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 Posted:   Jun 14, 2021 - 5:28 PM   
 By:   SBD   (Member)

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)

 Posted:   Jun 14, 2021 - 5:39 PM   
 By:   William R.   (Member)

After all the buildup and speculation...

It sounds NOTHING like CHINATOWN or LA CONFIDENTIAL. Much closer to THE RUSSIA HOUSE, esp with the prominent upright bass. Ordered, duh

 Posted:   Jun 14, 2021 - 5:51 PM   
 By:   OnyaBirri   (Member)

Yeah, I'm not hearing LA Confidential in this either, contrary to what has been suggested.

 Posted:   Jun 14, 2021 - 5:57 PM   
 By:   Ag^Janus   (Member)

Who likes Jerry's dramatic underscore?

 Posted:   Jun 14, 2021 - 6:04 PM   
 By:   robertolopes   (Member)

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!

 Posted:   Jun 14, 2021 - 6:06 PM   
 By:   Spymaster   (Member)

Yeah, I'm not hearing LA Confidential in this either, contrary to what has been suggested.

It was never, ever suggested that this sounded like LA Confidental. Or Chinatown. It was only ever The Vanishing, which he wrote afterwards. This was obvious from the reconstructed clips that were posted.

Interestingly there are traces of Christopher Lloyd's later motif from Dennis the Menace here too, in noir-ish form!

Loving the clips.

 Posted:   Jun 14, 2021 - 6:11 PM   
 By:   amfedec   (Member)

Truthfully, out of all the available sound samples, I find only Track 16: "Midnight Caller" and Track 17: "Three Months Pay" to be of interest. The others are not so special. Then again, the rest of the score could be much better. Will I order this? Maybe. I'll think about it.

 Posted:   Jun 14, 2021 - 6:23 PM   
 By:   connorb93   (Member)

The samples sound amazing! Mike Ross wasn't lying when he said it was something like a double bass concerto.

A score with hints of The Vanishing, Malice, AND Dennis the Menace? I'm all in!

 Posted:   Jun 14, 2021 - 6:38 PM   
 By:   Yavar Moradi   (Member)

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.


 Posted:   Jun 14, 2021 - 6:38 PM   
 By:   DavidCoscina   (Member)

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).

 Posted:   Jun 14, 2021 - 7:00 PM   
 By:   OnyaBirri   (Member)

It was never, ever suggested that this sounded like LA Confidental.

Respectfully, it was indeed suggested over the years by different persons.

Either way, I prefer the Isham score.

 Posted:   Jun 14, 2021 - 7:42 PM   
 By:   DavidCorkum   (Member)

I was a little dubious that the Vanishing love theme could sound like film noir, but it really does here! It might currently be a little hard not to make associations with later scores that ended up adopting some of the ideas, and I haven't heard the whole thing of course, but I think given time this can be appreciated as having it's own musical identity.

Thanks so much, Intrada!!

 Posted:   Jun 14, 2021 - 7:50 PM   
 By:   The Mutant   (Member)

I ordered this as fast as humanly possible.

 Posted:   Jun 14, 2021 - 7:57 PM   
 By:   zooba   (Member)

Yes, he used it for THE VANISHING like the way Alex North used unused 2001 for THE SHOES OF THE FISHERMAN. Not unlike the JURASSIC PARK analogy of life, composers "find a way".

 Posted:   Jun 14, 2021 - 8:11 PM   
 By:   drivingmissdaisy   (Member)

No CD no sale.

It ain't THE HEARSE, but I'll still buy it.

 Posted:   Jun 14, 2021 - 8:42 PM   
 By:   Yavar Moradi   (Member)

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.


 Posted:   Jun 14, 2021 - 9:28 PM   
 By:   jb1234   (Member)

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).

Especially in this period, Jerry looooooved his alternating 4/4, 7/8

 Posted:   Jun 14, 2021 - 10:26 PM   
 By:   Jurassic T. Park   (Member)

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!

 Posted:   Jun 14, 2021 - 10:31 PM   
 By:   Yavar Moradi   (Member)

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.


 Posted:   Jun 15, 2021 - 12:08 AM   
 By:   Gold Digger   (Member)

Amazing to finally be able to buy this score. I think I’m more intrigued by it rather than excited. I think I knew this was the original score for the Gladiator and Vanishing theme but I wondered what the low key score might sound like though. From the samples I can hear earlier ideas that cropped up in the Shadow and Dennis. Need to listen to it properly but nothing jumps out, as I expected. Thank you Intrada, MRT, Carol Goldsmith and all the others involved in making this release a reality.

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