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love the rhapsodic opening and closing cues from Sabrina. The rest of the score is good but not at the same level as that piano piece with orchestra. It's similar to Stepmom with that mini concerto for Chris Parkening's guitar and orchestra (The Days Go by ).
I think Accidental Tourist and Angela's Ashes have multiple standout tracks by comparison.
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It's nice. I love the theme. (I have it on Hollywood '96.) But I like Always better.
I loved the film until everyone told me not to. I still might. I haven't watched it in 20 years.
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Posted: |
May 22, 2021 - 3:05 AM
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By: |
Coco314
(Member)
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I'll go along with those who found the movie... terrible.
Importantly I had seen and very much loved the original. Missing here is Wilder's unique touch on aristocracy, the Upper/lower class thing viewed through a great glass/window imagery, and the unbeatable charm of Audrey Hepburn.
Julia Ormond sure had a thankless job to live up to such an icon, and she was blooming up at the time (straight from "Legends of the Fall" and "First Knight"), and she has completely vanished since, and it's not hard to see why. I found her completely bland. The humour also fell very flat (again the Paris section has much more charm in the original), it's hard to imagine that the director of "Tootsie" made this.
Also, Ford is of course good, but I think the casting of Bogart helped more the story in the original. (Spoiler) It's like more of a surprise that Boggard would end up with Hepburn instead of the more handsome Holden - here it's like, well sure, Ford will get the girl in the end...
Now on the score. I LOVE the piano cue. It's really a fantastic, instant-classic piece as only Williams seems to be able to pull off. I never grew tired of it, I dream someday to make a montage of family pictures / home movies on it.
The rest of the score I am less interested in, and, I don't know if some other found it that way, I found that the score didn't feel as an integral part of the picture. On most Williams scores you have a strong connection - take "The Terminal", "The accidental Tourist", the scores are very noticable but fit the movie like a glove like it's always been there -, here, it seemed to me at the time that the score was composed outside of it and kind of pasted on. I dunno. Unfortunately I have no interest into seeing the movie again to pinpoint exactly why.
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Wilder, Bogart, Hepburn, Holden . . . all icons, and I am of the age where I view each of these artists in the top tier of their craft.
But I much prefer the remake. Bogart is miscast, Holden is miscast, Hepburn is perfect. While the film is witty and charming, it is also occasionally clumsy, particularly in the pacing.
The remake, for me, is a home run all around. It is my favorite Ford movie. Kinnear is perfect. Ormond is good, convincing as pre-Paris Sabrina and post-Paris Sabrina.
Williams' score is good.
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Wilder, Bogart, Hepburn, Holden . . . all icons, and I am of the age where I view each of these artists in the top tier of their craft.
But I much prefer the remake. Bogart is miscast, Holden is miscast, Hepburn is perfect. While the film is witty and charming, it is also occasionally clumsy, particularly in the pacing.
The remake, for me, is a home run all around. It is my favorite Ford movie. Kinnear is perfect. Ormond is good, convincing as pre-Paris Sabrina and post-Paris Sabrina.
Williams' score is good.
Wow. I agree with everything except "favorite Ford movie". But that was the era when I saw every Ford movie on opening night.
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IMO, it is one of the lesser score in Williams oueuvre - which still means its miles ahead of many other scores. Again he proves that he can write enchanting melodies like no one else, and the romance the great Sydney Pollack wanted to stress is perfectly enhanced.
Expansion? Every Williams score deserves one.
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