 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Still live in hope we'll eventually get to see a complete version of this soundtrack - I vastly prefer it to the original Robocop score & play the existing Varese release often. Great fun!
I'm wondering how much is left unreleased, other than that excerpt from Rebel Without a Cause?
Based on my copies of the conductor's scores, I would say there's at least 20 minutes (and probably a bit more - it might be closer to 30) of unreleased material (including at least two alternate/unused cues - though those may never have even been recorded, so who knows?).
This isn't necessarily a 'holy grail' for me, but to me it is one of the most purely enjoyable film scores out there - it's got everything - energy, wit, restrained lyricism, jazzy outbursts, bizarre twelve-tone mad scientist music, and smart motivic writing. As I think I said elsewhere, Kershner said that he used a "comic strip style to tell a seriocomic fairy tale," and I think Leonard's score captures that aesthetic perfectly. It's not Poledouris's "RoboCop" score, because how could it be? The filmmaking style and subtext is so different across the two pictures. Anyway, I love every note of it (as I do the rest of Rosenman's oeuvre). I listen to the existing album frequently (I love Poledouris's score too, but this one gets much more air time, and is my personal preference), and would welcome a complete version of it with open arms. Perhaps this'll be the year we finally see it!
And of course, just for clarity's sake - and my apologies in advance, since I'm sure this is what you meant anyway - the "Rebel Without a Cause"-esque scoring from the commercial isn't taken from "Rebel," but just written in that style.
Would also love to have a version of the "RoboCop Overture" that has that short lead-in piece in the film (part of which was dialed out) before it, too - it makes the entrance of that tutti sixteenth-note pattern really stand out gloriously.
I think "RoboCop 2" is a great score (even if it's not a masterpiece like "East of Eden," "Rebel," "Fantastic Voyage," or many of Leonard's other scores), and I'm glad to see that others share my enthusiasm for it.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Robocop 2-complete
|
|
|
|
|
|
Would also love to have a version of the "RoboCop Overture" that has that short lead-in piece in the film (part of which was dialed out) before it, too - it makes the entrance of that tutti sixteenth-note pattern really stand out gloriously.
On a serious note, this does happen to be one of my grails. And that includes obsessing over little bits like this lead-in before the End Credits overture 
Shame that the opening cue was left off the album; love the way it transitions from the Orion logo to the Magnavolt commercial with a blast of suspenseful jazz: https://www.youtube.com/watch?v=smIlXnHZMWk
|
|
|
|
|
|
When the score came out, I said to a friend that it was probably the last old school Hollywood score for a big budget movie that we're going to hear. I was right too.
It's the VERY last of its kind. And it's a beauty.
Maybe the last Rosenman of its kind, but surely Elmer Bernstein's output in the 90s and early 2000s has many examples to lay claim to the 'old school Hollywood score for a big budget movie' label? I mean, Age of Innocence anyone? And I doubt he's the only one who qualifies...
Yavar
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
