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The latest CD from Intrada is a two-disc release of Jerry Goldsmith's kinetic orchestra-and-synth score for Walter Hill's 1987 thriller EXTREME PREJUDICE, featuring some previously unreleased music. (The original Extreme Prejudice soundrack was among the label's very first releases back in the day)


Music Box has announced two new reissues of previously out-of-print releases -- their expanded edition of Ennio Morricone's score for the 1982 spy thriller ESPION, LEVE-TOI, starring French screen legends Lino Ventura and Michel Piccoli, with improved sound; and a CD pairing two 1979 scores by Claude Bolling, L'ETRANGE MONSIEUR DUVALLIER and MISS.


Quartet has announced two new CDs, each featuring two scores by Philippe Sarde -- BAROCCO (1976) and LES SOEURS BRONTE (The Bronte Sisters - 1979), both starring Isabelle Adjani (Bronte Sisters also has Isabelle Huppert, for those at home playing Isabelle Bingo), and one featuring two scores for director Marco Ferreri, LIZA (1972, starring Marcello Mastroianni and Catherine Deneuve) and LA DERNIERE FEMME (The Last Woman, 1976, with Gerard Depardieu and Ornella Muti).


The Academy of Television Arts and Sciences announced this year's Primetime Emmy nominations, including the following music categories: 

OUTSTANDING MUSIC COMPOSITION FOR A LIMITED OR ANTHOLOGY SERIES, MOVIE OR SPECIAL (ORIGINAL DRAMATIC SCORE)

FARGO: East/West - Jeff Russo 
OSLO - Jeff Russo, Zoë Keating 
THE QUEEN'S GAMBIT: End Game - Carlos Rafael Rivera 
THE UNDERGROUND RAILROAD: Chapter 2: South Carolina - Nicholas Britell 
WANDAVISION: Previously On - Christophe Beck 
 
OUTSTANDING MUSIC COMPOSITION FOR A SERIES (ORIGINAL DRAMATIC SCORE)
 
BRIDGERTON : Diamond Of The First Water - Kris Bowers
THE CROWN: The Balmoral Test - Martin Phipps 
THE HANDMAID'S TALE: The Crossing - Adam Taylor 
LOVECRAFT COUNTRY: Rewind 1921 - Laura Karpman, Raphael Saadiq 
THE MANDALORIAN:  Chapter 16: The Rescue - Ludwig Göransson 
THIS IS US: Birth Mother - Siddhartha Kh osla
 
OUTSTANDING ORIGINAL MAIN TITLE THEME MUSIC
 
ALLEN V. FARROW - Michael Abels 
BRIDGERTON - Kris Bowers, Michael Dean Parsons 
THE FLIGHT ATTENDANT - Blake Neely 
TED LASSO - Marcus Mumford,  Tom Howe 
WANDAVISION - Kristen Anderson-Lopez,  Robert Lopez 
 
OUTSTANDING MUSIC COMPOSITION FOR A DOCUMENTARY SERIES OR SPECIAL (ORIGINAL DRAMATIC SCORE)
 
ALLEN V. FARROW:  Episode 4 - Michael Abels 
AMERICAN MASTERS:  Amy Tan: Unintended Memoir - Kathryn Bostic 
DAVID ATTENBOROUGH: A LIFE ON OUR PLANET - Steven Price 
THE SOCIAL DILEMMA - Mark Crawford 
TULSA BURNING: THE 1921 RACE MASSACRE - Branford Marsalis 
 
OUTSTANDING ORIGINAL MUSIC AND LYRICS
 
BO BURNHAM: INSIDE -  “Comedy”  - Bo Burnham 
THE BOYS: The Big Ride – “Never Truly Vanish” - Christopher Lennertz,  Michael Saltzman 
THE QUEEN'S GAMBIT:  Adjournment – “I Can't Remember Love”  - Anna Hauss, Robert Weinröder, William Horberg 
SOUNDTRACK OF OUR LIVES – “The End Titles”  - Marc Shaiman 
WANDAVISION: Breaking The Fourth Wall - “Agatha All Along”   - Kristen Anderson-Lopez  Robert Lopez 
ZOEY'S EXTRAORDINARY PLAYLIST: Zoey's Extraordinary Birthday – “ Crimson Love”  - Harvey Mason Jr., Andrew Hey, Austin Winsberg,  Lindsey Rosin 
 
