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Posted: |
Jun 14, 2021 - 5:28 PM
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By: |
SBD
(Member)
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World premiere release of unused Jerry Goldsmith score for Joe Pesci gangster tale! Universal Pictures presents a Robert Zemeckis production. Howard Franklin scripts and directs, Joe Pesci, Barbara Hershey, Stanley Tucci, Jerry Adler star. Leon “Bernzy” Bernstein shoots photos… crime photos. It’s a living. As the one sheet tagline states: “No matter what he was shooting, The Great Bernzini never took sides, he only took pictures… Except once.” First a murder suspect, then cleared and released, next into romance, finally in the middle of a mob war. Jerry Goldsmith fashioned a score both appropriate to the period setting and tinged with drama. It’s a haunting mood edged in darkness, but just not what director Howard Franklin was looking for. Ultimately Mark Isham stepped in to score the final picture. Not one to let a gorgeous yet bittersweet tune go to waste, Goldsmith drew inspiration for much of his unused The Public Eye score from an idea he initially scored for an earlier boxing picture that, ironically, also went unused. From the onset, this smoky jazz-inflected theme in C minor (with rich cadences in F major) features strings above and prominent bass below mournfully melodic clarinet. Piano soon follows with a new idea that expands Goldsmith’s harmonic vocabulary further. Though the theme and corresponding mood recur often, Goldsmith has several other things to say: A rising two-note figure consisting of a minor second steadily plays underneath the theme during “Morning Call”, new orchestral and synthesizer colors embellish the rising two-note figure and initial theme during “The Body”, dark and complex lower string harmonies infuse “Someone To Trust”, high violin harmonics color “After Hours” plus several other ideas. As is customary with this composer in his later career, what initially seems open and sparse begins to reveal much within its transparent layers. The score is written for full strings plus solo bass, percussion, keyboards (both piano and synthesizer), harp, oboe, flute and that haunting ever-present clarinet. Courtesy of Universal Pictures, the original digital stereo session mixes appear in clean, crisp sound. This Intrada premiere presentation features the complete score as Goldsmith wrote and recorded it in the intended picture sequence, all engineered by veteran Mike Ross-Trevor at Whitfield Recording Studios in London during April 1992. A terrific long-lost gem is finally unearthed and heard for the very first time! Jerry Goldsmith composes, conducts. Intrada Special Collection CD available while quantities and interest remain!
01. Main Title (2:40)
(For The Motion Picture The Public Eye)
02. First Sale (1:07)
03. Morning Call (1:38)
04. The Body (1:42)
05. Someone To Trust (3:00)
06. What’s The Trouble? (0:41)
07. After Hours (1:57)
08. Black Gas (0:57)
09. No User (0:33)
10. Snapshots (4:01)
11. The Alley (1:22)
12. New Evidence (1:32)
13. Beauty And The Beast (2:31)
14. Ask Me (1:47)
15. Protection (1:27)
16. Midnight Caller (1:58)
17. Three Months Pay (1:57)
18. The Slaughter (1:47)
19. Everything Is True (1:46)
20. Turn It Off (0:39)
21. Final Shot (3:48)
Total Time: 39:29
The Extra
22. The Slaughter (Alternate Mix) (1:47)
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I hear The Vanishing all along! And [unfortunately] not my favorite theme, BTW...
Well, of course that I'll order it anyways, but I guess I think Mark Isham's take on the movie is the winner. Who'd have thought?
I'm NO Isham's superfan!
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Not sure if it’s evident from the clips, but this also features a secondary motif that Goldsmith would later reuse and expand upon in The Shadow, my favorite 90s Goldsmith score.
I will say this: The Public Eye is a score whose strength is consistency and mood. I don’t think it can be judged from samples alone. It doesn’t have obvious highlights the same way that say Shamus does. But I think I like it even better. Fans of The Russia House and the way it builds a mood will like this very much, I think. It gets under your skin and stays with you, and gets better with each listen.
The Goldsmith Odyssey was supposed to record a Spotlight podcast on this, this past weekend with Doug, but unfortunately that didn’t happen. (We’ll record as soon as possible.)
Oh, and the double bass writing in this (especially in the main title) is so cool and unique, a featured instrument just like Mike Ross-Trevor told me when I interviewed him a couple years ago for the podcast.
Yavar
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I like what I've heard so far from the samples. There is one track that has the same mixed-meter vibe from The Dream from Six Degrees of Separation (a criminally underrated score).
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No CD no sale.
It ain't THE HEARSE, but I'll still buy it.
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Either way, I prefer the Isham score.
Dude, you've heard a few sound clips. I don't think that's a fair assessment to make, a few sound clips vs. an entire album of the Isham score.
Yavar
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Has a similar instrumentation and mix to Basic Instinct.
I thought this was an older 60s or even 50s gem and was expecting some good old-fashioned noir but this is quite contemporary!
It’s interesting - not sure what to think of it but I am quite intrigued by scores that were replaced and I think this would be great to study!
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Jerry didn’t have any rejected scores in that era (that we know of); I think the earliest that’s documented is Wall Street in the 80s, which was rejected based just on some demos.
Yavar
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