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The latest CD from Intrada pairs two previously unreleased scores by two-time Oscar winner Leonard Rosenman -- the Satanic car chase thriller RACE WITH THE DEVIL, and the groundbreaking gay drama MAKING LOVE.


Tadlow's new recording of cues and suites from Jerry Goldsmith's Emmy-nominated music for the 60s TV anthology series THRILLER is now available to pre-order.


The latest release from Kritzerland features the Oscar-nominated music from the first feature film based on Charles Schulz' Peanuts comic strip, A BOY NAMED CHARLIE BROWN. The film incorporated Vince Guaraldi's beloved original themes from the TV specials as well as original songs by Rod McKuen and underscore by John Scott Trotter, and all three men were nominated for Music (Original Song Score), along with lyricists Bill Melendez and Al Shean. Multiple LPs of the film's music were released at the time, including one that also featured other McKuen themes and which was recently released on CD by Varese Sarabande. This Kritzerland release is the first-ever release of the complete score and songs recorded for the film.


CDS AVAILABLE THIS WEEK

Adam Resurrected
 - Gabriel Yared - Caldera
Bloudim 
- Emil Viklicky - Kronos
1898 Los Ultimos De Filipinas
 - Roque Banos - Saimel [CD-R]
The 5th Musketeer
 - Riz Ortolani - Quartet
Il Magistrato/Difendo Il Mio Amore
 - Renzo Rossellini - Saimel
La Ragazza di Bube
 - Carlo Rustichelli - Digitmovies
Legion - Jeff Russo - Lakeshore
L'insegnante Viene a Casa
 - Franco Campanino - Digitmovies
Livide 
- Raphael Gesqua - Kronos
Princesse Alexandra
 - Serge Franklin - Music Box
Race with the Devil/Making Love - Leonard Rosenman - Intrada Special Collection
Subterranea - Michael Holmes - Giant Electric Pea (import)
Terminator 2: Judgment Day (re-release)
 - Brad Fiedel - UME


IN THEATERS TODAY

Bokeh - Keegan DeWitt
CHiPs - Fil Eisler
Diamond Cartel - Ilyas Autov, Dauren Mussa, Murzali Zheenbayev
Frantz - Philippe Rombi - Score CD on Cristal (import)
Life - Jon Ekstrand - Score CD due May 5 on Milan
Power Rangers - Brian Tyler - Score CD due April 21 on Varese Sarabande
Walk of Fame - Jonah Johnson, Jeremy Soule
Wilson - Jon Brion

COMING SOON

March 31
The Boss Baby - Hans Zimmer, Steve Mazzaro - Backlot
Delitto Al Blue Gay
- Fabio Frizzi - Beat
Die Hard (re-release) - Michael Kamen - La La Land
Febbre Da Cavallo/La Commedia Musicale
- Fabio Frizzi - Beat
Logan - Marco Beltrami - Lakeshore
Prega Il Morto E Ammazza Il Vivo
- Mario Migliardi - Beat
Ritratto Di Donna Velata
- Riz Ortolani - Beat
April 7 
The Comedian - Terence Blanchard - Blue Note
The Game of Thrones Symphony - Ramin Djawadi - Silva
Music from the Films of Woody Allen
- various - Triangle Music
April 14
We're Going on a Bear Hunt - Stuart Hancock - Sony (import)
April 21
Power Rangers
 - Brian Tyler - Varese Sarabande
April 28
On Golden Pond - Dave Grusin - Varese Sarabande
May 5
Life - Jon Ekstrand - Milan
May 19
King Arthur: Legend of the Sword - Daniel Pemberton - WaterTower
May 26
Emerald City - Trevor Morris - Lakeshore
June 2
Max & Me - Mark McKenzie - Sony (import)
Date Unknown
A Boy Named Charlie Brown
- Vince Guaraldi, Rod McKuen, John Scott Trotter - Kritzerland
Fast Company
 - Fred Mollin - Dragon's Domain
Legend of the Lich Lord 
- Bruno Valenti - Howlin' Wolf
Monster from Green He
ll - Albert Glasser - Kritzerland
Panic/Fitzerald (Last Call)
 - Brian Tyler - Howlin' Wolf
Shadowgate 
- Rich Douglas - Howlin' Wolf
Thriller (re-recording)
- Jerry Goldsmith - Tadlow
Timemaster
 - Harry Manfredini - Dragon's Domain
Two for the Road - Henry Mancini - Kritzerland