OUTSTANDING MUSIC DIRECTION
 
BILLIE EILISH: THE WORLD’S A LITTLE BLURRY - Aron Forbes 
BO BURNHAM: INSIDE - Bo Burnham 
CELEBRATING AMERICA - AN INAUGURATION NIGHT SPECIAL - Rickey Minor 
DAVID BYRNE'S AMERICAN UTOPIA - Karl Mansfield 
ZOEY'S EXTRAORDINARY PLAYLIST:  Zoey's Extraordinary Goodbye - Harvey Mason Jr. 
 
OUTSTANDING MUSIC SUPERVISION
 
BRIDGERTON:  Diamond Of The First Water  - Alexandra Patsavas 
THE CROWN:  Fairytale  - Sarah Bridge 
HALSTON:  The Party's Over  - Amanda Krieg Thomas,   Alexis Martin Woodall,   Ryan Murphy 
I MAY DESTROY YOU: Ego Death  - Ciara Elwis,   Matt Biffa 
LOVECRAFT COUNTRY:  Strange Case  - Liza Richardson 
THE QUEEN'S GAMBIT:  Adjournment  - Randall Poster 
WANDAVISION:  Don’t Touch That Dial  - Dave Jordan,   Shannon Murphy 

CDS AVAILABLE THIS WEEK

Barocco/Les Soeurs Bronte - Philippe Sarde - Quartet
Belli e rutti ridono tutti - Giacomo Dell'Orso - Beat  
Extreme Prejudice - Jerry Goldsmith - Intrada Special Collection
Fuga Dal Bronx
 - Francesco De Masi - Beat
Il Giro Del Mondo Degli Innamorati Di Peynet
 - Alessandro Alessandroni - Beat  
Infinite
 - Harry Gregson-Williams - La-La Land
Internal Affairs - Mike Figgis, Anthony Marinelli, Brian Banks - La-La Land
Io So Che Tu Saiche Io So
 - Piero Piccioni - Beat 
Liza/La Derniere Femme
- Philippe Sarde - Quartet
Somewhere in Time - John Barry - La-La Land
Straziami Ma Di Baci Sazliami
 - Armando Trovaioli - Beat
Waiting for the Barbarians - Marco Beltrami, Buck Sanders - La-La Land 


IN THEATERS TODAY

Casanova Last Love - Bruno Coulais
Escape Room: Tournament of Champions - Brian Tyler, John Carey
Great White - Tim Count
Gunpowder Milkshake - Frank Ilfman
The Hidden Life of Trees - Franziska Henke 
How to Deter a Robber - Robert Allaire
Mama Weed - Bruno Coulais
Pig - Alexis Graspas, Philip Klein
Roadrunner: A Film About Anthony Bourdain - Michael Andrews
Space Jam: A New Legacy - Kris Bowers - Song CD on Republic
The Witches of the Orient - Jason Lytle


COMING SOON

July 23
Formula 1 Nell'inferno del Grand Prix
 - Alessandro Alessandroni - Beat 
August 13
Ghostbusters II - Randy Edelman - Sony
September 17
Without Remorse - Jonsi - Krunk
October 1
No Time to Die - Hans Zimmer - Decca
Date Unknown
Espion, Leve-Toi (re-release)
- Ennio Morricone - Music Box
L'Etrange Monsieur Duvallier/Miss (re-release)
- Claude Bolling - Music Box
Space: 1999
 - Barry Gray, Derek Wadsworth - Silva
The Taking of Pelham One Two Three
 - David Shire - Quartet
The Wind
 - Stanley Myers, Hans Zimmer - Notefornote


