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Posted: |
May 22, 2017 - 8:17 AM
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By: |
jackfu
(Member)
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It's with some irony that Ridley Scott has not only been effusive about Goldsmith's music in retrospectives, but his main theme appears in Jed Kurzel's score for “Alien: Covenant” far more than it does in the 1979 film.
from:
http://www.rogerebert.com/balder-and-dash/the-great-unknown-the-story-behind-jerry-goldsmiths-score-for-alien.
Article by Charlie Brigden
Thanks for the article! This has been rehashed over the years and I’ve said before on other threads, that I can’t disagree more strongly with Rawlings and Scott on the use of the non-Alien cues, nor with the rejection of Goldsmith’s original Main Title. The only Freud cue that comes even remotely close to the flavor of Alien is the one used (“Desperate Case”) in the Dallas/ventilation system sequence.
JG’s original “romantic” Main Title (and it is) and his original End Title are what connect and bind together the entire score, for goodness’s sake. After all the unworldly-sounding riffs and suspense-laden and crashing horror cues in between, the End Title starts with peaceful relief and resolution and rise to a glorious crescendo to complete the experience. Scott and Rawlings simply fell in love with the temp tracks and unfortunately stuck with them, to the detriment of the experience of the movie.
Hanson’s music is unknown galaxies removed from Goldsmith’s. I repeat myself, but having purchased the LP in 1979 and shortly thereafter attending the movie with great anticipation of the use of said score, I sat in fury (and never was able to get the stain out  ) in the theater at the misuse and abuse of Goldsmith’s wonderful music.
Enough rant, I plan to see this in the next few days and I appreciate the comments and reviews thus far.
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