The Rambos didn't do it for me. I loved the first movie as a film, but the scores kind of left me cold.
And I ended up really liking/converting to JG's 80s works, as I just listened happily to the excellent Lionheart again the other day (there's a candidate for re-recording), Poltergeist. More whose names escape me for now.
I could be wrong, but I thought the Omen I and II had more variation than the same Rambos.
Oh, they do. That's why I referred to the Omens as "rebooting" for each score, vs. the Rambos building on the previous. I actually think Rambo III from the end of the decade might be the one for you to try. Despite the first two having better orchestras performing them, the third is actually the most orchestral and least dated-sounding (lesser synth emphasis). It is also the longest, with the most themes and development (though more than one of the new themes derive from the same opening four note motivic fragment). If you like a more epic sweep to your 80s Goldsmith, this is the one that fits the bill...and Intrada just released a new version from first generation masters!
Yavar
Well, now the reissue interests me!
In the weeks following this original post I've come to see Omen III as one of the singular masterpieces of JG. The fact that he refused to let the original score come in as much as he did...that integrating the powerful new themes into Omen franchise was his main (and completed) directive, makes this score essential imo.
I find Damien: Omen II to be interesting not just because it makes obvious just how much more could be done with the original score, but also because of some seriously killer fooling around with electronic elements. I read a review calling it a bit of a wear because of its reliance on the original, however this to me is an example of what Rambo should have been: somewhat of a retread on paper, however the angel's in the details...so to speak.
(sorry I'm just a corny gal, can't halp it!)
I just know samples of Rambo III, however, yes I do know it more than deserves a chance...it's JERRY! The first two...it all just seemed very reminiscent of Capricorn One to me (now there's an Intrada release I plan on getting this Spring).
That said, Capricorn One is a Milestone in action picture scoring, and for JG to borrow from it is no different from Bernard's self-plagiarism, and I should accordingly be more patient...
Huh. The Rambos never seemed very Capricorn One dependent to me. All four scores bear Jerry's action trademarks of course, but he had established those long before Cap One. One score that owes a small but distinct debt to Capricorn One is Night Crossing...but even though it has one element very reminiscent of the earlier score, I actually find I overall prefer it as a listening experience...I may just find the thematic material more engaging. (The love theme in Capricorn One is one of Jerry's less interesting ones, to me, for example.)
Huh. The Rambos never seemed very Capricorn One dependent to me. All four scores bear Jerry's action trademarks of course, but he had established those long before Cap One. One score that owes a small but distinct debt to Capricorn One is Night Crossing...but even though it has one element very reminiscent of the earlier score, I actually find I overall prefer it as a listening experience...I may just find the thematic material more engaging. (The love theme in Capricorn One is one of Jerry's less interesting ones, to me, for example.)
Yavar
I'll be giving the Rambos another listen. Please understand that my familiarity with II and III are mostly from youtube, which means neccessarily limited.
...and, to be completely forthright, I wasn't thrilled with FB (though I really like the movie).
Huh. The Rambos never seemed very Capricorn One dependent to me. All four scores bear Jerry's action trademarks of course, but he had established those long before Cap One. One score that owes a small but distinct debt to Capricorn One is Night Crossing...but even though it has one element very reminiscent of the earlier score, I actually find I overall prefer it as a listening experience...I may just find the thematic material more engaging. (The love theme in Capricorn One is one of Jerry's less interesting ones, to me, for example.)
Yavar
I'll be giving the Rambos another listen. Please understand that my familiarity with II and III are mostly from youtube, which means neccessarily limited.
...and, to be completely forthright, I wasn't thrilled with FB (though I really like the movie).
Anyone remember Southern Comfort (the film)?
Did you like the Cajun feel to that movie against an army in training, i think Rambo took a big resemblance from Southern Comfort with the woods/dogs & being picked off but without killing civilians, i like SC none of the actors are big stars Keith Carradine, Fred Ward are good actors there roles were well acted here that knife duel was intense, kill him, kill him, KILL HIM!
