Capricorn One was actually a conspiracy thriller. It's only thought of as Sci-Fi because, well, space. But it's really about the government making movies and killing people.
And Goldsmith made a career out of scoring "science fiction claptrap" which resulted in some of his best work.
and religious superstition films
"Religious superstition films" as you call them, often have some of cinemas greatest music. The Robe, Ben-Hur, The Ten Commandments, etc want a word with you.
Plus Gremlins, from warm cozy Gizmo' theme over the finale, then crashing into The Gremlin Rag in the end credits. Complete contrast driving home the comedic insanity.
The Family Arrives (End Credits from "Russia House")
Not an huge one, but for very personal reasons this is my favorite finale cue
To me, it is huge! A wonderful cue; as Barley looks out the window of his flat in Lisbon, Branford comes in with a very personal sound on sop sax and then the music kicks into high gear with the emotion, as Barley rushes to meet Katya and family at the docks. I cry like a baby, every time.
My very favourite Jerry score of all time, my personal favourite score of all time and my personal favourite film of all time. It's the film and score that made me want to play the saxophone, which I have done now for twenty-nine years and taught it for twenty-two. And in the fullness of time, I was quoted in the Twilight Time blu ray booklet and was then tapped by Mike Matessino, to write the liner notes for Quartet's expanded CD.
For me, nothing beats his finale for Legend, with its heavenly chorus, vocal arrangement of the "fairy" theme and rapturous setting of the "Jack" theme. And the final bars, as Goldsmith builds to that resolving major chord is as sublime as he he ever got.
Oh yeah, brilliant choice! I went full creative writing mode when analysing the score for Legend magazine yonks ago, when I said:
'Daniel knocks on the door of the house (this is the location we saw Daniel remembering as he was being frozen) to piano, strings and oboe. There is no answer and then he senses someone walking towards the house – he sees Helen and goes to her. Goldsmith supplies the love theme with high register strings. They embrace to the tear-in-eye music and cellos and violins continue as Daniel asks ‘So you gonna marry me, or what?’. The strings soar as high as the seagulls overhead as Nat joins the couple and the camera pulls up and back and the picture fades to black and the music ends in a crescendo (Reunited)'.
Yes. The big gushy schmaltzy ending from FOREVER YOUNG is one of Goldsmith's better scores from his later years for me. POWDER has a nice big Finale cue too. When Jerry went all John Barry on us.
I don't know if I would say absolutely that it's my favorite, but I love the finale track from "Outland"! (finale is final minute or so of attached complete soundtrack)
I don't know if I would say absolutely that it's my favorite, but I love the finale track from "Outland"! (finale is final few minutes or so of attached complete soundtrack)
POTA - Love how the music gradually dies away in the epilogue (and only sound effects in the end title). First Knight - Actually, the first example to come to mind. Only seen the film once, but I'll never forget Goldsmith's score for the end scene. Our Man Flint - Jerry in 60's spy-adventure mode with a blues-like ostinato in guitar/brass alternating with sweeping statements of the main title theme accompanying Flint's escape from Galaxy Island up to his reunion with Gila on the rescue ship (considering this sequence of events to be the finale). Exciting stuff (James Coburn, IMO, perfectly cast as the title character).
"Religious superstition films" as you call them, often have some of cinemas greatest music. The Robe, Ben-Hur, The Ten Commandments, etc want a word with you.
Dare I remind 'Indy1981' that Raiders of the Lost Ark is a 'religious superstition' film.
Not by Goldsmith and the end title is not even the best cue in an otherwise brilliant score by Williams.
THE EDGE finale for me. The score always blows me away. *Spoiler Alert* When Hopkins tries to flag the helicopter down and the score lulls in dismay as the copter flies away, only to build and crescendo in triumph as it spots him and pivots back for him. The emotional tone of the score is so perfect for this and the following scene as he returns to civilisation now knowing his wife's betrayal. I could go on... It's a gem of a score.
