Intrada is releasing three CDs this week, including two by an all-time master film composer who passed on just ten years ago this summer.

SEE NO EVIL, the woman-in-jeopardy thriller directed by Hollywood vet Richard Fleischer and written by Brian Clemens (The Avengers, The Golden Voyage of Sinbad, Captain Kronos: Vampire Hunter), has an unusually notorious scoring history. Mia Farrow played the lead role, a blind woman who doesn't realize all the people she shares her house with have been brutally murdered, and Farrow's then-husband, Andre Previn, was hired to compose the score. Previn's score was rejected (and, unusual for the era, Previn went public with his complaints about the experience) and replaced by one from British composer David Whitaker...which was also rejected, and replacd by a third score, by the great Elmer Bernstein. Intrada's CD represents the first release of any of Bernstein's See No Evil (but sadly, though unsurprisingly, none of Previn and Whitaker's unheard contributions).

Among the earliest Elmer Bernstein soundtrack LPs was THEMES FROM THE GENERAL ELECTRIC THEATER, featuring Bernstein's music for the TV anthology series hosted by Ronald Reagan. Intrada's Special Collection disc features the first CD release of the cues from the original Columbia LP, in stereo.

The label is also re-releasing its long out-of-print CD of Basil Poledouris' score for the cross-country adventure thriller SWITCHBACK, the directorial debut of screenwriter Jeb Stuart (Die Hard, The Fugitive), starring Dennis Quaid, Danny Glover, and (a phrase I'd never thought I'd ever type) Oscar-winner Jared Leto.

The latest re-recording from Prometheus and Tadlow presents the first-ever soundtrack release of John Barry's score for MISTER MOSES, the Africa-set 1965 adventure film from director Ronald Neame (The Poseidon Adventure, The Prime of Miss Jean Brodie), starring Robert Mitchum and Carroll Baker, and the score (the original tracks are considered lost) has been described as "Goldfinger meets Born Free," and that's good enough for me.

La-La Land has announced two new releases for next week -- a two-disc set pairing Mark Mothersbaugh's scores for the smash hit comedies 21 JUMP STREET and 22 JUMP STREET, and Blake Neely's music for the second season of the hit superhero TV series ARROW.

Thomas Newman has collaborated with composer-musician Rick Cox (a soloist on such Newman scores on Revolutionary Road, The Help, and Saving Mr. Banks) on an upcoming, non-film-score album titled 35 WHIRLPOOLS BELOW SOUND, which will be released on the Cold Blue label on October 14th.

Elmer Bernstein's first wife Pearl Bernstein Gardner has written (with Gerald Gardner) THE MAGNIFICENT ELMER: MY LIFE WITH ELMER BERNSTEIN, now available in paperback and on Kindle.

Jacques Hiver has published (in French) a book on Maurice Jarre.

CDS AVAILABLE THIS WEEK

At Middleton - Arturo Sandoval - Perseverance
Avere Vent'annia/L'Ambiziozo - Franco Campanino - Digitmovies
The Knick - Cliff Martinez - Milan
The Maze Runner - John Paesano - Sony
Mister Moses (re-recording) - John Barry - Prometheus/Tadlow
See No Evil - Elmer Bernstein - Intrada Special Collection
Switchback - Basil Poledouris - Intrada
Themes from the General Electric Theater - Elmer Bernstein - Intrada Special Collection
U-Boats: The Wolfpack - Christopher Young - Buysoundtrax

IN THEATERS TODAY

Altina - David Robbins
Autumn Blood - Robert Miller
Fort Bliss - Asche & Spencer
The Frontier - Ali Helnwein
The Guest - Steve Moore
Hector and the Search for Happiness - Dan Mangan, Jesse Zubot
I Am Eleven - Nick Huggins
Keep on Keepin On - Justin Kauflin; additional music by Dave Grusin
Kelly & Cal - Toby Chu
Last Days in Vietnam - Gary Lionelli
Life’s a Breeze - Lancy Daly, Declan Quinn, Eugene Quinn
The Maze Runner - John Paesano - Score CD on Sony
Reclaim - Inon Zur - Score CD due Oct. 14 on Silva
The Scribbler - Alec Puro
Space Station 76 - Mark Fantini, Steffan Fantini
This Is Where I Leave You - Michael Giacchino
Tracks - Garth Stevenson
Tusk - Christopher Drake
A Walk Among the Tombstones - Carlos Rafael Rivera - Score CD due Sept. 23 on Varese Sarabande
The Zero Theorem - George Fenton - Score CD on Milan

