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Posted: |
Jun 21, 2013 - 7:04 AM
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By: |
bobbengan
(Member)
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Becoming Colette. Shades of Sibelius (The Swan of Tuonela), Debussy. Wonderfully sweet music; very strong, beautiful main theme, Scott´s own lovely fin de siècle pieces, couple of secondary equally nice themes. Composer´s trademarks, shimmering strings and clear woodwind writing at full display. Solo guitar adds great charm.
Another forgotten gem.
This score is FANTASTIC and a true must-have. I would actually rank it as one of his best; So many amazing highlights. The overture is brilliant, and the redemptive/heartbreaking finale music is superb Scott. Great shout out on that one - Apparently the movie has barely ever been seen, though I discovered a few short months ago that my school's archive has a 35mm print of it.
I like to listen to this score as something of a "companion piece" with Williams' JANE EYRE, Rombi's ANGEL, Rodney Bennett's LADY CAROLINE LAMB, Towns' THE BUCCANEERS and Fenton's DANGEROUS BEAUTY in a "Lushly elegant period romance" playlist I've created in iTunes. They all feel like they're cut from the same type of cloth, and they're all wonderful. I even threw in Richard Band's title theme from HOUSE ON SORORITY ROW because it fit the idiom so well!
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By the way, can anyone who's seen GREYSTOKE comment on what music is missing? I've read that A.) The LP/CD arrangement represents not even half the score, and B.) A lot, if not most, of the music from the first half of the film is missing from previous releases.
Anyone care to describe what hasn't been released?
I haven't seen the film in a long time, but I remember there's a really good cue for the scene where young Tarzan and his chimp playmate are attacked by a wildcat, and he swims to safety. Later there is a very ferocious cue where the adult Tarzan finally kills the wildcat. Also good is the cue for the scene where his ape mother is killed (which is referenced later in the film when his "father" dies after being shot in London).
There are also more excerpts from Elgar's Symphony #2 used in the film, as in the scene where D'Arnot tries to explain to Tarzan that he has a human family in another land. This worked so well in the scene that I initially assumed it was written for the film by Scott!
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