THIS WEEK IN FILM MUSIC HISTORY

July 16 - Goffredo Petrassi born (1904)
July 16 - Serge Baudo born (1927)
July 16 - Fred Myrow born (1939)
July 16 - Stewart Copeland born (1952)
July 16 - Jon Lord died (2012)
July 17 - Piero Umiliani born (1926)
July 17 - Wojciech Kilar born (1932)
July 17 - Peter Schickele born (1935)
July 17 - Kenyon Hopkins begins recording his score for The Hustler (1961)
July 17 - Stanley Wilson died (1970)
July 17 - Jerry Goldsmith begins recording his score to Babe (1975)
July 17 - Bruce Broughton begins recording his score to Eloise at Christmastime (2003)
July 18 - Barry Gray born (1908)
July 18 - James William Guercio born (1945)
July 18 - Nathan Van Cleave begins recording his score for The Lonely Man (1956)
July 18 - Richard Markowitz records his score for The Wild Wild West episode “The Night of the Golden Cobra” (1966)
July 18 - Abel Korzeniowski born (1972)
July 18 - David Shire records his score for the Amazing Stories episode "Hell Toupee" (1985)
July 19 - Paul Dunlap born (1919)
July 19 - Tim McIntire born (1944)
July 19 - Dominic Muldowney born (1952)
July 19 - Gerald Fried's score for the Star Trek episode "Amok Time" is recorded (1967)
July 19 - Gerald Fried's score for the Star Trek episode "The Paradise Syndrome" is recorded (1968)
July 19 - Ramin Djawadi born (1974)
July 19 - John Barry begins recording his score for Dances With Wolves (1990)
July 19 - Van Alexander died (2015)
July 20 - Since You Went Away released in theaters (1944)
July 20 - Franz Waxman begins recording his score for Elephant Walk (1953)
July 20 - Gail Kubik died (1984)
July 21 - Jerry Goldsmith died (2004)
July 22 - George Dreyfus born (1928)
July 22 - Richard Hill born (1942)
July 22 - Alan Menken born (1949)
July 22 - Nigel Hess born (1953)
July 22 - Jerry Goldsmith begins recording his score for Warning Shot (1966)
July 22 - Lalo Schifrin records his score for Mission: Impossible’s third season premiere, “The Heir Apparent” (1968)
July 22 - John Barry begins recording the orchestral score to King Kong (1976)
July 22 - Alan Silvestri begins recording his score for the Amazing Stories episode "Go to the Head of the Class" (1986)

DID THEY MENTION THE MUSIC?

BLACK WIDOW - Lorne Balfe
 
"On the craftsmanship side, 'Black Widow' is top-notch, with muscular camerawork from Gabriel Beristain and a wonderful score by Lorne Balfe that ranges from gentle piano to high-intensity suspense and almost into the operatic as it incorporates stormy choral elements. The editing of the fight scenes is perhaps a touch too unrelentingly fast, often blurring the choreography, but the physical side never feels overwhelmed by CG enhancement."
 
David Rooney, The Hollywood Reporter 

GAIA - Pierre-Henri Wicomb

"Everything about 'Gaia' works in tandem to create a steadily escalating mood of Blastomycotic body-horror distress (including Pierre-Henri Wicomb’s anxiety-inducing score). Fans of Jeff VanderMeer’s Southern Reach trilogy and its 'Annihilation' adaptation, and lovers of the defiantly feminine and vengeful natural world will find plenty to chew on in 'Gaia'."
 
Marc Savlov, The Austin Chronicle 

"Per modern genre trends, 'Gaia' opens with two kinds of drone: As the camera glides ominously over the treetops, observing the South African wilderness from a godlike (ahem) elevation, the music whines and throbs with familiar atonal dread. But this isn’t entirely one of those slow burns that delight festivalgoers and enrage multiplex crowds. "
 