COMING SOON

September 23
Arrow: Season Two - Blake Neely - La-La Land
The Boxtrolls - Dario Marianelli - Backlot
Chicago Fire: Season One - Atli Orvarsson - Phineas Atwood
Chicago Fire: Season Two - Atli Orvarsson - Phineas Atwood
The Damned - Frederik Wiedmann - Phineas Atwood
The Equalizer - Harry Gregson-Williams - Varese Sarabande
Hannibal: Season 2, Vol. 1 - Brian Reitzell - Lakeshore
Hannibal: Season 2, Vol. 2 - Brian Reitzell - Lakeshore
Houdini Vol. 1 - John Debney - Lakeshore
Houdini Vol. 2 - John Debney - Lakeshore
21 Jump Street/22 Jump Street - Mark Mothersbaugh - La-La Land
A Walk Among the Tombstones - Carlos Rafael Rivera - Varese Sarabande
September 30
Fratello Mare - Piero Piccioni - Beat
Il Diario Segreto Di Una Minorenne - Gianni Marchetti - Beat
Ninjago Masters of Spinjitzu - Jay Vincent, Michael Kramer - Varese Sarabande
Uomo Avvisato Mezzo Ammazzato Parola Di Spirito Santo - Bruno Nicolai - Beat
October 7 
Addicted - Aaron Zigman - Varese Sarabande
Dolphin Tale 2 - Rachel Portman - Lakeshore
A Most Wanted Man - Herbert Gronemeyer - Groenland
Sleeping Beauty - George Bruns - Walt Disney
Trust Me - Mark Kilian - Phineas Atwood
Whiplash - Justin Hurwitz, Tim Simonec - Varese Sarabande
October 14
Birdman - Antonio Sanchez - Milan
Crash - Howard Shore - Howe
Dead Ringers - Howard Shore - Howe
Fury - Steven Price - Varese Sarabande
Naked Lunch - Howard Shore - Howe
Reclaim - Inon Zur - Silva
35 Whirlpools Below Sound - Thomas Newman, Rick Cox - Cold Blue
October 28
Revenge of the Green Dragons - Mark Kilian - Varese Sarabande
White Bird in a Blizzard - Robin Guthrie, Harold Budd - Lakeshore
Date Unknown
Bad Milo - Ted Masur - MovieScore Media/ScreamWorks
Die Hebamme - Marcel Barsotti - Alhambra
Ennio Morricone: Rare & Unreleased Soundtracks from the 60s and 70s (re-recording) - Ennio Morricone - Intermezzo Media
The Good, the Bad and the Ugly (re-recording) - Ennio Morricone - Intermezzo Media
Halloween: The Curse of Michael Myers - Alan Howarth - Buysoundtrax
King David - Carl Davis - Quartet
New York Chiama Superdrago - Benedetto Ghiglia - Digitmovies
Proxy - The Newton Brothers - MovieScore Media/ScreamWorks
Terms of Endearment - Michael Gore - Quartet
Tokarev (Rage) - Laurent Eyquem - Caldera

