How Goldsmith managed to write two extremely great scores in one year has always boggled my imagination. "The Blue Max' was incredible for its cinematography, its aerial work and its original music score.
When I finally acquired the Mainstream LP, I was in heaven. This and "The Sand Pebbles" were just two roadshows that year out of several, but they definitely had the best music I had heard in any of them.
Most of you are more than familiar with both scores, I imagine. Still, there must be some out there still waiting to discover them.
This is the "Retreat" cues from the Nic Raine-conducted recording of the complete score with the City of Prague orchestra.
Having heard The Blue Max for some time before watching the movie, I admit I was terrifically underwhelmed by said movie. The music set the bar far beyond the film.
Watching the "The Attack" performance, I am struck by how very odd it seems to have a "military" drummer drumming according to sheet music. Of course, yes. But you generally think of a pianist playing to notes on paper, violinists, etc. etc. . Just seems odd to actually look at it.
And lets not forget the suite that Goldsmith himself conducted and recorded for his album on Silva Screens's GOLDSMITH CONDUCTS GOLDSMITH- Its a superb recording.
That previn version is excellent. Great score and a great film. Despite some people sneering at Peppard and the movie, i thought he was a good fit as the arrogant Stachel.
P.s And real dogs-bollocks planes. Stick that up your cgi ass, yeah?
Agreed and said as much after taking TBM challenge on the Zoom. Followed by A Bridge Too Far, The Battle Of Britain and Yanks and Is Paris Burning? re-watches. What a streak.
Another score I've tried to get into multiple times, but that just didn't do it. Always felt noisy and overblown. But I have it in my iTunes collection, and aim to try again. And again. I once wrote a fairly long post about this, but there are so many BLUE MAX threads, I can't remember which one.
Splendid album(s) but a desiccated corpse as a film score: the best parts were either deleted (Bridge Duel) or mucked up in the editing (Attack/Retreat).
Splendid album(s) but a desiccated corpse as a film score: the best parts were either deleted (Bridge Duel) or mucked up in the editing (Attack/Retreat).
Opened June 29, 1966 at the St. Louis Park Cinerama in Minneapolis and played for 17 weeks. "Reserved Seats Only" the ads stated. It opened in first-run non-roadshow theaters in early 1967. And, was still playing at neighborhood second-run theaters in Minneapolis-St. Paul when I finally saw it in October, 1967. Ursula Andress and her magic towel made quite an impression on my 12-year-old mind.
Splendid album(s) but a desiccated corpse as a film score: the best parts were either deleted (Bridge Duel) or mucked up in the editing (Attack/Retreat).
I don't think it was a roadshow in the USA.
Played Roadshow in NYC at the Sutton Theater on East 57 th Street . That’s where I saw it.
Splendid album(s) but a desiccated corpse as a film score: the best parts were either deleted (Bridge Duel) or mucked up in the editing (Attack/Retreat).
I don't think it was a roadshow in the USA.
Played Roadshow in NYC at the Sutton Theater on East 57 th Street . That’s where I saw it.
Ah, yes. That theater was more of an East Side art house, but the reserved screenings were an exception.
Splendid album(s) but a desiccated corpse as a film score: the best parts were either deleted (Bridge Duel) or mucked up in the editing (Attack/Retreat).
I don't think it was a roadshow in the USA.
Played Roadshow in NYC at the Sutton Theater on East 57 th Street . That’s where I saw it.
Ah, yes. That theater was more of an East Side art house, but the reserved screenings were an exception.
That previn version is excellent. Great score and a great film. Despite some people sneering at Peppard and the movie, i thought he was a good fit as the arrogant Stachel.
P.s And real dogs-bollocks planes. Stick that up your cgi ass, yeah?
Bill, I agree with you on all counts. I recall seeing Previn perform this way back in 1977 (I think). Peppard was fine, as was the supporting cast; James Mason, Anton Diffring and especially Karl Michael Volger as von Heidemann, the squadron leader. Real SE5a British fighter aircraft and real Fokker DR1 Triplanes, Pfalz DIIIs and Fokker DVIIs.
I can say without any reservation that The Blue Max is my favourite Goldsmith score. It sounds Germanic, even when played by great British musicians. I don't think it would have sounded so good had it been recorded in Hollywood.
Of course, yes. But you generally think of a pianist playing to notes on paper, violinists, etc. etc. . Just seems odd to actually look at it. 