A.A. Dowd, The Onion AV Club 

LES NÔTRES - Marie-Hélène L. Delorme 
 
"'Les Nôtres' is outwardly similar to 2018’s 'Little Tickles,' 'The Tale' and last year’s 'Slalom' which deal in the horror of pedophile grooming, and especially in the way that children can be unwittingly coerced into complicity with their victimizers. And elements like the dusky photography and Marie-Hélène L. Delorme’s score, which comes draped in dread, do almost feel like they could belong to a horror movie, while this exact situation feels like the setup for a dozen HBO small-town murder-mysteries. But Leblanc and Baribeau’s screenplay is a subtler beast, to the point of frustrating our expectations in these post-MeToo times for comeuppance or catharsis. Instead, with a painterly stillness, the film unfolds as a progressive rotting, which moves outward from the central violation to reveal the misogyny, racism, xenophobia and complacent self-interest that undergirds this seemingly pleasant, neighborly place."
 
Jessica Kiang, Variety 

LUCA - Dan Romer

"As you get immersed in the story, you’re also entranced by a lovely escape to a nostalgic Italian summer that’s inspired by visits to real-life places and rendered in a style akin to that distinctive Miyazaki aesthetic. I also want to get my hands on the original score -- the music soars gorgeously."
 
Aparita Bhandari, The Globe and Mail 
 
"The first way that 'Luca' differentiates itself from the rest of the Pixar canon is with music. The staccato punctuation of Dan Romer’s score immediately distances this from anything the studio has made before (despite a familiar underwater setting). The 'Beasts of the Southern Wild' composer summons his signature tremble and swell to set the stage for a movie that eschews the vast adventure of 'Finding Nemo' for something more in-the-moment and driven by the capriciousness of youth."
 
David Ehrlich, IndieWire

"'Luca' certainly isn’t without its charms. A visual splendor of blue and orange lighting blankets over the seaside setting, giving the sense that if I were to merely hug the screen it would warm me for days. Minute bits also land, like the fish that make sheep sounds, and the hilarious ways Luca’s mother and father careen through the town trying to find their son, throwing random children in the water. And Dan Rohmer’s [sic] propulsive, waltzy score recalls the fairytale vibes he breathed in 'Beasts of the Southern Wild' on tracks like 'Once There Was A Hushpuppy.' But 'Luca' retreads too much well-cultivated ground and reworks so many achingly familiar tropes as its best qualities sink to a murky bottom. While some material may hit with younger audiences, 'Luca' makes for Pixar’s least enchanting, least special film yet."
 
Robert Daniels, RogerEbert.com 

"Though the childhood friendship this movie honors is based on an experience the director had in the early 1980s, the time frame has been moved to some unspecified period in the ’50s or ’60s -- an excuse to play some classic Italian pop on the soundtrack, along with the Ennio Morricone-esque original score by Dan Romer."
 
Dana Stevens, Slate.com 

"While the time frame is unspecified, the look of the village and the human characters’ clothing in Daniela Strijleva’s gorgeous production design clearly indicate the 1960s, as do the Italian pop hits of artists like Mina, Gianni Morandi and Rita Pavone, sprinkled in among Dan Romer’s gentle melodic score. A quick glimpse of a film still of Marcello Mastroianni also evokes the era."
 
David Rooney, The Hollywood Reporter 
 
TOVE - Matti Bye
 
"The film’s 3.6 million Euro budget appears to be all up on the screen thanks to meticulously created interiors and costumes, from production designer Catharina Nyqvist Ehrnrooth and costume designer Eugen Tamberg. The striking set for Tove’s very lived in studio is a dead ringer for period photographs. Meanwhile, Bergroth’s longtime editor Samu Heikkilä keeps the action pacey, while the jazzy swagger of numbers from the Mambo Noir Trio on the music track proves more memorable than composer Matti Bye’s sparsely used score."
 
Alissa Simon, Variety 

ZOLA - Mica Levi
 
"Bravo, who co-wrote the film with playwright Jeremy O. Harris, has a preternatural sense for cinematic textures, soundscapes and tempos; she applies her sensibility to this tale rooted in smartphone culture. The dialogue is informed by text and Twitter linguistics, dramatic beats are driven by and delivered via phone. Digital dings, whistles and vibrations make up a jittery sonic blanket that overlays Bravo’s visual style of carefully composed static shots and slow zooms, with bodies that move into and around the frame. The sound design, along with Mica Levi’s score, offers a sense of rhythm and whimsy to the film, which deftly rides the line between menacing and absurd."
 