THIS WEEK IN FILM MUSIC HISTORY

September 19 - Arthur Benjamin born (1893)
September 19 - Paul Williams born (1940)
September 19 - Vladimir Horunzhy born (1949)
September 19 - Daniel Lanois born (1951)
September 19 - Nile Rodgers born (1952)
September 19 - Willie Hutch died (2005)
September 20 - Frank DeVol born (1911)
September 20 - Frank Comstock born (1922)
September 20 - James Bernard born (1925)
September 20 - John Dankworth born (1927)
September 20 - Mychael Danna born (1958)
September 20 - Andre Previn begins recording his score for All in a Night’s Work (1960)
September 20 - Fred Steiner's scores to the Star Trek episodes "The Corbomite Maneuver," "Balance of Terror," and "What Are Little Girls Made Of?" are recorded (1966)
September 20 - Sidney Cutner died (1971)
September 20 - John Williams begins recording his score for The Poseidon Adventure (1972)
September 20 - Jack Marshall died (1973)
September 21 - Chico Hamilton born (1921)
September 21 - Herbert Stothart begins recording his score for Son of Lassie (1944)
September 21 - Mason Daring born (1949)
September 21 - Geoffrey Burgon died (2010)
September 21 - Roman Vlad died (2013)
September 22 - Robert Mellin born (1902)
September 22 - Nick Cave born (1957)
September 22 - Dimitri Tiomkin begins recording his score for Last Train from Gun Hill (1958)
September 22 - Samuel Matlovsky's score for the Star Trek episode "I, Mudd" is recorded (1967)
September 22 - Tuomas Kantelinen born (1969)
September 22 - Charles Previn died (1973)
September 22 - Pat Metheny records his score for the Amazing Stories episode "Grandpa's Ghost" (1985)
September 22 - John Williams begins recording his score for Home Alone (1990)
September 22 - Konrad Elfers died (1996)
September 23 - Clifford Vaughan born (1893)
September 23 - Gino Paoli born (1934)
September 23 - David Raksin begins recording his score for The Magnificent Yankee (1950)
September 23 - Lionel Newman begins recording his score for North to Alaska (1960)
September 23 - Bernard Herrmann records his score for The Alfred Hitchcock Hour episode “The Life Work of Juan Diaz” (1964)
September 23 - Dave Grusin begins recording his score to The Yakuza (1974)
September 23 - Craig Safan records his score for the Amazing Stories episode "The Main Attraction" (1985)
September 23 - Malcolm Arnold died (2006)
September 24 - Leonard Salzedo born (1921)
September 24 - Douglas Gamley born (1924)
September 24 - Michael Tavera born (1961)
September 24 - Bernard Herrmann begins recording his score to Joy in the Morning (1964)
September 24 - Jerry Goldsmith begins recording his score for Star Trek -- The Motion Picture (1979)
September 24 - Billy Goldenberg records his score for the Amazing Stories episode "What If...?"(1986)
September 25 - Dmitri Shostakovich born (1906)
September 25 - Eric Rogers born (1921)
September 25 - Michael Gibbs born (1937)
September 25 - Richard Harvey born (1953)
September 25 - Randy Kerber born (1958)
September 25 - Danny Elfman and Steve Bartek's score for the Amazing Stories episode "Mummy Daddy" is recorded (1985)
September 25 - Ron Jones records his score for the Star Trek: The Next Generation episode "Where No One Has Gone Before" (1987)
September 25 - Alan Silvestri begins recording his score for The Bodyguard (1992)

DID THEY MENTION THE MUSIC?

ATLAS SHRUGGED III: WHO IS JOHN GALT? - Elia Cmiral

"'Atlas Shrugged III' and its predecessors aren't bad movies because they're propaganda; any number of movies are, overtly or covertly. The 'Atlas Shrugged' movies are bad movies because they're bad movies. They are written in such a way that the most interesting events take place off-screen and are described by excessive narration, whereas the scenes that do occur on camera are generally overly talky and didactic. They are bad movies because they deal with titans of industry and the machinations of the government, and yet they are produced so cheaply that the grandeur of the characters and the subject matter are dwarfed by the middling sets, the stock footage and the often downright embarrassing special effects. They are bad movies because the performances are almost entirely terrible, with the occasional talented character actor (in 'ASIII,' they include Stephen Tobolowsky and Mark Moses) giving his or her all to elevate the material. They are bad movies, because they are shot in a flat, non-dynamic manner that calls to mind made-for-basic-cable films (at their best) and reality-show true-crime recreations (at their worst). And let's not forget the score (by Elia Cmiral, 'Battlefield Earth'), which sounds like a collection of cues from the Lifetime Original Movies library."

Alonso Duralde, The Wrap

CHILD OF GOD - Aaron Embry

"Franco’s script, written with Vince Jolivette, remains as loyal as possible to McCarthy’s novel. Franco and his cinematographer, Christina Voros, have pegged the proper aesthetic, the frigid and pitiless beauty of a landscape adverse to human happiness. They have a fine eye for the yellows, grays, and olive drabs of the East Tennessee hills in winter, the muddied pathways, the naked boles, the splayed reach of trees. The original score by Aaron Embry augments the tenor of the narrative when it doesn’t obtrude upon and tarnish that tenor."

William Giraldi, New Republic

"Lester is played by Scott Haze, who attended acting school with Franco. His performance is suitably frenzied, strange and disturbing. Haze delivers his lines with a near-impenetrable mushmouth, swallowing his words as he expels spittle and snot. Lester spends much of his time alone in the woods, and his vocabulary includes animal-like grunts, growls and moans. These are frequently accompanied by the chatter of banjos and the wails of fiddles."

