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I love it.
Southall gets depressed by it.
Gabriel Yared has never heard it, and didn't particularly like the experience of being rejected by Bille August after poor direction.
Most of us wish the soundtrack album was as long as it claimed to be.
And everyone else inclusive wishes Poledouris could've written more of it!
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I'm guessing you mean he wrote more music for the film, and the CD? I'm confused because your comment seems to indicate Poledouris didn't write all of the music here? Clarify if you could.
When I wish 'he wrote more of it', I meant I wish he had had more opportunities to write music like this in his later years.
I think there's at least one major cue missing from the album, which comes from the scene where Valjean enters Paris by scaling the wall with Cosette on his back. Poledouris remarked in an interview that he intentionally left that one off the album, but later came to regret it. But that cue aside, I don't think there's much missing here.
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We now have an interesting contrast avialable to us: Alex North's treatment of the subject matter, and Poledouris's.
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From what I can gather, the entire score would fit comfortably onto a CD, so there's no reason (except perhaps a legal one) that it couldn't be released at some point. If it is, they need to index the cues properly (in other words, forget about the stupid suite format; I often pass up listening to the CD because I couldn't be bothered listening to such long tracks), and fix the errors in the packaging (a correct track listing wouldn't be a bad idea  )
Now, as for the score itself, it is of course up to Poledouris' usual excellent standards. I would even go so far as to say it was his last great score. Naturally, he wrote good music later, but this score really does contain world-class music up there with his best.
The thematic statement at 1:00 into the first track on the official soundtrack is one of my favourite moments in film music. With so few notes, Poledouris said more than most film composers could say in an entire track. It's the sort of brilliance that I miss in modern film music. It doesn't happen very often these days.
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We now have an interesting contrast avialable to us: Alex North's treatment of the subject matter, and Poledouris's.
There's also a fine score to the French miniseries by Jean Claude Petit that should not be overlooked.
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Posted: |
Aug 20, 2007 - 2:55 AM
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By: |
JSWalsh
(Member)
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When I wish 'he wrote more of it', I meant I wish he had had more opportunities to write music like this in his later years.
Couldn't agree more. I shudder to think of what he might have done with the Lord of The Rings films, Gladiator, Troy, Kingdom Of Heaven etc.
Find a copy of The Touch CD if you can. While I wish he'd ended his career on a better film, the music is strong, melodic, and beautiful - a welcome return to his classic style, and a good note to end his career on.
First off, thanks to Franz for the clarification.
Secondly, while I was listening to this tonight, at one point I thought "Man, he would have written a great score to LOTR." Though I do love what Shore did, Poledouris's melodic style is, for me, one of the very finest of any film composer. I can think of few moments in film scoring better than the one at the very end of Lonesome Dove where we hear that gentle, heartbreaking theme as Tommy Lee Jones's character walks to the abandoned bar. I remember watching the miniseries, loving it, and then that moment happens at the end and I was simply in awe of that kind of musical talent.
Anyway, along with the "more music" comments (20 minutes doesn't seem THAT significant to me--is this another of those Internet comments that becomes scripture?), I don't quite get the equally-persistent comments about the track length. The tracks play beautifully. Of course, since I didn't see the movie I may not be grasping that there may be something wrong with the sequencing.
But as a pure listening experience as an album of beautiful music, this is a wonderful discovery (that's been in my collection for years).
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Boy! He would have delivered the goods and gave the film a musical unity the actual score doesn't have.
Oh, Gordon/Davies/Tognetti achieved a fairly unified sound, that's certainly an area they can't be criticised on. I'd understand if you said it wasn't heroic or didn't capture the romance of the sea enough, but the consistent texture is precisely what holds it together.
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Posted: |
Aug 20, 2007 - 7:11 AM
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By: |
Jake
(Member)
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Oh, Gordon/Davies/Tognetti achieved a fairly unified sound, that's certainly an area they can't be criticised on. I'd understand if you said it wasn't heroic or didn't capture the romance of the sea enough, but the consistent texture is precisely what holds it together.
I enjoy the soundtrack CD, I really love this film, but I felt that in some areas the music heard in the film seemed to float (no pun intended) over the narrative and seemed to lack a certain cohesiveness. And wasn't Peter Weir using a preexisting work by Christopher Gordon, reorchestrated for the film? Lately, the director has enjoyed coming up with his own choice of music. And of course, that's his absolute right as a director. But, I don't know, sometimes we've come to expect somethig different than what ends up in the finished film. I surely wasn't expecting hoping for something Kaper or Rozsa might have written for the same type of swashbuckler, but something a bit more romantic and epic, you're right.
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