THIS WEEK IN FILM MUSIC HISTORY

March 24 - Michael Masser born (1941)
March 24 - Brian Easdale wins only Oscar, for The Red Shoes score (1949)
March 24 - Alberto Colombo died (1954)
March 24 - Fred Steiner's score for the Star Trek episode "The City on the Edge of Forever" is recorded (1967)
March 24 - John Barry begins recording his score for The Deep (1977)
March 24 - Arthur B. Rubinstein begins recording his score for WarGames (1983)
March 24 - Alex North wins an Honorary Oscar, "in recognition of his brilliant artistry in the creation of memorable music for a host of distinguished motion pictures; " John Barry wins his fourth Oscar, for the Out of Africa score (1986)
March 24 - Gabriel Yared wins the Dramatic Score Oscar for The English Patient; Rachel Portman wins the second Comedy or Musical Score Oscar, for Emma (1997)
March 24 - John Barry wins his fifth and final Oscar, for the Dances With Wolves score; Stephen Sondheim wins first Oscar, for the song "Sooner or Later" from Dick Tracy (1991)
March 25 - Riz Ortolani born (1926)
March 25 - Recording sessions begin for Frederick Hollander’s score for The Great McGinty (1940)
March 25 - Elton John born (1947)
March 25 - Bronislau Kaper wins his only Oscar, for the Lili score (1954)
March 25 - John Massari born (1957)
March 25 - Henry Mancini begins recording his score for 99 & 44/100 % Dead (1974)
March 25 - Ken Thorne begins recording his score for Superman II (1980)
March 25 - Maurice Jarre wins his third and final Oscar, for the A Passage to India score (1985)
March 25 - Ron Jones records his score for the Star Trek: The Next Generation episode "The Royale" (1989)
March 25 - Luis Bacalov wins his first Oscar, for Il Postino; Alan Menken wins the first Comedy or Musical Score Oscar, as well as Best Song, for Pocahontas (1996)
March 25 - Tan Dun wins his first score Oscar, for Crouching Tiger, Hidden Dragon (2001)
March 26 - Larry Morey born (1905)
March 26 - Leigh Harline born (1907)
March 26 - Charles Dumont born (1929)
March 26 - Alan Silvestri born (1950)
March 26 - Bernard Herrmann begins recording his score for White Witch Doctor (1953)
March 26 - Louis Silvers died (1954)
March 26 - Malcolm Arnold wins his only Oscar, for The Bridge on the River Kwai score (1958)
March 26 - The Fall of the Roman Empire opens in New York (1964)
March 26 - Noel Coward died (1973)
March 26 - John Williams begins recording his score for SpaceCamp (1986)
March 26 - Alan Menken wins his first Oscars, for The Little Mermaid score and its song "Under the Sea" (1990)
March 26 - John Corigliano wins his first Oscar, for The Red Violin score (2000)
March 26 - Fred Karlin died (2004)
March 27 - Ferde Grofe born (1892)
March 27 - Dave Pollecutt born (1942)
March 27 - Tony Banks born (1950)
March 27 - Victor Young wins posthumous Best Score Oscar for Around the World in 80 Days (1957)
