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Posted: |
Dec 26, 2013 - 3:09 PM
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By: |
Doc Loch
(Member)
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So, this is all just my personal emotions talkin' here.... JERRY WAS ROBBED!!!!!
Robbed of what exactly?
HEY! Forget the 1969 awards... in Google seaching the nominees for Best Score from Academy history I discover this for 1973. The nominees for Best Original Score (not a musical):
The Way We Were -- Marvin Hamlisch (Winner)
Cinderella Liberty -- John Williams
The Day of the Dolphin -- Georges Delerue
Papillon -- Jerry Goldsmith
A Touch of Class -- John Cameron
I knew Goldsmith didn't win, but.... THE WAY WE WEREN'T won over Goldsmith's score to PAPILLON?!!!!!!!!
To quote Dustin Hoffman.... I'M DYIN' OVER HERE!!!!
I would have gone with Delerue that year. Papillon has a nice, memorable tune, but I just find the range of Delerue's work for Dolphin more interesting.
Speaking of The Lion in Winter, since I got stuck spending Christmas alone for the first time this year, I decided to do a sort of anti-Christmas movie marathon. The Lion in Winter made a perfect choice (especially since it also allowed me to pay tribute to the late, great Peter O'Toole), along with the first segment of Tales from the Crypt (1972), Queen of the Mob (opening with the bank robbery on Christmas Eve and climaxing with a shootout between the police and Ma Webster's gang around the ol' Christmas tree), Home for the Holidays (TV-movie with a really nice score by George Tipton -- not a likely candidate, I realize, for a CD release, but one of the labels really should consider this one), Two Front Teeth (truly twisted low-budget stuff but with the great sense of sick humor and highly recommended for those who like this sort of thing), and Whoever Slew Auntie Roo? No Bad Santa this year since I've seen it several times, but all in all, a very entertaining holiday.
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>>>>>>>Papillon has a nice, memorable tune>>>>>>>>
Maybe I'm misremembering, but isn't the tune from PAPILLON a reworking of a classical theme?
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After several years of helping create the sound of the 'swinging sixties' and single-handedly making it impossible for anyone else to ever score another spy movie, this is an absolute revelation of dramatic tone and orchestral color.
'shouldn't be a surprise though. He started out in choral composition in his youth. See the interview with his music tutor in the documentary 'Man with the Midas Touch'.
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Personally I refer the Siva Screen recording to the original.
But everyone to their own.
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