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The latest release from Intrada is a three-disc edition of Jerry Goldsmith's 1986 sequel score POLTERGEIST II: THE OTHER SIDE. Disc One features the complete score in the original digital mix prepared for the soundtrack by Goldsmith and mixer Bruce Botnick; Disc Two features the analog mixes of the complete score as heard in the film; and Disc Three features an hour's worth of alternate versions of cues from the film.


The latest CD from Quartet features two previously unreleased scores composed by Frank DeVol for Burt Reynolds films of the mid-1970s directed by Robert Aldrich -- the 1975 romantic noir HUSTLE, pairing Reynolds with Catherine Deneuve, and his brief score for the hit prison football comedy drama THE LONGEST YARD.


Next week Varese Sarabande plans to announce three new releases in their Limited Edition series, including one compilation CD. 


CDS AVAILABLE THIS WEEK

A Esmorga 
- Zeltia Montes - Caldera
Colossal - Bear McCreary - Lakeshore
Hustle/The Longest Yard
 - Frank DeVol - Quartet
Jane & Payne
 - Andres Goldstein, Daniel Tarrab - Quartet
King Arthur: Legend of the Sword - Daniel Pemberton - WaterTower
Plan de Fuga
 - Pascal Gaigne - Quartet
Poltergeist II: The Other Side - Jerry Goldsmith - Intrada Special Collection
Raw - Jim Williams - Republic of Music (import)
Richard the Stork
 - Eric Neveux - Quartet
Thriller (re-recording)
 - Jerry Goldsmith - Tadlow


IN THEATERS TODAY

Alien: Covenant - Jed Kurzel - Score CD due May 26 on Milan
The Commune - Fons Merkies
Diary of a Wimpy Kid: The Long Haul - Edward Shearmur
Everything, Everything - Ludwig Goransson
Last Man in Aleppo - Karsten Fundal
Paint It Black - Mac McCaughan
The Wedding Plan - Roy Edri

COMING SOON

May 26
Alien: Covenant - Jed Kurzel - Milan
Broadchurch: The Final Chapter - Olafur Arnalds - Mercury
For Honor - Danny Bensi, Saunder Jurriaans - Sumthing Else
Pirates of the Caribbean: Dead Men Tell No Tales
 - Geoff Zanelli - Disney
Prevenge - Toydrum - Invada (import)
June 2
I Sette Gladiatori 
- Marcello Giombini - Digitmovies
The Lovers - Mandy Hoffman - Milan
Max & Me - Mark McKenzie - Sony (import)
My Cousin Rachel - Rael Jones - Sony
Polizziotto Sprint 
- Stelvio Cipriani - Digitmovies
Wonder Woman - Rupert Gregson-Williams - WaterTower
June 9
I Don't Feel at Home In This World Anymore - Brooke Blair, Will Blair - Lakeshore
The Promise - Gabriel Yared - Lakeshore
Rabbit & Rogue (ballet score) - Danny Elfman - Sony
June 30
...Continuavano A Chiamario Trinita
- Guido & Maurizio De Angelis - Digitmovies
Dawn of War III - Paul Leonard-Morgan - Sumthing Else
Generation Iron 2 - Jeff Rona - Milan
The Handmaid's Tale - Adam Taylor - Lakeshore
Il Sesso Della Strega
- Daniele Patucchi - Digitmovies
It Comes at Night - Brian McOmber - Milan
War Machine - Nick Cave, Warren Ellis - Lakeshore
July 7
A Ghost Story - Daniel Hart - Milan
Spider-Man: Homecoming - Michael Giacchino - Sony
August 4 
Free Fire - Geoff Barrow, Ben Salibury - Lakeshore
Wind River - Nick Cave, Warren Ellis - Lakeshore
Date Unknown
La Conquete/Comme Un Chef 
- Nicola Piovani - Music Box
Monster from Green He
ll - Albert Glasser - Kritzerland
Ode to Billy Joe
 - Michel Legrand - Kritzerland
Puppet on a Chain
- Piero Piccioni - Silva
Scott of the Antarctic (re-recording)
 - Ralph Vaughn Williams - Dutton