Mark Jenkins, NPR

"Franco appropriates McCarthy’s technique of having nameless narrators tell tales from Ballard’s troubled upbringing, layering these random voiceovers over short, abruptly cut-to-black scenes that echo the book’s terse chapters. Given the general idiocy of what we see Ballard doing -- stealing a chicken and shooting a cow for no reason, masturbating on a car fender while two people screw in the backseat -- these segments are often grotesquely funny, especially when set to Aaron Embry’s twangy banjo-and-guitar score; one can almost imagine Ballard as some sort of recurring white-trash imbecile on 'Saturday Night Live.' Lenser and regular Franco collaborator Christina Voros shoots on a muted color palette of dull grays and mud browns, and there’s a rough-hewn poetry to some of the images framing Ballard against a haggard wintry landscape. Curtiss Clayton’s jumpy editing is of a piece with the film’s unadorned aesthetic, and composer Embry’s country stylings complement the story’s shifting mood by turning increasingly, memorably somber in the second half."

Justin Chang, Variety

THE CONGRESS - Max Richter

"Shot in California and Germany, the film has a strong look in the live-action scenes. Max Richter’s score is another solid asset."

Todd McCarthy, Hollywood Reporter

GOD HELP THE GIRL - Stuart Murdoch

"Murdoch’s songs, very much in the Belle and Sebastian vein, are lovely and haunting and, at key moments, ecstatic."

Bruce Handy, Vanity Fair

"It’s easy to snark all over 'God Help the Girl,' which is an exceedingly lightweight comedy-drama with pretty much the same plot as every other movie about arrested-adolescent outcasts who start a band. But if Murdoch’s not necessarily a natural filmmaker or storyteller, he has a clear artistic vision and largely executes it. For one thing, he makes one of the grayest and rainiest cities in the world look as balmy and sun-kissed as Cuernavaca. For another, the songs in 'God Help the Girl' -- most of which can also be found on the 2009 album of the same title -- are some of Murdoch’s best since the late-‘90s heyday of Belle and Sebastian. To the extent that this movie is an extended music video starring Browning (with help from Olly Alexander and Hannah Murray, who play her winsome bandmates), it’s a pretty doggone delightful one."

Andrew O’Hehir, Salon.com

"The picture also works as a corrective to Zach Snyder's 'Sucker Punch,' which similarly featured Browning as a young woman using fantasy to deal with being in a mental institution -- but unlike Snyder's 'girls dressing sexy and shooting guns = EMPOWERMENT' masturbatory fantasy, Murdoch's 'God Help the Girl' doesn't make you hate yourself or the world. And while 'Girl''s second-act showstopper 'Musician, Please Take Heed' probably won't become a 'Let It Go'-level cultural phenomenon, it very much deserves to be."

Sherilyn Connelly, SF Weekly

"The story, such as it is, gets punctuation and emphasis via musical numbers, some of which seem to take place in the imaginations of the characters, some in the context of band practice or performance and so on. Said musical numbers are pretty tip-top. Murdoch, who also wrote the songs, is the brains behind the Scottish band Belle and Sebastian, whose canny mix of folk and continental pop stylings inspire the frequent use of the word 'twee' among rock critics. I think that’s an unfair call: Belle and Sebastian’s mix of smooth sonics and sardonic wit strikes me as pretty genuine; 'twee' implies a level of affectation that the character of the music just doesn’t support. In any event, Murdoch has said that 'God Help The Girl,' which has its origins as a concept album of sorts, ended up a vehicle for a group of songs that he felt wouldn’t fit into Belle and Sebastian’s repertoire. I see his point, a bit, but by the same token, I have no problem in saying that if you like Belle and Sebastian’s tunes, you’ll like the almost two dozen songs in 'God Help The Girl.'"

Glenn Kenny, RogerEbert.com

"'God Help The Girl' has a thin sliver of plot involving a tiny, troubled young woman named Eve (Emily Browning, wearing a Rita Tushingham haircut) who starts a band with pool lifeguard James (Olly Alexander) and not-quite-musician Cassie (Hannah Murray). But it’s mostly focused on snapshotting emotional states, whether reckless happiness or austere loneliness; the movie is, in part, a testament to the versatility of the jump cut as a method for conveying how characters feel. Ironically, the musical numbers are its least imaginative aspect; Murdoch’s songcraft is typically impeccable ('Act Of The Apostle' is a heck of an opener, and 'I’ll Have To Dance With Cassie' is Broadway-stage sized), but his approach to his own music tends to be either literalist or cut-up music-video generic."