March 27 - Lalo Schifrin begins recording his score for Coogan’s Bluff (1968)
March 27 - Charlie Chaplin et al win score Oscar for Limelight (1973)
March 27 - Jerry Goldsmith begins recording his score to Winter Kill (1974)
March 27 - Jerry Goldsmith begins recording his score for Gremlins (1984)
March 27 - Jerry Goldsmith begins recording his score to Star Trek V: The Final Frontier (1989)
March 27 - Hans Zimmer wins his first Oscar, for The Lion King score (1995)
March 27 - Dudley Moore died (2002)
March 27 - Recording sessions begin for Nathan Barr's score to Hostel Part II (2007)
March 28 - Jay Livingston born (1915)
March 28 - Alf Clausen born (1941)
March 28 - Arthur Bliss died (1975)
March 28 - Waldo de los Rios died (1977)
March 28 - Carmen Dragon died (1984)
March 29 - William Walton born (1902)
March 29 - Tito Arevalo born (1911)
March 29 - Sam Spence born (1927)
March 29 - Richard Rodney Bennett born (1936)
March 29 - Vangelis born (1943)
March 29 - Franz Waxman wins his first of two consecutive score Oscars, for Sunset Blvd. (1951)
March 29 - John Williams wins his second Oscar and his first for Original Score, for Jaws (1976)
March 29 - Jerry Goldsmith wins his only Oscar, for The Omen score; the film music community presumably exclaims “Finally!”  (1977)
March 29 - John Williams wins his third Oscar, for the Star Wars score (1978)
March 29 - Vangelis wins his first Oscar, for the Chariots of Fire score (1981)
March 29 - Dave Grusin wins his first Oscar, for The Milagro Beanfield War score (1989)
March 29 - James Horner begins recording his score for In Country (1989)
March 29 - Alan Silvestri begins recording his score for Back to the Future Part III (1990)
March 29 - Alan Menken wins his fifth and sixth Oscars, for the Aladdin score and its song "A Whole New World" (1993)
March 29 - Jay Chattaway records his score for the Star Trek: Deep Space Nine episode “Strange Bedfellows” (1999)
March 29 - Ulpio Minucci died (2007)
March 29 - Maurice Jarre died (2009) 
March 30 - Kan Ishii born (1921)
March 30 - Luis Bacalov born (1933)
March 30 - Eric Clapton born (1945)
March 30 - Dimitri Tiomkin wins his third Oscar, for The High and the Mighty score (1955)
March 30 - Georges Delerue begins recording his score for Rapture (1965)
March 30 - Ennio Morricone, inexplicably, doesn't win the Best Score Oscar for The Mission, which was pretty much the only score album anyone in Hollywood listened to during the late '80s; Herbie Hancock wins Oscar for Round Midnight score instead (1987)
March 30 - Alan Menken wins his third and fourth Oscars, for Beauty and the Beast's score and title song (1992)
March 30 - David Bell records his score for the Star Trek: Deep Space Nine episode “In the Pale Moonlight” (1998)
March 30 - Dennis McCarthy and Kevin Kiner record their score for the two-part Star Trek: Enterprise episode “In a Mirror, Darkly” (2005)

