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just happened upon a review that some "shmuck" posted online, and this paragraph caught my attention, to say the least:
"Incidentally, notice how the tone of this review is all over the place? Same as The Boys From Brazil. This is not helped by the irritating score by Jerry Goldsmith. Again, Academy Award-nominated but goodness knows why."
IS THIS GUY KIDDING? "IRRITATING"?
What a moron!
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just happened upon a review that some "shmuck" posted online, and this paragraph caught my attention, to say the least:
"Incidentally, notice how the tone of this review is all over the place? Same as The Boys From Brazil. This is not helped by the irritating score by Jerry Goldsmith. Again, Academy Award-nominated but goodness knows why."
IS THIS GUY KIDDING? "IRRITATING"?
What a moron!
The internet is full of dumb uneducated opinionated morons Jim. At least I can argue my point that Goldsmith is as talented as Williams even although dummies like the reviewer cant see past Star Wars ET etc. I have many Williams scores BUT even more Goldsmith, and listen to them more often. I can only assume my brain is more in tune with Goldsmith than Williams. It doesnt mean that one is any more talented than the other. Its all subjective.
Hope that makes sense lol
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Irritating, wow. My first ever score (and an easy top seven favorite for me).
This movie, like Damien Omen II and Alien, was first a book I read because I was too young for R rated movies. And I fell in love with the book (Levin had some great stories imo).
I think as a movie BFB is meant to be over the top and campy, and is highly conscious at every step at how ridiculous the base plot is. That said, I adore watching Peck and Olivier ham it up!
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I want to fully be clear that I do think that review is asinine. However... (gulp)... I, too, find this particular Jerry score a bit annoying but only because of my own tastes and not because of what Jerry did for the film. I just have this thing against waltzes, and no amount of therapy thus far has shed any light on the cause of my aversion to all things three-quarter time. (Actually, only waltzes.) I owned the stellar Intrada 2-disc set for a long time but eventually got rid of it as one of the few Goldsmith scores that just couldn't hold my interest.
I stress again: This is due to my own issues and not, obviously, with the mastery of, well, Maestro Goldsmith.
Someone here also posted that they think the filmmakers are in on the joke and I rather believe, unfortunately and with all due respect, that the film itself does not know it's campy. And I especially do not think Olivier or Peck, fine actors though they are, are in on the joke either. There seems to be too much about the film that feels ham-handed for me to believe it's intentional. I think the high concept of the film could have been fun but in the end there's a clunkyness to it for me.
(I shall now go hide in the Viennese countryside to avoid being pelted with tomatoes or being sicked on by German shepherds.)
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I want to fully be clear that I do think that review is asinine. However... (gulp)... I, too, find this particular Jerry score a bit annoying but only because of my own tastes and not because of what Jerry did for the film. I just have this thing against waltzes, and no amount of therapy thus far has shed any light on the cause of my aversion to all things three-quarter time. (Actually, only waltzes.) I owned the stellar Intrada 2-disc set for a long time but eventually got rid of it as one of the few Goldsmith scores that just could hold my interest.
I stress again: This is due to my own issues and not, obviously, with the mastery of, well, Maestro Goldsmith.
Someone here also posted that they think the filmmakers are in on the joke and I rather believe, unfortunately and with all due respect, that the film itself does not know it's campy. And I especially do not think Olivier or Peck, fine actors though they are, are in on the joke either. There seems to be too much about the film that feels ham-handed for me to believe it's intentional. I think the high concept of the film could have been fun but in the end there's a clunkyness to it for me.
(I shall now go hide in the Viennese countryside to avoid being pelted with tomatoes or being sicked on by German shepherds.)
Great post! It's just hard for me to imagine the cast and crew keeping straight faces during some of the scenes/lines.
That said, I found things to really like in the Boys From Brazil film from the very first time I watched it, and have probably seen it at least a few dozen times since the early 80s.
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Posted: |
Feb 22, 2019 - 1:58 PM
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By: |
Last Child
(Member)
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I want to fully be clear that I do think that review is asinine. However... (gulp)... I, too, find this particular Jerry score a bit annoying but only because of my own tastes and not because of what Jerry did for the film. I just have this thing against waltzes, and no amount of therapy thus far has shed any light on the cause of my aversion to all things three-quarter time. (Actually, only waltzes.) I owned the stellar Intrada 2-disc set for a long time but eventually got rid of it as one of the few Goldsmith scores that just could hold my interest.
I stress again: This is due to my own issues and not, obviously, with the mastery of, well, Maestro Goldsmith.
