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While I enjoy that theme, my favorite from the soundtrack (and score) is the Jazz Autographs theme. There are so many beautiful chord changes in it. And it works so well as Emelia's theme and Viktor's ultimate goal. Probably one of my favorite Williams' themes of all time actually.
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THE TERMINAL remains one of my most played soundtrack cds of the year. I never tire of it. I think I'll go listen to it again now.......
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Posted: |
Nov 24, 2004 - 1:41 AM
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By: |
dogplant
(Member)
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I do wish that had included that one dramatic cue toward the beginning of the film where Viktor finds out his country is being overthrown on the TV. It was short, but very powerful.
James
Ooh, yeah, I love that cue; and I agree with you, David, about 'Jazz Autographs' -- that one has passed into my personal pantheon of JW's all-time greats, and I use it to represent this film in my personal SS/JW club mix, which now covers 30-years of their work. Quite a trip...
Main Title: Sugarland (1973)
Montage (1975)
Out To Sea (1975)
The Shark Cage Fugue (1975)
The Cover-Up (1977)
Forming The Mountain (1977)
Lightshow (1977)
The March From '1941' (1979)
Main Title: South America, 1936 (1981)
In the Idol's Temple (1981)
The Beginning Of A Friendship (1982)
Anything Goes (1984 )
Body And Soul (1985) (Coleman Hawkins, 1939)
Cadillac Of The Skies (1987)
Scherzo for Motorcycle & Orchestra (1989)
Among The Clouds (1989)
You Are The Pan (1990)
The Raptor Attack (1993)
Schindler's Workforce (1993)
Malcolm's Journey (1997)
Dry Your Tears, Afrika (1997)
Wade's Death (1998)
The Mecha World (2001)
David And The Specialist (2001)
Spyders (2002)
Catch Me If You Can (2002)
Jazz Autographs (2004)
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Posted: |
Oct 14, 2018 - 5:24 PM
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By: |
SchiffyM
(Member)
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Though the album has long been a favorite of mine, I'd never seen the film until just this week. It's beautifully made, and well acted, and, to me, it just doesn't work. It keeps feeling like it's about to work, but the plot machinations and character turns to keep it going are eventually just too much for this to stay aloft. It aspires to Lubitsch, but it doesn't quite get there.
But Williams' score is still delightful, and works beautifully in the film.
What struck me is how 2004 seems like eons ago. The stores in the terminal include Borders Books and Brookstone. A bank of pay phones is a recurring area of the set, and several characters sport pagers. And all the televisions are old CRTs. Was fourteen years ago really that long?
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Posted: |
Oct 15, 2018 - 8:56 PM
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By: |
SchiffyM
(Member)
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I really like this film. Not one of Spielberg's best, for sure, but I love the Howard Hawks vibe he was going for (Lubitsch, as previously mentioned, is also a good reference).
I didn't think it was a bad film by any means – hey, I kept watching it. Ultimately, though, I found Stanley Tucci's motivations got weirder and weirder (he's such a great actor, it almost didn't matter), and after keeping Viktor's secret reason for being in NYC a mystery for so long, the ultimate explanation didn't resonate with me. Add to that the very chaste love story and a few too many goofy jokes and it was ultimately a near miss for me. But very worth seeing!
And I just listened to the album again, and what a delightful score!
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