DID THEY MENTION THE MUSIC?

THE DANISH GIRL - Alexandre Desplat

"So we’re left with a film that nods to, but then delicately looks away from anything that threatens to steer the narrative away from the single note of Finding The Courage To Be Yourself. Within this formula, which involves a great deal of face-cradling and whispering on the part of Redmayne (it’s such an externalized performance), the MVP is actually Vikander, although the set and costume designers are probably also clearing space on their mantelpieces, while Alexandre Desplat‘s score (he also worked on 'The King’s Speech') is the Platonic ideal for this kind of film -- melancholic and melodic, with occasional hints of fairytale."
 
Jessica Kiang, IndieWire

"Tom Hooper, the Academy Award-winning director of 'The King’s Speech' and 'Les Miserables,' is not known for graphic sex -- although he did a fine job capturing Benjamin Franklin’s romps with prostitutes in his 'John Adams' miniseries for HBO. But he does better in the early scenes here where the young marrieds indulge their lust than in the more stilted dialogue-heavy moments in large open rooms filled with canvases and little else. Too often 'The Danish Girl' is more a still life than a moving picture despite a soaring score and painterly visuals."
 
Susan Wloszczyna, RogerEbert.com
 
"But speaking of the heart, 'The Danish Girl' is more likely to appeal to the head. Admittedly, there’s some striking imagery that will surely grab you: tutus hanging backstage at the ballet, illuminated from below like tulle jellyfish, or the crisp symmetry of immaculate, identical row houses, shot in widescreen. During a rare daring moment, Einar visits a peep show to mimic the stripper’s moves, and the two end up in a spontaneous sort of dance through the glass. But there are also plenty of images that are rather obvious and simplistic in their symbolism: a sheer sheet hanging between Einar and his wife Gerda (Alicia Viklander [sic]) at bedtime, providing a physical separation, or a scarf blowing away in the wind as Alexandre Desplat’s score soars with it."
 
Christy Lemire, RogerEbert.com

"There are fewer quiet moments to be found in the score by Alexandre Desplat, which, while lovely in and of itself, is so frequently and vigorously deployed that I began to long for the emotional privacy of being allowed to feel my own feelings on my own time. But the production and costume design -- by Eve Stewart and Paco Delgado, respectively -- are as luscious to look at as they are thoroughly researched. The Wegeners’ apartment, a barren, light-flooded space with oil painting–bedecked walls and rough-hewn wood floors, was inspired by the interiors of the early 20th-century Danish painter Vilhelm Hammershoi. It’s so cool-looking I predict a run on Scandinavian design firms by arty couples seeking the Hammershoi look."
 
Dana Stevens, Slate.com
 
"Mr. Hooper’s tasteful, earnest, didactic style -- magnified by Alexandre Desplat’s decorously overwrought score -- does the film no favors. And the asymmetry between the central performances doesn’t help, either. Mr. Redmayne is a master of technique, adept at significant gestures, freighted glances and the kind of showiness that masquerades as subtlety. As a result, the passage from Einar to Lili is almost entirely a matter of artifice and surface. Einar’s fingers brush against the ballerina’s dresses hanging in Ulla’s studio. Mr. Redmayne alters the angle of his neck, the rhythm of his walk, the timbre of his voice and the set of his mouth. It’s all very impressive, as it was when he traced the progress of Stephen Hawking’s neurological illness in 'The Theory of Everything.' But like that much-praised performance, this one does not take us where we need to go, which is inside the character’s mind and spirit."
 
A.O. Scott, New York Times

"If a computer were programmed to create the perfect Oscar movie in 2015, it would probably look something like 'The Danish Girl,' director Tom Hooper's stately, overwhelmingly stylish period melodrama about Danish artist Lili Elbe, the first known transgender woman to undergo sexual-reassignment surgery, and her devoted wife, painter Gerda Wegener. Every required part of an awards movie is there: stellar cast (Eddie Redmayne, Alicia Vikander), lush cinematography, plaintive score, a stirring social message. But despite, or perhaps because of, all that perfect, well-appointed polish, there is something rather lifeless at the heart of this well-meaning film. It concerns a topic with true relevance to today, but that urgency is too often drowned out by Hooper's heaps of aesthetic indicating, and by Redmayne's fastidious, oddly self-conscious performance. That said, this is a well-intentioned film, and one with enough potential mainstream appeal (for the artsy/awards-y crowd, anyway) to probably do some good. After a screening in Toronto, back in September, I overheard a group of people in maybe their 40s and 50s saying that the film helped them gain an understanding, or the beginnings of an understanding, of what the transgender coming-out and transition process is like. So if the film has that power, then it's certainly a worthwhile piece. But something about the film left me cold, slightly chilled by how self-congratulatory the whole thing becomes by the end. (It doesn’t help matters that Lili and Gerda’s romantic history has been heavily revised to wring a more tidily sentimental ending out of the story.) As the music swells and the end credits begin to roll, the film clamors to be rewarded for its noble empathy, which is rarely, if ever, a good look for a movie."
 
