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Posted: |
Oct 9, 2000 - 1:45 AM
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By: |
OHMSS76
(Member)
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I see this title pop up rather often these message boards, so I thought it would be interesting to see what everyone really thinks of this score.
I bought it blind(w/o seeing the film), and liked it well enough.
Someone described it as similar to Malice without the lovely choral theme, which is a fair description.
It isn't his best work, yet there is something interesting about it nonetheless.
I tend to play it while driving on lonely,windy roads late at night(NOT recommended with this score btw!).
Very sinister music, and a good listen(on the boot of course  http://www.filmscoremonthly.com/board/frown.gif">
When the pounding timpani's and tom's finally show up in the final two cues they energize the whole score.
Amusingly enough there is a new boot floating about with another 15 or so minutes on it. Is this one worth seeking out?
I think the 50min issue works nicely as a listen,and it's fun to try to guess which cues would not have been issued, had Varese actually done an album for it.
For a real horrific experience, see Sluzier's original Dutch version of this film...if it doesn't unsettle you nothing will! Truly disturbing stuff....NP: Rampage(Morricone) All the best!
Sean
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I saw parts of the film and was not terribly impressed with the score as heard in the film (I was also annoyed with the film).However, as we all know, film scores take on a different life on an album, and it is highly probable that I might have had a different reaction to the CD than I did the score in the film. Certainly, I have a great appreciation for restraint in a film score, and that doesn't always come across well in the noisy sound mixes that grace today's pictures. NP - David Newman Bill and Ted's Bogus Journey
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The movie was horrendous (although you do get a glimpse of a pre-Speed Sandra Bullock as Keifer Sutherland's kidnapped girlfriend at the beginning of the film!), and Goldsmith's score was watered down Basic Instinct licks and orchestra hits. At least Malice had that lovely choral theme to distinguish it from BI. More proof that Goldsmith fans need to have EVERYTHING the master has written. What's next, I.Q.?
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Posted: |
Oct 10, 2000 - 6:37 AM
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By: |
André Lux
(Member)
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I agree with Jack Monterei.Give me I.Q. any time!!!
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quote:
Originally posted by OHMSS76:
For a real horrific experience, see Sluzier's original Dutch version of this film...if it doesn't unsettle you nothing will! Truly disturbing stuff....
Indeed. I saw the remake years before the original, and found it quite good. But after seeing the Dutch original, I realized how bad the remake really was. "Unsettling", this really describes the Dutch version very well. NP: Carlito's Way (Patrick Doyle)
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Posted: |
Oct 10, 2000 - 10:47 AM
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By: |
OHMSS76
(Member)
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Strangely enough I rented the Dutch original the day after getting Goldsmith's score on disc about 6 months ago.
I waited to rent the new version...thought I would view the superior version first, and it was an interesting experience to hear the JG score and see the Dutch film.
Anyway, it's bound to give you nightmares.Carlito's Way eh? Perfect for a rainy evening!
I always play this one on a rainy night....just incredible music....
Too bad Doyle doesn't get more films of this sort, and less Sense & Sensibility pics...
those are nice, but get old IMO. All the best,
Sean
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I love this score. The bittersweet quality of the love theme is genuinely affecting and is closer to his old-school work for A Patch of Blue or Chinatown than the more obvious romanticism of Medicine Man or Forever Young. Apparently Goldsmith originally wrote this theme for Gladiator, and it does resemble The Russia House and Rosenthal's The Miracle Worker, but it's enough to make me want the CD. The theme for Jeff Bridges's psycho is one of his most striking compositions; it sounds placid, almost beautiful at the film's beginning but becomes increasingly dissonant, finally exploding with those wild orchestrations for the film's climax. Such a refreshing change of pace from the usual "look out behind you!" approach to psychopaths in contemporary film music.
Yes, the film is mediocre-and indeed atrocious when compared with Sluzier's original-but it's downright artful when compared with some of the other flicks in the Goldsmith canon...
NP: Clarinet Concerto in A Major (Mozart)
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Posted: |
Oct 10, 2000 - 8:34 AM
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By: |
Spacehunter
(Member)
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I remember the score for the original Dutch film being like listening to strangled cat. I'm afraid I can't recall much of Goldsmith's score, but I do remember enjoying the remake far more than the original. (I mean, it's Jeff Bridges for crying out loud! Who could hate it?)[This message has been edited by Spacehunter (edited 10 October 2000).]
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Posted: |
Oct 11, 2000 - 3:56 AM
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By: |
Spacehunter
(Member)
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My favorite story about TRON, told by David Warner . . ."I got a call from my agent, and he said, 'Would you like to do a film called TRON?' I asked who the director was. He said, 'Steven Lisberger,' and I went, 'Steven Spielberg? Of course I'll do it!'" Just a funny little story. NP: SPACEHUNTER
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I always thought both THE VANISHING but also the earlier SPOORLOOS were pretty flawed films, because for me, the ending did not work. And I mean the ending of either movie (yeah, I know they are different).
SPOILER ALERT:
I mean, this dude wants to know what happened to his lost girlfriend, I understand that.
The kidnapper/killer of that girlfriend is an intellectual psycho with zero empathy, I understand that too.
The protagonist goes to GREAT lengths to find out what happened so Saskia/Diane, I'm totally willing to go along with that too.
But this is where I don't get it: when he finds the kidnapper/killer, it is obvious that she had a terrible fate and is dead. Period. So the kidnapper/killer tells him: if you want to know what happened to her, you have to experience it.
So, true, he does not KNOW yet the details surrounding the "vanishing" of Diane/Saskia, but he can be pretty sure about the fact that it was nasty and left Saskia dead and that it was this guy who killed her. So WTF does he want to accomplish by experiencing the same fate? Does he have a death wish, so that the two sides/coins/eggs are united again? He already knows the truth that this psycho did her in, so why is it so important to him to find out the details and sacrifice his life over it?
True, he did not know that the killer buried her alive, but it was an option. He could have also bludgeoned her to death, or drowned her, or burned her, or starved her, or whatever, but chances were, it was something like that. So why pick the "yeah, hit me with it" option.
Yet at the end, buried alive, he seems totally freaked out and afraid, cries for help (and in one version gets rescued). But hey, I mean, what did you expect, voluntarily turning yourself over to a self acknowledged sociopath?
It's been years since I've seen these movies, so maybe I'm missing something, but I just didn't get it.
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Because the main character in both films is a dumbass.
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Because the main character in both films is a dumbass.
That pretty much sums it up. :-)
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