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Posted: |
Mar 29, 2005 - 3:37 AM
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By: |
Howard L
(Member)
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Well how do you like that. Score one for my everlovin' film score ear. I'm watching this film on TCM tonight, see, called Tomorrow Is Forever and the only reason I'm watching is because I caught Orson Welles while channel surfing and figured, hey, you can't go wrong with Orson. And brother, what a tremendous understated yet impassioned performance. I mean I must have discovered this film about a 1/3 of the way in and he pulled me in for the rest of the way.
But that wasn't all. There's this lovely scene, see, with him and his charming Austrian 'daughter' convincingly played by a very young Natalie Wood (hair dyed Austrian blond) and within a few bars of the cue I thought to myself, deja vu. I mean the music was new to the ears but the father/daughter scene and the orchestral arrangement with the "music box" sound had me saying, hey, this is "Molly and Dad" in A Summer Place but it's like 15 years before the latter, judging from Miss Wood's age. Then I got thinking a little more and sheesh, there's nothing like an old-fashioned wall to wall score in an old-fashioned Warner Bros.-type weeper, to boot.
Well, from this last aspect alone you probably figure the same way I put 2+2 together and yep, it turns out that this was indeed another Max Steiner extravanganza. You might even call it Yet Another Patented Obtrusive Steiner Effort And All but damn, the music for me was yet another fabulous multi-themed melodic tapestry that sent this picture soaring even as it accented moments of pathos and heartbreak.
There is a "mentor" scene between the Welles character and a young man of 20 played by a young Richard Long that with the music...it's simply one of those it-just-doesn't-get-any-better-than-this motion picture moments.
Ah! What writing, what acting, what music {imagine my open hand raised heavenward }!!
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Sounds like a title for a yet unreleased Bond film.
Or a classic Star Trek episode.
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Posted: |
Mar 30, 2005 - 9:00 PM
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By: |
manderley
(Member)
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.....Tomorrow may be forever...but yesterday is never again.....
In the context of Golden Age scores, that certainly seems to be true.
And yet, and I hope you'll agree, Ron, back in the early seventies when we said this, suddenly there was Goldsmith's THE WIND AND THE LION and Williams' STAR WARS, which, if not truly Golden Age scores, gave that impression, though some of the orchestrations and orchestral elements seemed more modern.
So, while we revel in the reissues and new masterings of everything from Newman and Kaper and Rozsa and Steiner, et al, from the old days, who knows what might pop up next when everyone tires of the present sound.....
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