Someone here also posted that they think the filmmakers are in on the joke and I rather believe, unfortunately and with all due respect, that the film itself does not know it's campy. And I especially do not think Olivier or Peck, fine actors though they are, are in on the joke either. There seems to be too much about the film that feels ham-handed for me to believe it's intentional. I think the high concept of the film could have been fun but in the end there's a clunkyness to it for me.
(I shall now go hide in the Viennese countryside to avoid being pelted with tomatoes or being sicked on by German shepherds.)
Great post! It's just hard for me to imagine the cast and crew keeping straight faces during some of the scenes/lines.
That said, I found things to really like in the Boys From Brazil film from the very first time I watched it, and have probably seen it at least a few dozen times since the early 80s.
I've forgotten, what are we arguing about? And more importantly, who's winning?
Ira Levin wrote the novel, and also wrote Rosemary's Baby which he said had elements of social satire, so the camp value might be there.
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What I love is the juxtaposition of the waltz with the super-dramatic. It really ups the ante for dynamic range in theme conception; it's like one moment we're waltzing and the next we can just feel the hot breath of the dogs at our necks.
I nominate both the main theme and Jungle Holocaust as two of the best cues in JG's amazing repertoire. But hey, I think the whole score is a stone cold classic, no offense to non-fans.
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Ira Levin wrote the novel, and also wrote Rosemary's Baby which he said had elements of social satire, so the camp value might be there.
I had meant to comment on Levin and specifically to the tune of "on the other hand, Ira Levin knew satire like nobody's business so I could be wrong." I suspect the novel itself is a lot of fun, and obviously the movie has a lot of fans, too. No desire to demean that love, only rather to give my own impressions, right or wrong. If I revisit the film and love it, and therefore regret getting rid of that score, there will be hell to pay, folks. Hell. To. Pay!
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What I love is the juxtaposition of the waltz with the super-dramatic. It really ups the ante for dynamic range in theme conception; it's like one moment we're waltzing and the next we can just feel the hot breath of the dogs at our necks.
I nominate both the main theme and Jungle Holocaust as two of the best cues in JG's amazing repertoire. But hey, I think the whole score is a stone cold classic, no offense to non-fans.
Good points. I do remember one of the waltz cues that becomes increasingly darker and urgent being brilliant. And I get what Goldsmith was doing and why. It's solely the waltz aversion and not Jerry's adept use of it.
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Well if you find that particular waltz to be a bit facile I should think it appears often enough to become irritating. Personally it reminds me of circus music, a bit like the track in Diamonds Are Forever, which actually IS for a circus-type act in the film.
Yes, the DAF waltz isn't a fave for that same reason although it, like THE BOYS FROM BRAZIL, entirely befits the film.
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What I love is the juxtaposition of the waltz with the super-dramatic. It really ups the ante for dynamic range in theme conception; it's like one moment we're waltzing and the next we can just feel the hot breath of the dogs at our necks.
I nominate both the main theme and Jungle Holocaust as two of the best cues in JG's amazing repertoire. But hey, I think the whole score is a stone cold classic, no offense to non-fans.
Good points. I do remember one of the waltz cues that becomes increasingly darker and urgent being brilliant. And I get what Goldsmith was doing and why. It's solely the waltz aversion and not Jerry's adept use of it.
I know other folks whom aren't wild about the waltz, either. However, maybe when you have a chance check out those two cues again, you might find yourself liking them more now that we've touched on them.
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This whole score is so good that it should be re-used, pretty much as-is, in a remake.
What with the whole "white pride" resurgence, it would feel more relevant now than in 1978.
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This whole score is so good that it should be re-used, pretty much as-is, in a remake.
What with the whole "white pride" resurgence, it would feel more relevant now than in 1978.
This is a really interesting idea, am now astonished Hollywood hasn't thought of this...especially given what they're passing off as movies these days (the Omen remake, anyone? no one).
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I'm trying, WagnerAlmighty. I'm trying.
Read the book. Great read, as is Rosemary's Baby, speaking of rampant paranoia.
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I'm trying, WagnerAlmighty. I'm trying.
Read the book. Great read, as is Rosemary's Baby, speaking of rampant paranoia.
I read both the books before I saw the movies and LOVE them. I liked Sliver by Ira too and...there are a couple of others that are good too I just can't remember them off hand.
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Everyone knows I love Jerry, and I actually love many waltzes too...except I'm not crazy about Germanic ones (Russian ones -- great!)
Therefore, I kinda get this score's waltz theme wearing thin on multiple hearings. I think this score works brilliantly in the film, but I confess I rarely listen to my Intrada album (wags finger at self). Hope you won't lose too much respect for me, Wagner Almighty!
Yavar
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