Graham, you're right, it is the films' End Title cue and you are also right, it's an inverted piece of twisted brilliance from Michael Small. It's the musical equivalent of a grinning monster politician who has just wiped out your family and stole all your possessions and is now performing his own musical dirge as he pisses on your Gullivers Travels-like face.
I agree. And it works in the film, not on record, IMO.
Did I mention that the politician is laughing? He's laughing his fucking head off as he wallows in your horror and distress. That's what the music is saying.
Did I mention that the politician is laughing? He's laughing his fucking head off as he wallows in your horror and distress. That's what the music is saying.
Agreed. And it makes sense within the context of the film, not as part of an isolated listening experience.
I like it just fine when I play it...which is often. Scores, by their very nature, contain different moods and styles and textures within their movie framework. Are you okay with the disparate styles and changing tempos of the Parallax Test track?
I like it just fine when I play it...which is often. Scores, by their very nature, contain different moods and styles and textures within their movie framework. Are you okay with the disparate styles and changing tempos of the Parallax Test track?
Everything is case by case.
Disparate styles and moods can work in some situations. In this case, it just sounds like a random parade tacked on at the end.
My custom "Day the Earth Stood Still" CD omits the two Arlington cues. They are beautiful on their own terms, and they work in the film, but they totally ruin the mood on the album.
Kev, you said that MARATHON MAN is by David Shire. You won't find ME making that kind of mistake. Are you perhaps thinking of Shire's ALL THE PRESIDENT'S MEN released on an FSM double bill with Bill Conti's brilliant KLUTE?
Haha. I just checked the predictive text on my tablet and it says 'predictive text brought to you by Onya Birri'. Explains why it confused David Shire with Michael Small
Onya, could you explain your love for Italian giallo soundtracks in relation to this thread's subject?
A giallo might well contain a pair of atonal/dissonant tracks (with Pendereckian col legno string effects) whose intense mood is 'broken up' by an acid/glam rock number or a psychedelic cue in between. Yet I don't recall you ever complaining about such.
If ragtime source music is a mood-buster, then couldn't a bossa nova also be an interruption?
