rather discontinuous and fragmentary, sometime hybrid and disharmonious, often dissonant or changing mood and style suddendly from a note to another.
Interesting. I could list these as reasons why I like his music.
I've tried to illustrate before why Rosza does nothing for me, actual music terminology does not seem to work, and the closest I can come --- to my ears Rosza's music is always pushing up, always leaving behind aspects that appeal to me.
By contrast, Waxman revels in the murk, and he refers back - often - to a track's primal components, even as it takes on significant construction. Here I'm only beginning to identify it from my point of view, but your description has helped.
Looking forward to diving in. I just got my shipping notice from Music Box, so there is a chance I'll get it before Christmas,
Nothing is definitive in both film music and its composers, as it is common experience that uninteresting, annoying or even detestable scores, after more than one listening, can reveal hidden aspects and deep contents, display new dimensions and give unexpected and ever-increasing pleasure, opening the space in the mind for new styles and gramatics in a musical key.
Even with excellent names as Raksin and North I remember reading more times some of their "difficult" works, not to mention one of the most learned and introspective composers who is Jerry Fielding, a delight now for a busy listening.
Waxman is a basic figure in the field of film music, eclectic and intellectual, coming from the beginning and increasing in quality score after score, but due to a misterious part of my DNA in music, despite my good disposition, I have been unable to metabolize his style of composing and he remained an incomplete acquisition for me. The most recent personal test I have done has been with the listening of the double score of Jule Dassin's NIGHT AND THE CITY having Benjamin Franklel in the British primary version and Waxman in the subsequent US version: maybe also because of my predilection and love for the UK cinema and music, here Frankel for my money wins hands down, in terms of idiom and poetics. But Waxman remains a giant, and I think that in the box spanning decades of classic cinema I will find food for my mind and my heart, as these classics gave imprinting to generations of golden age followers, including me.
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Looks like a great set!
Any thoughts on my favorite Waxman score -- "Dark Passage"? (Bogart/Bacall) It's terrific music, worthy of a release.
The film itself got an excellent Blu-ray release a couple of years back, and also returned to the big screen just last week in my city (Dallas).
Where's this fine score on CD?
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Looks like a great set!
Any thoughts on my favorite Waxman score -- "Dark Passage"? (Bogart/Bacall) It's terrific music, worthy of a release.
The film itself got an excellent Blu-ray release a couple of years back, and also returned to the big screen just last week in my city (Dallas).
Where's this fine score on CD?
One of my favorite movies with Humphrey Bogart, and what an incredible Waxman work!
For now, unfortunately, I have only this (from Rhino CD, 1997): "Main Title/End Title/Baila Bailando/Too Marvelous For Words" (06:11) ... 
That Rhino collection was extremely disappointing and misleading. Just extracts from film audio tracks, complete with dialogue and sound effects. Practically worthless.
Really this CD was disappointing ... 'Composed By', although only have main titles & some finales, at least it was not so 'deceptive', I think ... (obviously this CD would be more for beginners in the world of soundtracks)
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