I believe I read somewhere that the director was trying to create an atmosphere in Gladiator that was timeless, that created a feeling of both the past and the present. So in his music Goldsmith used "East Side Story"ish jazzy sounds to sound a bit like the '50's, but mixed with a heavy synth presence to suggest the present, for a hybrid of the two eras. But the resulting movie seemed too odd to test audiences, so the score was dropped to lessen that aspect. If it had stayed, the movie might be a slight cult item now, with it's strange mix of styles.
I believe I read somewhere that the director was trying to create an atmosphere in Gladiator that was timeless, that created a feeling of both the past and the present. So in his music Goldsmith used "East Side Story"ish jazzy sounds to sound a bit like the '50's, but mixed with a heavy synth presence to suggest the present, for a hybrid of the two eras. But the resulting movie seemed too odd to test audiences, so the score was dropped to lessen that aspect. If it had stayed, the movie might be a slight cult item now, with it's strange mix of styles.
I believe I read somewhere that the director was trying to create an atmosphere in Gladiator that was timeless, that created a feeling of both the past and the present. So in his music Goldsmith used "East Side Story"ish jazzy sounds to sound a bit like the '50's, but mixed with a heavy synth presence to suggest the present, for a hybrid of the two eras. But the resulting movie seemed too odd to test audiences, so the score was dropped to lessen that aspect. If it had stayed, the movie might be a slight cult item now, with it's strange mix of styles.
Ahh that makes sense. The way it’s shot and the clothes makes it look semi period. Even the arena looks old timey.
I kinda like the coldness of the cinematography too. This explains so much. Thanks for the info. I may quote this in my video blurb if you don’t mind.
Very fascinating listen. Isn't music meant to be in the first minute and a half, though? Seems that fits with the first segment of the "No Gloves/Refund/Get Him" cue.
Very fascinating listen. Isn't music meant to be in the first minute and a half, though? Seems that fits with the first segment of the "No Gloves/Refund/Get Him" cue.
Actually no. If you’re going by the Intrada version, they combined cues for the listening experience. Those cues do not appear that way in the film from what I can tell. I actually had to use the promo tracks to make this.
I used: “Knocked out of the Ring” “Riley vs Horn” and “End Credit Reprise”
Same with 2 Days in the Valley. That album is all over the place.
I guess as they say “you dance with who brung ya” They hired him and he scored the movie that was in front of him. The replacement score doesn’t have much direction or overall structure. And the songs are pretty forgettable.
I wonder what he turned down or ignored to sign on to this? The film is bottom of the barrel stuff. And the score he slapped onto it ain't no great shakes either.
I wonder what he turned down or ignored to sign on to this? The film is bottom of the barrel stuff. And the score he slapped onto it ain't no great shakes either.
He did admit later that it was a film he shouldn't have done. I suspect he was attracted to it because of its sporting theme. He's had some success in that genre.
Thanks for the info. I may quote this in my video blurb if you don’t mind.
Sure, but refer to "West" Side story!! I'm bad at directions.
I know you are getting a bunch of requests, but if you take another look at this film and restore the cue called "Knock Out" on the intrada release (It was called "Fighting Black Death" on the unmentionable edition), I'd love you (In a brotherly way) forever.
Thanks for the info. I may quote this in my video blurb if you don’t mind.
Sure, but refer to "West" Side story!! I'm bad at directions.
I know you are getting a bunch of requests, but if you take another look at this film and restore the cue called "Knock Out" on the intrada release (It was called "Fighting Black Death" on the unmentionable edition), I'd love you (In a brotherly way) forever.
Ford A. Thaxton
Hah! I’m actually already working on that one. Should have it up tonight.
Thanks for the info. I may quote this in my video blurb if you don’t mind.
Sure, but refer to "West" Side story!! I'm bad at directions.
I know you are getting a bunch of requests, but if you take another look at this film and restore the cue called "Knock Out" on the intrada release (It was called "Fighting Black Death" on the unmentionable edition), I'd love you (In a brotherly way) forever.
Ford A. Thaxton
Hah! I’m actually already working on that one. Should have it up tonight.
Its always so interesting with Goldsmith. When he clicked with an assignment, he really clicked. He could elevate something that was garbage to something decently watchable.
But when Goldsmith was off, he could be so off he could ruin a project.
I hate to say Gladiator is in the latter camp. The problem is there's really no arc to the score. Seeing the cues synced up to the film, I can now say the finale cue could easily as well have played at the beginning of the film and it wouldn't make much of a difference. There's no real thematic development, either. So what you get are a bunch of little set-pieces. If those set pieces were good it might have worked, but they aren't. Hoosiers at least was subtle in places and absolutely had a dramatic arc. Gladiator tries to bludgeon you over the head with its happy-go-breezy style. The attempts at urban music are so out of the 1970s its painful. And the electronics don't gel with the orchestra here.
Its too bad. Goldsmith was wicked talented. But this seems to have been a rightful rejection.
It’s definitely an odd choice for him, and he didn’t return to this style on subsequent assignments, so maybe that’s saying something. I’m not sure if I agree that it doesn’t have a musical journey though. The vanishing-esque love theme is established early on and gets a nice heroic treatment in “Fighting Black Death” that pays off wonderfully in that scene IMO. His noir stuff fits the film nicely I think, but the heroic stuff is definitely at odds with the cold, blighted landscape and colorless cinematography. I do think he was a little out of his comfort zone with the urban stuff. I generally like Fiedel, but if you think Jerry’s score is lacking in direction, you should hear what they went with. Totally themeless and random. (But does suit the cold visuals) Also, I wasn’t really big on this score to begin with, but after working on these clips I’ve grown really fond of it. “Knockout” is one of my new favorites. Love those rapid, four-hit claps.
Should have some more clips up in the next few days.