THIS WEEK IN FILM MUSIC HISTORY

May 19 - Irving Gertz born (1915)
May 19 - Anton Garcia Abril born (1933)
May 19 - Tom Scott born (1948)
May 19 - Bert Shefter records his score for The Great Jesse James Raid (1953)
May 19 - Kyle Eastwood born (1968)
May 19 - Earle Hagen wins the Emmy for his score for the I Spy episode “Laya” (1968)
May 19 - Jerry Goldsmith wins his second Emmy, for QB VII Parts 1 & 2; Billy Goldenberg wins for the Benjamin Franklin episode “The Rebel” (1975)
May 19 - Edwin Astley died (1998)
May 19 - Hans Posegga died (2002)
May 20 - Zbigniew Preisner born (1955)
May 20 - Jerry Goldsmith wins his first Emmy, for The Red Pony; Charles Fox wins an Emmy for his Love, American Style music (1973)
May 20 - Lyn Murray died (1989)
May 21 - Kevin Shields born (1963)
May 21 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “The Inner Light” (1992)
May 21 - Fiorenzo Carpi died (1997)
May 21 - Frank Comstock died (2013)
May 22 - Roger Bellon born (1953)
May 22 - Iva Davies born (1955)
May 22 - Richard Rodgers wins the Outstanding Music Emmy for Winston Churchill – The Valiant Years (1962)
May 22 - John Sponsler born (1965)
May 22 - Laurence Rosenthal wins the Emmy for his score to Michelangelo: The Last Giant (1966)
May 23 - Michel Colombier born (1939)
May 23 - William Stromberg born (1964)
May 23 - Tom Tykwer born (1965)
May 23 - Jimmy McHugh died (1969)
May 23 - George Bruns died (1983)
May 23 - Recording sessions begin on Patrick Doyle’s score for Dead Again (1991)
May 23 - James Horner begins recording his score for Searching for Bobby Fischer (1993)
May 23 - Kenyon Emrys-Roberts died (1998)
May 23 - Recording sessions begin for John Ottman's score for The Invasion (2007)
May 24 - Sadao Bekku born (1922)
May 24 - Bob Dylan born (1941)
May 24 - Franz Waxman begins recording his score for Sorry, Wrong Number (1948)
May 24 - Pierre van Dormael born (1952)
May 24 - David Ferguson born (1953)
May 24 - Jerry Fielding begins recording his score for Shirts/Skins (1973)
May 24 - Duke Ellington died (1974)
May 24 - Jay Chattaway records his score for the Star Trek: The Next Generation episode “In Theory” (1991)
May 25 - Pierre Bachelet born (1944)
May 25 - Alex North begins recording his score for Decision for Chemistry (1953)
May 25 - Rick Smith born (1959)
May 25 - Miklos Rozsa begins Los Angeles recording sessions for Ben-Hur (1959)
May 25 - Elmer Bernstein wins the Outstanding Music Composition Emmy for The Making of the President 1960 (1964)
May 25 - Trevor Morris born (1970)
May 25 - Quincy Jones begins recording his score for Killer by Night (1971)
May 25 - Star Wars released in theaters (1977)
May 25 - Alien released in theaters (1979)

DID THEY MENTION THE MUSIC?

CAROL - Carter Burwell

"There are a few elements, though, that are beyond irresistible, like Judy Becker's gorgeous production design (Carol's car is a creamy silver-taupe Packard, a chariot to swoon over) and Carter Burwell's tremulously sentient score, a wintry sky-wash of woodwinds and French horns. And don't even get me started on the clothes, by Sandy Powell, who knows the secret power of pearl-gray wool paired with soft coral silk, or of a tomato-soup-colored tartan dressing gown. 'Carol' is a film you want to reach out and touch, if only you could reach anywhere near the top of the pedestal it's perched on. It is itself an unattainable love object, the goddess Venus disguised as a movie."
 
Stephanie Zacharek, Village Voice

"So far, so wildly melodrama-weepie, yet somehow, Haynes’ restraint makes the story feel less hormonal and hysterical than that would suggest, and more timeless and universal. In this he’s abetted by Edward Lachman‘s fantastic compositions, so often putting the people in separate frames within the frame, or shooting those remarkable faces (the film is a symphony of cheekbones) behind windows or other reflective/transparent surfaces. Special note must also go to Carter Burwell‘s wonderful score, to Randall Poster‘s choice soundtrack cuts, and to the moment at which the score and a radio song conflate during one dreamy sequence speeding through a tunnel and the result is peculiar and sublime."
 