Ignatiy Vishnevetsky, The Onion AV Club

"The narrative and music are in the same groove: alt-acoustic, hookless, B-side stuff with feeling and otherworldly female singing. To be fair, a range of styles do pop up, but even when attempting a '50s-inspired sock-hop rave-up, that sensitive, '80s, Dream Academy/Smiths-sans-anhedonia vibe wafts up. There are a few actual production numbers, but even those feel low-key. The exercise can feel at times like one long decrescendo."

Michael Ordona, San Francisco Chronicle

"Eve and her chums are variously neurotic, whimsical, and downright soppy, at moments almost creepily so: the loveliest melody here, set to baroque strings, belongs to 'Pretty Eve in the Tub,' sung by James as he pines ineffectually outside the bathroom door ('Please allow me to scrub, please allow me to rub')."

Jonathan Romney, Film Comment

"While a few songs are as top notch as anything Belle & Sebastian has ever written (and therefore make their sequences much more tolerable), 'God Help The Girl' is never as irresistibly tuneful as it should be and, given the affected milieu, some songs sound as obnoxiously grating as the worst version of what Belle & Sebastian can be. A major gaffe, 'God Help The Girl' finds a great artist taking on a huge challenge and stumbling painfully on its ambition almost every step of the way."

Rodrigo Perez, The Playlist

"While it’s insubstantial and way overlong, the film’s bright, cheerful look is easy on the eyes. And a couple of songs are quite effective at reinforcing the warm connections among the characters, notably 'I’ll Have to Dance With Cassie' and the lovely 'Down and Dusky Blonde.' But hearing Murdoch sing 'Dress Up in You' over the end credits just made me want to go listen to a Belle & Sebastian album without the impediment of this cloying movie."

David Rooney, Hollywood Reporter

THE NEXT TEN DAYS IN L.A.

Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.

September 19
THE DARK MIRROR (Dmitri Tiomkin), JEALOUSY (Hanns Eisler) [UCLA]
ENTER THE VOID (Thomas Bangalter) [Nuart]
MR. SARDONICUS (Von Dexter), THE NIGHT WALKER (Vic Mizzy) [LACMA/AMPAS]
SUMMER SCHOOL (Danny Elfman), SIBLING RIVALRY (Jack Elliott) [Cinematheque: Aero]
WOODSTOCK [Cinematheque: Egyptian]

September 20
ASSAULT WITH A DEADLY WEAPON (Franco Micalizzi) [Silent Movie Theater]
THE COLOR OF POMEGRANATES (Tigran Mansuryan) [LACMA/AMPAS]
ENTER LAUGHING (Quincy Jones), THE COMIC (Jack Elliott) [Cinematheque: Aero]
THE LAST WALTZ [Cinematheque: Egyptian]

September 21
CITY OF GOD (Ed Cortes, Antonio Pinto) [Arclight Hollywood]
A HARD DAY'S NIGHT (The Beatles, George Martin) [Cinematheque: Egyptian]
M [Arclight Sherman Oaks]
A NEW KIND OF LOVE (Errol Garner, Leith Stevens), ARTISTS AND MODELS [UCLA]
THE WILD PARROTS OF TELEGRAPH HILL (Chris Michie) [UCLA]

September 22
THE 400 BLOWS (Jean Constantin)[Arclight Hollywood]

September 23
THE RAZOR'S EDGE (Alfred Newman) [LACMA/AMPAS]

September 24
AMELIE  (Yann Tiersen) [Arclight Sherman Oaks]

September 26
ONLY LOVERS LEFT ALIVE (Josef van Wissem, SQURL) [Nuart]
A STAR IS BORN (Ray Heindorf) [Cinematheque: Aero]
STRAIT-JACKET (Van Alexander), HOMICIDAL (Hugo Friedhofer) [LACMA/AMPAS]

September 27
THE IMMIGRANT (Christopher Selman), TWO LOVERS [Cinematheque: Aero]
LADDIE, A PLACE IN THE SUN (Franz Waxman) [LACMA/AMPAS]
THE TEXAS CHAIN SAW MASSACRE (Wayne Bell, Tobe Hooper), THE HOUSE OF THE DEVIL (Jeff Grace) [Cinematheque: Egyptian]

September 28
WAKE UP AND LIVE (Louis Silvers) [Cinematheque: Aero]