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Just announced:
Premiere release of exciting Bruce Broughton soundtrack from Peter Hyam's military crime thriller, set in San Francisco, starring Sean Connery, Mark Harmon, Meg Ryan. First of three pictures Broughton scored for Hyams, this one gave composer opportunities to write both strong main theme plus pulse-quickening action. Broughton launches with introspective, transparent four-note motif then moves to lean trumpet figure. Both ideas are reflective, offering cohesion that holds score together. Interestingly, brief trumpet idea is suggested throughout score but finally emerges into fully resplendent theme just once, for richly sonorous ending. But melody steps aside when action takes over. For chase sequences, Broughton creates propulsive rhythmic figures, then adds energetic, zigzagging staccato figures for trumpets in unison. Riveting trumpet parts playing above the fray are literally tour-de-force! Entire score plus alternates are presented courtesy Paramount Pictures. Sessions were made onto 32-track digital tape by Armin Steiner, then mixed directly to both digital and analog two-track stereo tape. Results are incredibly crisp, detailed! Special mention is due Broughton's recording of Edwin Eugene Bagley's famous "National Emblem" march. Stirring piece opens the film, Broughton records it outdoors for resounding, patriotic feel. A rewarding "extra"! Bruce Broughton conducts. Intrada Special Collection CD available while quantities and interest remain!
01. Main Title – Alternate (2:05)
02. The Lincoln/Patti Jean (1:40)
03. Car Chase (4:32)
04. Sgt. Garfield/Follow Me (1:43)
05. I’ll Call You/Tokarev Slug (0:38)
06. Empty Bottle/Phone Booth (1:15)
07. Chinatown Chase/The Car (3:48)
08. Your Fault (0:45)
09. Donna & Jay – Revised (3:10)
10. Tailing Spota – Revised No. 1 (3:48)
11. Waterhouse Fight (9:00)
12. Impatient To Say Goodbye/End Credits (4:54)
Total Score Time: 37:46
The Extras
13. Main Title – Original Version (2:05)
14. The Lincoln – Alternate (0:12)
15. Donna & Jay (2:00)
16. Tailing Spota – Revised No. 2 (3:48)
17. March “National Emblem” (Edwin Eugene Bailey) (1:11)
Total Extras Time: 9:23
http://store.intrada.com/s.nl/it.A/id.9255/.f?sc=13&category=-113
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Posted: |
Nov 11, 2014 - 11:12 AM
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By: |
bobbengan
(Member)
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For anyone on the fence, this is a tremendous, dynamic score. I bought the promo a few months ago after catching some of the movie on TV and being blown away by the terrific end title piece. It's one of those old fashioned, through composed end titles and not just an edit.
I'm not sure why the need for Goldsmith comparisons; it's a modern action score with a modern edge, but to me it sounds like Broughton.
Eh, I own the promo and never really listened to it that much personally. Having finally caught the largely vanilla film on Netflix the other day, I don't think that'll be changing anytime soon.
The end title is, indeed, very nice, though I don't imagine many will be "blown away" by it per se - THE BOY WHO COULD FLY this isn't. In fact, that end title is truthfully the only cut on the promo I enjoy and return to, personally, and even then not nearly with the frequency that I do many other efforts from this composer.
I can't really blame Broughton for a non-quite-amazing score here. The film has a few strong moments but overall is pretty marginal - Especially compered with Hyam's other, more muscular offerings from a decade prior, this one feels downright mundane. Sean Connery is predictably fun in a role he probably didn't have to do a ton of 'acting' for. The eventual revelation of the mystery behind the murder feels disappointingly daft and uninteresting and unworthy of the buildup.
Still, I'm a big Broughton fan and if the sound is an improvement here, I *might* double dip if the money avails itself... And regardless... I am happy for those who wanted this and didn't have it!
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