Jessica Kiang, IndieWire

"The essence of Highsmith’s text is still intact, with screenwriter Phyllis Nagy adding necessary structural changes and making small alterations. The melodrama too is perfectly judged and Edward Lachman’s cinematography charges it all with a glistening, wintry precision that turns feverish at points. And the enticing score from Carter Burwell swells to perfection in the final throes."
 
Katherine McLaughlin, The List

"Carol' is a work of near-perfection, from the exquisite performances (Blanchett has never been better, and that’s saying something) to Ed Lachman’s evocative cinematography (his take on the 1950s is the wintry, melancholy version of the look of 'Brooklyn') to Carter Burwell’s powerfully minimalist score."
 
Alonso Duralde, The Wrap

"The chemistry between Carol and Therese is palpable and universal, but their desire, which takes rare courage to pursue, is shaped by the sexual repression of America in the years immediately following World War II. That world is beautifully realized in Ed Lachman’s cinematography, where the drab, oppressively shadowed, often rain-swept city is transformed by the faces of two lovers, illuminated from within and without. 'You’d be so easy to love,' sings Ella Fitzgerald in one of the period tunes that augment Carter Burwell’s aching score. Is it an irony or is it the body-and-soul truth? It’s both, and how!"
 
Amy Taubin, Film Comment

"At that first tipsy lunch with Carol, the Therese of the book mentions her love object’s 'dusky and faintly sweet' perfume, 'a smell suggestive of dark green silk.' Later, a cup of warm milk is described as tasting 'of bone and blood, of warm flesh, or hair, saltless as chalk yet alive as a growing embryo.' That same mood of sensual synesthetic reverie pervades the movie, without Phyllis Nagy’s screenplay resorting to florid bursts of voiceover or, worse, dialogue. ('Hey, what’s that perfume you’re wearing? It smells just like dark green silk!') Nagy’s spare script, Haynes’ and Lachman’s deft camera placement, Judy Becker’s lush production design, and Carter Burwell’s melodic score (augmented by period songs from the likes of Billie Holiday and Jo Stafford) come together to tell a single, powerful love story, all the parts coalescing into something they used to call cinema."
 
Dana Stevens, Slate.com

"'Carol' is ably adapted by Phyllis Nagy ('Mrs. Harris') from a 1952 novel, 'The Price of Salt,' which the great crime writer Patricia Highsmith was brave or reckless enough to publish in 1952. I'm betting that Highsmith, a bold stylist herself, would have loved 'Caro'l even though it's a Todd Haynes film in every fiber of its Douglas Sirk-inspired being. Every line of willfully stilted dialogue, every hand resting briefly on a shoulder, every rain-soaked cab window, every stitch of every crimson-saturated scarf and fringed lampshade, every note of Carter Burwell's splendidly lachrymose score, functions as signage of something to do with the mighty clash between desire, propriety and duty that is Haynes' magnificent obsession. Some find all the lush costuming, moody lighting and symbolism stifling, and those who prefer their women's dramas more mellow than melo should probably stick with the recently released (and also very fine) Brooklyn. But though it's true that emotion gets drowned in some of his more semiotic films ('I'm Not There' was clever, but it was work), in 'Carol' form never trumps feeling."
 
Ella Taylor, NPR
 
"Haynes and his technical crew capture this undertow through careful choices in framing and production design. Spot color in Sandy Powell's costumes highlight just what (and whom) we're supposed to be looking at. Edward Lachman's cinematography ensures that every tiny moment of physical interaction between Carol and Therese is perfectly proportioned for its import to the action of the story. Carter Burwell's score swells exactly when it needs to swell."
 
Todd VanDerWerff, Vox

"The real ace, however, is cinematographer Ed Lachman, who shot 'Carol' on Super 16 millimeter film. The colors are slightly muted, so that when a highly saturated element hits the screen (Carol's orange-red nails, for example), it's noticed, and it means something extra. Composer Carter Burwell's quietly insistent music urges on the story in a style recalling Philip Glass. (He's having a great year; his music for 'Anomalisa' is even better.)"
 
Michael Phillips, Chicago Tribune

"'Carol' simmers with unspoken emotion and desire, condensing volumes into the 'Brief Encounter'-style touch of a hand on a shoulder, into the offer of a whiff of perfume on a pulse point, into Billie Holiday recordings and Carter Burwell’s expressive score. Its world is repressive -- of its characters’ sexuality, but also of their gender, with the story dealing as much with how the two jostle up against the sides of the paths toward which they’ve been herded."
 
