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Yeah, I remember the film being quite good too.
I saw it at the cinema, early 1995 and found it to be a solid entertainment without too much reliance on SFX.
3/5 was my (then) rating of it.
Ain't seen it since.
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I remember having a soft spot for the track ' 'Baloo'.
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Posted: |
Mar 7, 2023 - 7:40 AM
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By: |
Omni
(Member)
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Like the earlier posts above attest, I too never really clicked with this score when I first bought it (it was BASIL POLEDOURIS...I Bought Everything By Him).
It had the typical Basil sweep and ferocity where required, but seemed to be missing that vital hook and sounded too disparate, thematically for me, to get a full handle on.
Replaying it now, after quite a good few years, I'm not gonna say it has replaced the likes of BIG WEDNESDAY or CONAN or RED DAWN or...(you get my drift) as one of the Best Ever Basil Poledouris scores, but it does contain some seriously great passages of play, in that lovely, lyrical BP mode.
I still find the main theme a bit...I dunno, just there...like an idea of a theme, never completed or fulfilled.
But the incidental scoring is really good and offers up lots of interest to the attentive ear.
I think I used to play it and just expect something to happen.
But it's not that type of score.
Attention to detail is the order of the day, to peel away the layers and extract the level of detail going on behind the notes.
Jerry Goldsmith was supposed to score the film, but replacement work on THE RIVER WILD kept him away.
This is the only film by Stephen Sommers to feature a Basil Poledouris score (he worked extensively with Goldsmith & Alan Silvestri).
It's interesting to read that just over half the score is on the Milan CD (48 mins of a potential 88 mins).
I wonder how the complete work might play?
Maybe Intrada would release an expanded score. Sorry I'm a novice regarding if Milan still have the rights to the score?
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