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But the score is very depressing and cold as is the film itself. While I think it fits the setting and the story, I know that it’s going to be an unpleasant listening experience on CD.
Rumour has it that the score is used byte US military to torture prisoners in Guantanamo Bay.
You must be kidding, there are much worse film scores out there.
Taken out of context if you hadn’t seen the movie, I don’t think this music would offend much. It’s pretty low-key.
But the love theme for example, it’s so slow and somber. I guess maybe because it’s perhaps not the “love theme” but a theme for Natalya, who had a terrible experience in Severnaya… but much of it is just cold and dark.
As I think about it, James Bond himself was also like that in the film. He was wrestling with some demons which they expanded on in “Tomorrow Never Dies”, and I think it’s a touch heavy for “Goldeneye”. A compelling film, but I think my memories of playing the videogame possibly make it better than it actually was.
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Serra's original A Pleasant Drive In St.Petersburg is a great track and we're fortunate that it was included on the album. I don't see the problem with it. It includes the James Bond Theme but Serra adds much much more with oriental style vocals and throbbing percussion. It was removed from the film because some of the long standing technical crew on the movie, didn't like it, it wasn't what they were used to. Altman's version doesn't push the boundaries too much and so keeps the conservative fanboy audience happy with what is a more conventional use of the Bond theme. Let's face it much of the Bond audience doesn't like change.
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Watched the film at the cinema. When Bond skydives into the plane, then pulls the nose up, the Bond theme should play. It's crying out for it. What were they thinking leaving it unscored???
My reaction after rewatching recently as well. The tension in this scene was severely hampered by the music placement (or lack there of). I don't necessarily mean it needed a brassy fanfare (he did just watch his friend "die") but some kind of musical build up and release would have aided the onscreen tension much better than what we got.
My only interpretation is that Serra was trying to score the disconnected, worn-out Bond character aspect instead of the traditional bold, brassy Bond character aspect and that is why he decided to limit the amount of emotional impact his score had. If that is the case, it's certainly an interesting take on scoring the character and closer, I think, to how Thomas Newman approached his Bond scores. In the case of Newman though, there was a bit more emotional IMPACT in some of those tense scenes. Serra's score is cold and so it does accomplish what it set out to do--it just doesn't really fit the tone of the film or series.
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I imagine it was a conscious decision to update the franchise - move away from the cliches. Even Barry noted the Bond theme had become dated. Arnold pushed it way in the wrong direction with TND IMHO. It's only when he did CR and QOS that he evened things out again.
Yes but the Brosnan films had more in common with Dalton than Craig--the spectacle and action sequences called for that kind of score and it worked, IMO. If the narrative of the Brosnan films had started at the beginning of Bond's career like the Craig films, it would have made sense to pepper in the JB theme like in CR instead of relying on it so heavily like TND/TWINE because Bond had not become BOND yet. Brosnan was a continuation of the single story style unlike Craig so that style was reflected in the music.
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Posted: |
Mar 28, 2024 - 1:46 AM
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By: |
RichC
(Member)
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My reaction after rewatching recently as well. The tension in this scene was severely hampered by the music placement (or lack there of). I don't necessarily mean it needed a brassy fanfare (he did just watch his friend "die") but some kind of musical build up and release would have aided the onscreen tension much better than what we got.
My only interpretation is that Serra was trying to score the disconnected, worn-out Bond character aspect instead of the traditional bold, brassy Bond character aspect and that is why he decided to limit the amount of emotional impact his score had. If that is the case, it's certainly an interesting take on scoring the character
Then again, if the director and/or producers had wanted music there, then they would surely have asked Serra or, latterly, Altman to provide the necessary accompaniment. For all we know, Serra did provide a cue for that moment, but it got dropped in the final edit. Or perhaps Altman scored more than just one scene, but his additional material, outside of the tank chase, was dropped during mixing. Either way, it seems likely that it was a producer-led decision, rather than a composer-led one, to leave that moment largely unscored, as they had ample opportunity to rectify the situation if they so wished.
Hopefully, these mysteries will be solved if/when an expanded soundtrack is released. 
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Even though it's not popular, I hope an expanded release happens, perhaps in lower quantities. It's an unique sounding piece of work.
The score is much more popular, than people often think. I guess, next year is a complete version out ("GoldenEye" 30th anniversary). EON and LLL shouldn't miss such anniversaries, for this year too ("Goldfinger" 60th, "The Man With The Golden Gun" 50th, "Moonraker" 45th and "Licence To Kill" 35th). I'm convinced, that some of them will happen this year.
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