Allison Wilmore, Buzzfeed

"I don’t want to spoil all the moments of delicate wit in Nagy’s screenplay, when Therese and Carol circle toward each other gradually, each knowing what she wants but not quite knowing how to get there. Their dialogue often or always carries multiple layers of meaning, as the conversations of people strongly attracted to each other often do: In discussing music or photography or family, they move ever closer to the central subject. Indeed, 'Carol' works that way in general, acting simultaneously on the brain, the heart, the eyes and the ears. I haven’t yet mentioned Carter Burwell’s haunting score, which sets the mood by bridging the seemingly unbridgeable gap between Schubert, Duke Ellington and Philip Glass. Or the perfectly pitched supporting performance by Sarah Paulson as Carol’s slightly embittered ex-lover."
 
Andrew O'Hehir, Salon.com

"On a technical level, there’s nothing but praises to be sung. Edward Lachman’s Super 16 cinematography is lyrical and expressive. Carter Burwell’s score swirls with seduction and longing. On the acting front, Blanchett does another supernatural act of transformation, but Mara, in some ways, makes an even stronger impression. Though Therese is the more passive player in the relationship, Mara gives her a graceful self-possession, a quiet confidence, that holds the film’s focus. This really is Therese’s story (which, as I’ll ramble on about below, is so many people’s story) and Mara holds the center beautifully. She and Blanchett strike an ideal balance -- their courtship is sexy and sad and alluring, delicately altered to fit each scene."
 
Richard Lawson, Vanity Fair
 
"The production values are off the charts. Haynes has assembled a talented team that is completely in synch with his vision. Cinematography [sic]  Edward Lachman, composer Carter Burwell, production designer Judy Becker and costume designer Sandy Powell created a look and feel that supports the story without distracting from it. The experience of watching 'Carol' is like being pulled into a different place, real and not real, like the best movies, like being in love."
 
Jeff Baker, The Oregonian

"Life’s realities harshly interrupt their affair, yet like the book, the film ends on a positive note. With its Douglas Sirkian tendencies, Carol feels like a movie that Todd Haynes has always been destined to make. From the nail polish to the shoes, and the music (by Carter Burwell) to the old Packard, there is not a hair or glove out of place. Even the contrast between the acting styles -- Blanchett’s languor vs. Mara’s feral gaze -- feels of a piece with the film. This movie is the only Christmas Carol you’ll need this year."
 
Marjorie Baumgarten, The Austin Chronicle

"At times, the leisurely pace makes it difficult to remain invested in the characters’ unsteady romance, but eventually Haynes fleshes out an involving environment that supercedes the slow-burn nature of the plot. Phyllis Nagy’s straightforward screenplay contains the drama to the tight exchanges of its source material, but Haynes benefits just as much from regular director of photography Edward Lachman, who resurrects the shadowy, noir-like shadings of 'Far From Heaven' while imbuing the more intimate scenes with a warm palette that enhances the romanticism in play. Carter Burwell’s wondrous score, which swells to a brilliant crescendo in the memorable climax, manages to elaborate on the story’s emotional foundation even when words fail the two leads."
 
Eric Kohn, IndieWire
 
"Mara is as no less mesmerizing here than she was in 'The Girl With the Dragon Tattoo' (in which she played a woman far less reserved about her nontraditional sexual appetites), and she seems born to the role of someone who seems at once knowing and naive, guarded yet unafraid to pursue what she really wants in life. Some of the film’s most moving moments find Mara simply peering out at the great nocturnal expanse of Manhattan -- nicely played by Cincinnati locations, and shot, at times, in an almost Wong Kar-wai-esque neon blur -- while Carter Burwell’s haunting score, with its two-step progressions and occasional repetitions, seems an almost perfect distillation of her longing."
 
Justin Chang, Variety
 
"Supporting performances are solid, and Carter Burwell’s effectively supportive score is fleshed out with an album’s worth of period tunes."
 
Todd McCarthy, Hollywood Reporter

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.