Richard Lawson, Vanity Fair

"With Redmayne reduced to poses and smiles, Vikander wrests the movie away to show us how a truly modern woman behaves. As a portrait artist, she commands her male subjects to 'yield'; as a lover, she's eager to make the first move -- she even asked Einar out on their first date. Later, when her paintings of Lili are a hit, Gerda dedicates herself to her career, and their trajectories as homemaker and artist invert. Still, perversely, we can't help noticing that their marriage becomes increasingly hierarchical -- practically patriarchal -- with Lili forcing Gerda to submit to her terms. Gerda is ditched at dinners, abandoned at her own art shows, drained of emotional support, and thrust into celibacy. No matter what her heart, or the empathetic score, might insist, Lili can still act like a dick."
 
Amy Nicholson, L.A. Weekly

"What Hooper fails to do is get to grips with sexual identity in any way that's intellectually or emotionally provocative or surprising. That makes for a cold, pretty, delicate movie -- one that too often relies on scene-stealing production design or the overwhelmingly insipid score for its otherwise strikingly absent emotional power. There are hints of a more interesting film -- especially when Redmayne's Einar visits a private sex show in Paris and starts imitating the performer. But mostly it's all very British and middle-of-the-road in a way you hoped cinema had left behind."
 
Dave Calhoun, Time Out London

"As Hans puts it at a train sendoff that recalls 'Casablanca,' 'I’ve only really liked a handful of people in my life, and you’ve been two of them.' But Lili’s emergence is a gradual and hesitant process, beautifully embodied by Redmayne -- and reflected by Vikander, whose Gerda does her best to adapt alongside her husband, amounting to a substantive role for the film’s resident 'Swedish girl.' Shy at first, like a flower opening, Redmayne ducks his eyes and turns his head as Lili, his confidence growing in tandem with the rolling boil of Alexandre Desplat’s strings and piano score."
 
Peter Debruge, Variety

"Aside from saturation use of Alexandre Desplat's lush score, Hooper avoids the lumbering, overemphatic qualities that made his 'Les Miserables' such a snore. One might have wished for a more adventurous approach to this moving story, particularly at a time when transgender representation has taken over from gay rights as the next equality frontier. On the other hand, maybe the film's conventionality is exactly what's needed at this time to enlighten mainstream audiences on transgender issues? For a story about two artists, it might also have been legitimate to expect a more painterly quality to the visuals. However, aside from establishing shots of wintry Danish landscapes and dockside fish markets, the look is standard-issue polished period piece, with handsome but unremarkable production design by Eve Stewart and more striking costumes by Paco Delgado."
 
David Rooney, Hollywood Reporter
 
WELCOME TO LEITH - T. Griffin
 
"The directors capture some striking moments, though those sequences often seem more like they belong in a horror feature than a doc: When the camera pushes in slowly on swastikas painted on trees around Cobb’s home, while ominous, minimalist music and low percussion beats play, it feels like Nichols and Walker are trying to set up the next 'Blair Witch' movie. Their film evokes plenty of feeling, and captures plenty more as it happens. It could just use more overt and significant thought around the feeling. A solid documentary feeling of 'you are there' isn’t always a substitute for '…but here’s what happened when you left, and here’s what it all meant.'
 
Tasha Robinson, The Onion AV Club

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPASAmerican Cinematheque: AeroAmerican Cinematheque: EgyptianArclightLACMANew BeverlyNuartSilent Movie Theater and UCLA.