Huh. The Rambos never seemed very Capricorn One dependent to me. All four scores bear Jerry's action trademarks of course, but he had established those long before Cap One. One score that owes a small but distinct debt to Capricorn One is Night Crossing...but even though it has one element very reminiscent of the earlier score, I actually find I overall prefer it as a listening experience...I may just find the thematic material more engaging. (The love theme in Capricorn One is one of Jerry's less interesting ones, to me, for example.)
Yavar
I'll be giving the Rambos another listen. Please understand that my familiarity with II and III are mostly from youtube, which means neccessarily limited.
...and, to be completely forthright, I wasn't thrilled with FB (though I really like the movie).
Anyone remember Southern Comfort (the film)?
Did you like the Cajun feel to that movie against an army in training, i think Rambo took a big resemblance from Southern Comfort with the woods/dogs & being picked off but without killing civilians, i like SC none of the actors are big stars Keith Carradine, Fred Ward are good actors there roles were well acted here that knife duel was intense, kill him, kill him, KILL HIM!
I thought SC was a darn good movie back in the 80s...because I haven't seen it since! I have no idea why that one doesn't pop up in Prime, Netflix realms.
I read later that it was actually a highly allegorical film, however I just thought it was a cool story and the score (iirc) was more than useful.
Man, I just can't stop listening to the highlights from this score (opening, foxhunt, finale & end title etc.). THIS is the Goldsmith I love - brazenly symphonic, resoundingly massive and full-throated, with [almost] no electronics to spoil the fun and add an unwanted "time stamp" to the proceedings. You could easily take the best twenty minutes from this, call it "Apocalyptic Suite for Chorus & Orchestra" or whatnot and concert-goers would be none the wiser.
Am I crazy or is there something vaguely Slavic or Russian-sounding in the main theme here? Not the choral useage mind you, but the progression of the actual main "Damian" motif.
Glad I put aside my "Hypercritical Goldsmith Bias" and took the plunge. I do think I'll be returning to this one pretty often. Whenever Jerry decided to use a big choir and give them complex things to do [i.e. more than just some "oohs" and "aahs"] you know you're always in for a treat - I'm also thinking of the glorious choral highlights in FIRST KNIGHT.
Since you love Jerry's choral writing so much, have you happened to pick up his pre-Omen masterpiece, QBVII? There's some spine-tingling stuff in that, and nary a synth to be heard! The complete Tadlow recording is just incredible.
In fact, I consider this to be Goldsmith's magnum opus (if anything is).
Since you love Jerry's choral writing so much, have you happened to pick up his pre-Omen masterpiece, QBVII? There's some spine-tingling stuff in that, and nary a synth to be heard! The complete Tadlow recording is just incredible.
In fact, I consider this to be Goldsmith's magnum opus (if anything is).
Yavar
It seems superhuman to me that JG composed such a phenomenal, personal score like that, one so filled with depth and conviction...and scored all this the same year:
Indict and Convict (TV film, 1974) Police Story (TV theme and pilot score, 1974) A Tree Grows in Brooklyn (TV film, 1974) Winter Kill (TV film, 1974) Chinatown (1974) S*P*Y*S (1974)
It reminds of of a historical study: the awesome Italian composer Verdi was speaking of his admiration for Tristan und Isolde (Wagner), and at one point admitted that it seemed to him like a work of magic that a single man could write such a masterpiece.
It astounds me how JG sustained such creativity...of such an elite quality, all in the course of one year. And that's nothing how about Alien and STTMP (and a few others) in the late 70s?
Getting back, Omen III is just a knock out effort imo; I remember trying to remember (from the movie, which I always liked) how distinctive III was from the first two musically, as the first two Omens featured marvellously varied takes on the classic Omen themes. I watched the film again and was immediately struck by how original so much of it was; which to me was a daring move given the Oscar winning status of that original score.
I'm glad I was told early on about how cool it is having all three, so I didn't miss out!