May 19
GRINDHOUSE: DEATH PROOF [New Beverly]
JOYSTICKS, PINBALL SUMMER 
(Jay Boivin, Germaine Gautier) [Cinematheque: Egyptian]
THE SALESMAN [Silent Movie Theater]
THE SILENCE OF THE LAMBS (Howard Shore) [Silent Movie Theater]
SUPERMAN III (Ken Thorne), UNBREAKABLE (James Newton Howard) [New Beverly]
TWIN PEAKS FIRE WALK WITH ME (Angelo Badalamenti) [Nuart]
U TURN (Ennio Morricone), NATURAL BORN KILLERS [Cinematheque: Aero]

May 20
THE ABOMINABLE DR. PHIBES (Basil Kirchin) [New Beverly]
DIARY OF A LOST GIRL, BEGGARS OF LIFE [Cinematheque: Egyptian]
HEAVEN & EARTH (Kitaro), SALVADOR (Georges Delerue) [Cinematheque: Aero]
INHERENT VICE (Jonny Greenwood) [New Beverly]

OMAR [Silent Movie Theater]
SUPERMAN III (Ken Thorne), UNBREAKABLE (James Newton Howard) [New Beverly]

May 21
THE ABOMINABLE DR. PHIBES (Basil Kirchin) [New Beverly]
CHEYENNE AUTUMN (Alex North) [New Beverly]
REAR WINDOW (Franz Waxman) [Cinematheque: Aero]
VATEL (Ennio Morricone) [Cinematheque: Egyptian]

May 22

CHEYENNE AUTUMN (Alex North) [New Beverly]

May 23
BOYZ N THE HOOD (Stanley Clarke) [Arclight Santa Monica]
JOURNEY INTO FEAR (Roy Webb) [LACMA]
SUPERBAD (Lyle Workman) [Arclight Culver City]
WHO KILLED TEDDY BEAR? (Charlie Calello), KRAKATOA, EAST OF JAVA (Frank DeVol) [New Beverly]

May 24
CRIME IN THE STREETS (Franz Waxman), DINO (Gerald Fried) [New Beverly]

May 25

CRIME IN THE STREETS (Franz Waxman), DINO (Gerald Fried) [New Beverly]
MESSIAH OF EVIL (Phillan Bishop) [Silent Movie Theater]

May 26
FARGO (Carter Burwell) [Cinematheque: Aero]

GRINDHOUSE: DEATH PROOF [New Beverly]
PEE-WEE'S BIG ADVENTURE (Danny Elfman), ED WOOD (Howard Shore) [New Beverly]
SEVEN SAMURAI (Fumio Hayasaka) [Cinematheque: Egyptian]
SWEPT AWAY (Piero Piccioni) [Silent Movie Theater]
TALES FROM THE HOOD (Christopher Young) [Silent Movie Theater]

May 27

PEE-WEE'S BIG ADVENTURE (Danny Elfman), ED WOOD (Howard Shore) [New Beverly]
ROAR (Terrence P. Minogue), NUKIE (Nic Pickard), R.O.T.O.R (David Adam Newman), CONGO (Jerry Goldsmith), THINGS (Michael Barrow, Robert Barrow, Jay Woelfel), MATILDA (Jerrold Immel) [Cinematheque: Aero]
STOP MAKING SENSE (David Byrne) [Cinematheque: Egyptian]

SWEPT AWAY (Piero Piccioni) [Silent Movie Theater]
THE WICKER MAN (Angelo Badalamenti) [New Beverly]

May 28
ISHTAR (Dave Grusin), A NEW LEAF [New Beverly]
JURASSIC PARK (John Wiliams), THE LOST WORLD: JURASSIC PARK (John Williams), JURASSIC PARK III (Don Davis) [Cinematheque: Egyptian]
LAWRENCE OF ARABIA (Maurice Jarre) [Cinematheque: Aero]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [New Beverly]
SEVEN BEAUTIES (Enzo Jannacci) [New Beverly]

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Today in Film Score History:
December 13
Adam Fields born (1965)
Alexander Courage records his score for the Lost in Space episode "The Girl from the Green Dimension" (1966)
David Raksin begins recording his score for The Reformer and the Redhead (1949)
Dimitri Tiomkin begins recording his score for Land of the Pharaohs (1954)
Harry Gregson-Williams born (1961)
Jerry Goldsmith begins recording his score for Psycho II (1982)
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Reijiro Koroku born (1949)
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