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"witch burning" -THE LAST VALLEY
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It depends what you really mean by "dark". If you mean it in the sense of the score having a psychological darkness (as opposed to the music being orchestrated with melancholy sounds), the only really strong examples are two already mentioned: Boom and Dutchman.
I think things like Witch Burning and The Whisperers are 'doomladen' but not psychologically dark in the way things like Day Of The Locust (the ending, that is) and King Kong is. Seance On A Wet Afternoon is actually more 'sad' and pitiful than dark, IMO.
Cheers
Cheers
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How about "return to scaramanga's funhouse" from Man With the Golden Gun, especially from 4:08 on. Granted this is the same year as DAY but i believe it was released before so it still comes "prior" to the the hollywood apocalypse cue. I'd argue thats as dark psyche as any Bond cue ever got.
An underrated film in my opinion as well. Always thought of it as something of a Bond chamber piece.
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What would we say is missing from this playlist?
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Thunderball:
Switching the Body
The Spa
The Bomb
Deadfall:
The Meeting
The Last Deadfall
My Love Has Two Faces (instrumental)
You Only Live Twice:
Tanaka's World
Death Of Aki
The Knack:
Something's Up
Midnight Cowboy:
Science Fiction
The Lion In Winter:
The Herb Garden
How Beautiful You Make Me
Four In The Morning:
River Walk
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Thunderball:
Switching the Body
The Spa
The Bomb
Deadfall:
The Meeting
The Last Deadfall
My Love Has Two Faces (instrumental)
You Only Live Twice:
Tanaka's World
Death Of Aki
The Knack:
Something's Up
Midnight Cowboy:
Science Fiction
The Lion In Winter:
The Herb Garden
How Beautiful You Make Me
Four In The Morning:
River Walk
yes, some excellent additions here
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Thunderball:
Switching the Body
The Spa
The Bomb
Deadfall:
The Meeting
The Last Deadfall
My Love Has Two Faces (instrumental)
You Only Live Twice:
Tanaka's World
Death Of Aki
The Knack:
Something's Up
Midnight Cowboy:
Science Fiction
The Lion In Winter:
The Herb Garden
How Beautiful You Make Me
Four In The Morning:
River Walk
yes, some excellent additions here
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I'm putting together a playlist of the so-called "dark barry" sound, but the catch being that I am limiting it to early incarnations of this style- i.e. before the official start of the period begun by the climactic cue of DAY OF THE LOCUST in 1974.
I'm thinking of tracks such as "Pain gone till tomorrow", "through caverns measureless to man", and "you've got more going for you than teeth" from BOOM!, "comprehendo?" from PETULIA, and "stalking the u-boat", and "stalking/destroy the enemy" from MURPHY'S WAR. Any more suggestions for such a playlist?
I query your inclusion of cues from MURPHY'S WAR. To the best of my knowledge, Barry composed the main theme only; the score proper was by Ken Thorne.
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I query your inclusion of cues from MURPHY'S WAR. To the best of my knowledge, Barry composed the main theme only; the score proper was by Ken Thorne.
No, Barry composed "themes" (plural) and not just the main theme. The credits are just not clear which themes or how many. The credit is clearly in the plural though. I think Barry composed all the raw thematic material but didn't actually 'score' the film. But all the thematic material Ken Thorne used to score the film was, I believe, Barry's.
On the CD, "Main Title", "Learning To Fly", "The Nurse", "The Village" and "End Title" all sound like they are very distinctly composed by Barry. "The Village" has a particularly strong sense of that "The Last Valley" period writing to it. "The Nurse" is a very Barry-esque love theme. And "Learning To Fly" just unfolds very classically like how Barry unfolds a dramatic piece.
Cheers
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Stephen, thanks for the clarification and correction.
I think the origin of my misunderstanding arises from the release of the score about 20 years or so ago (was this a boot?).
On that release I'm sure it stated that the score was as I remembered, and I also recall listening to the album and not recognising Barry in there at all. However, it's possible that 1) I don't remember arightly, and/or 2) the album had it wrong.
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