 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Jun 30, 2020 - 3:54 PM
|
|
|
|
By: |
Grecchus
(Member)
|
I seem to remember reading Goldman's novelisation of Marathon Man, first. After that, I could never forget Scylla The Rock. I think the only reference was via the frenchman in the film itself. Then there's Babe's obsession with vindicating his and Doc's father's suicide, one of the more complex issues residing within the nail-biter (if you've got good teeth) that was the rest of the film.
I think Hoffman made for a rather older student, however, that goal of keeping his father's memory alive, while Doc couldn't be bothered with the old man's legacy, provides the fulcrum between the difference with the two brothers. It culminates with Babe's emergence from the shadows having seen his brother's side and the idealism that came before. In the end, we don't really know how Babe has been tarnished by the experience. We can only hope it makes him stronger.
As for Michael Small's score - it was a brilliant moulding to the imagery of the film itself and completely captured the ambience surrounding it. I took note, but never imagined the score would ever enter the realm of personal ownership. It remains one of the great mystery thriller scores out there. Lovely closing titles music.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Thank you both for the interest and support for my reviews and especially your added thoughts!
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