March 24
ONLY ANGELS HAVE WINGS (Dimitri Tiomkin), BLONDE VENUS [New Beverly]
PULP FICTION [New Beverly]
THIS GUN FOR HIRE (David Buttolph), QUIET PLEASE, MURDER (Emil Newman) [Cinematheque: Egyptian]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

March 25
ALL THE PRESIDENT'S MEN (David Shire) [Silent Movie Theater]
DEMONLOVER (Sonic Youth) [Silent Movie Theater]
THE KING AND THE MOCKINGBIRD (Wojciech Kilar) [Silent Movie Theater]
MINISTRY OF FEAR (Victor Young), ADDRESS UNKNOWN (Ernst Toch) [Cinematheque: Egyptian]
ONLY ANGELS HAVE WINGS (Dimitri Tiomkin), BLONDE VENUS [New Beverly]
ROOKIE OF THE YEAR (Bill Conti) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
VAMPIRE'S KISS (Colin Towns) [New Beverly]

March 26
CLEAN (David Roback, Tricky, Brian Eno) [Silent Movie Theater]
THE FIREMAN'S BALL (Karel Mares), INTIMATE LIGHTING (Josef Hart, Oldrich Korte) [New Beverly]
LADY ON A TRAIN, ESCAPE IN THE FOG [Cinematheque: Egyptian]
ROOKIE OF THE YEAR (Bill Conti) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
W.R.: MYSTERIES OF THE ORGANISM (Bojana Marijan) [Silent Movie Theater]

March 27
THE FIREMAN'S BALL (Karel Mares), INTIMATE LIGHTING (Josef Hart, Oldrich Korte) [New Beverly]
BRAZIL (Michael Kamen) [Arclight Hollywood]
THE DARK CORNER (Cyril Mockridge), BEHIND GREEN LIGHTS (Emil Newman) [Cinematheque: Egyptian]
THE LOST MOMENT (Daniele Amfitheatrof) [UCLA]

March 28
CALCUTTA (Victor Young), BACKLASH (Darrell Calker) [Cinematheque: Egyptian]
HEROES SHED NO TEARS (Siu Fung Chung, Siu-Lam Tang), EASTERN CONDORS (Ting Yat Chung) [New Beverly]
POSTCARDS FROM THE EDGE (Carly Simon) [LACMA]
SMOKIN' ACES (Clint Mansell) [Arclight Santa Monica]

March 29
THE ACCUSED (Victor Young), THE HUNTED (Edward J. Kay) [Cinematheque: Egyptian]
THE BALLAD OF CABLE HOGUE (Jerry Goldsmith), FROM NOON TILL THREE (Elmer Bernstein) [New Beverly]
ELDORADO [Silent Movie Theater]

March 30
THE BALLAD OF CABLE HOGUE (Jerry Goldsmith), FROM NOON TILL THREE (Elmer Bernstein) [New Beverly]
CHICAGO DEADLINE (Victor Young), I WAS A SHOPLIFTER (Milton Schwarzwald) [Cinematheque: Egyptian]

March 31
APRIL FOOL'S DAY (Charles Bernstein) [Silent Movie Theater]
DONNIE DARKO (Michael Andrews) [Silent Movie Theater]
PAN'S LABYRINTH (Javier Navarrete) [Nuart]
PLUMP FICTION (Michael Muhlfriedel) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
WHERE THE SIDEWALK ENDS (Cyril Mockridge), THE KILLER THAT STALKED NEW YORK (Hans Salter) [Cinematheque: Egyptian]
WORLD ON A WIRE (Gottfried Hunsberg) [New Beverly]

April 1
GOBOTS: BATTLE OF THE ROCK LORDS (Hoyt Curtin) [New Beverly]
THE MAN WHO CHEATED HIMSELF (Louis Forbes), IRON MAN (Joseph Gershenson) [Cinematheque: Egyptian]
2001: A SPACE ODYSSEY [Cinematheque: Aero]
WORLD ON A WIRE (Gottfried Hunsberg) [New Beverly]
ZACHARIAH [New Beverly]

April 2
THE BIG HEAT (Mischa Bakaleinikoff), WICKED WOMAN (Buddy Baker) [Cinematheque: Egyptian]
GOBOTS: BATTLE OF THE ROCK LORDS (Hoyt Curtin) [New Beverly]
THE SEVENTH JUROR (Jean Yatove), THE PARIS EXPRESS (Benjamin Frankel) [New Beverly]
2001: A SPACE ODYSSEY [Cinematheque: Aero]

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