Katie Walsh, The Los Angeles Times

"Highlighting the inner differences between the central duo is visual language as intimate and humorous as the way the characters approach their lives and professions: Rarely is the gap between two characters’ moral fiber communicated via eyeballed urinalysis, but a long shot peering into a pair of full toilet bowls leaves a single conclusion. Someone’s very soul is dehydrated. Bravo channels aspects of neon Michael Mann (if Mann loved to film asses), hinted at with a 'Miami Vice' reference, and aesthetically flexible Steven Soderbergh while innovating a look specific to 'Zola.' That includes one of the most inventive sex scenes I’ve ever seen, strung together into a simultaneously grotesque, upsetting and entertaining montage by editor Joi McMillon. Bravo and cinematographer Ari Wegner acclimate us in the whirlwind with every shot -- even as some of these sequences mimic that dissociative feeling you get when you’re way, way over your head. As your intoxicated eyes cross, drunk on Mica Levi’s demonic striptease soundscape and the persistent app blips, and reality fades into pastels, the film does so with a tactile bit of grain. There is escapism but not escape, which reinforces the movie’s compassion for those actually going through its sometimes amusing, often harrowing hardships. Even for the a******s."
 
Jacob Oller, Paste Magazine 

"That said, 'Zola' is first and foremost a zany, catastrophic road-trip dramedy, one that balances the whimsy of social media with the harrowing reality of being trapped in a dangerous situation. Humorously monotone verbalizations of text messages and chirpy notifications pay tribute to the story’s digital origins, while long shots of unremarkable roads speak to a feeling of mounting, endless dread (enhanced by another otherworldly score by 'Jackie' and 'Under The Skin' composer Mica Levi). Bravo, whose previous film was the deadpan comedy 'Lemon,' uses symmetry to express the growing opposition between the women, placing the two side by side for recurring shots of them getting ready for a show or physically dividing them with the wall of a hotel suite when the fast friends are squaring off for the first time."
 
Shannon Miller, The Onion AV Club 
 
"Led by fantastic Taylour Paige in what will certainly be a breakout role, the story kicks off directly with the first tweet of the thread as the first of many fourth wall breaks occur: 'Y’all wanna hear a story about why me and this bitch her [sic] fell out? It’s kind of long, but full of suspense.' Bravo’s film is, in fact, not too long at 90 minutes, and the suspense is one of a more unexpected variety. Continuing the off-kilter vision on display in her directorial debut 'Lemon' with now a more clearly-defined narrative, she is the perfect fit for this material. Accompanied by Mica Levi’s score -- which mixes fairytale-esque harps to introduce the story and Southern-fried beats and synths as the craziness progresses -- Bravo elevates the material and provides a unified, eccentric vision."
 
Jordan Raup, The Film Stage

"That turns out to be the right instinct, but Zola’s already in too deep to call it quits. So begins an unsettling descent into the seedier aspects of their journey, zipping along with Bravo’s naughty sense of play in charge. Shot in gorgeous 16mm with a vibrant soundtrack of discordant rhythms by 'Monos' and 'Jackie' composer Mica Levi, 'Zola' often unfolds at the fragmented clip of the feed that inspired it."
 
Eric Kohn, IndieWire 
 
"Because going on a road trip, like pole dancing, is an inherently cinematic activity, the visual experience of 'Zola' enhances and enlarges King’s twisty narrative in some obvious ways. The Florida sunshine casts its own woozy spell in Ari Wegner’s 16-millimeter images, as does Mica Levi’s atmospheric score, punctuated every so often by Twitter-notification sound effects. Certainly you couldn’t ask for better actors to play the four principals, especially Paige, who needs little more than her exquisite side-eye to turn Zola into a winningly smart protagonist. She may have been hoodwinked into these trick-turning, gun-waving shenanigans, but she crucially refuses to become a passive observer or participant."
 
Justin Chang, Los Angeles Times
 
"One of the big conversation pieces of the festival, 'Zola' has already been mentioned in the same breath as 'Hustlers' and 'Spring Breakers.' But the arch vibe is closer to a funky-discursive post-Tarantino joint, just with more smart-phone-inspired stylistic tics (like the little bloops that announce both an incoming text and a moment that Zola will later tweet about) and a general debauchery that’s presented both salaciously and with a certain detached unease courtesy of Mica Levi’s latest sci-fi score. Outside the theater, volunteers warned those of us in line that they’d be checking IDs -- a great pump-up-the-crowd move on their part, especially given that the sex and violence we’d all be taking in soon is pretty safely in the R range. (Even with a montage of d**k shots like the one stuffed in the middle of another movie that got me carded outside the Egyptian a few years back, Lars von Trier’s 'Nymphomaniac.')"
 
A.A. Dowd, The Onion AV Club

"Of course, there’s been a long tradition of adapting classical literature into films, but the tweet thread is still unproven source material. And first hearing about 'Zola,' the question really was whether director Janicza Bravo, in only her second feature after 2017’s irritatingly over-mannered anti-comedy 'Lemon,' could capture the original’s electricity. There wasn’t only Zola’s inimitable prose to consider, with its admixture of pithy urban colloquialism, online abbreviations and sex worker jargon, sprinkled with a smattering of New Yorker op-ed vocab like 'verbatim'. There was also the format itself, those 140-character bursts of excitable information, that came crackling through the ether in what felt like real time, each one containing some jawdropping twist, or some witheringly dry all-caps commentary. But Bravo and her largely female behind-camera team (DP Ari Wegner, editor Joi McMillon and composer Mica Levi, whose score is unusually gentle, marked with fairytale-ish glissandos) find ingenious ways to mimic the woozy, sometimes surreal, but often hilarious rollercoaster ride that was this (heavily fictionalized) trip to Florida, so that 'Zola' lands somewhere on the glitter-neon spectrum between 'Spring Breakers' and 'Hustlers' -- which is to say: it’s pretty much a blast, albeit a thin one."
 
Jessica Kiang, The Playlist
 
"Most likely in reference to the story’s social-media origins, a digital tweeting noise pings every so often (punctuating composer Mica Levi’s characteristically abstract, already synthesized soundscape) as if to underscore the details that were true -- or else, backed by what Zola had shared on social media. Paige plays Zola with a fair sense of skepticism, pantomiming her discomfort/distrust every time she cuts her eyes or gives Stefani a glance that says, 'Does it look like I was born yesterday?' Whether you call it spontaneous or naive, if the offer had been a good idea, we wouldn’t be talking about it today."
 
Peter Debruge, Variety 

THE NEXT TEN DAYS IN L.A.

Screenings of older films in Los Angeles-area theaters.

July 16
KILL BILL: VOL. 1 (RZA) [New Beverly]
THERE WILL BE BLOOD (Jonny Greenwood) [Fairfax Cinema]
WAYNE'S WORLD (J. Peter Robinson), BLACK SHEEP (William Ross) [American Cinematheque: Aero]

July 17
MONTY PYTHON'S LIFE OF BRIAN (Geoffrey Burgon), GREASER'S PALACE (Jack Nitzsche) [American Cinematheque: Aero]
SAFETY LAST [Hollywood Legion]
SCOOB! (Tom Holkenborg) [Alamo Drafthouse]
SORCERER (Tangerine Dream) [Fairfax Cinema]
THE WARRIORS (Barry DeVorzon) [New Beverly]

July 18
THE AFRICAN QUEEN (Allan Gray) [Fine Arts]
DEAD MAN (Neil Young) [Fairfax Cinema]
DEFENDING YOUR LIFE (Michael Gore)  [American Cinematheque: Aero]
LONG WEEKEND (Michael Carlos) [Fairfax Cinema]
TO BE OR NOT TO BE (Werner R. Heymann) [American Cinematheque: Aero]
WEST SIDE STORY (Leonard Bernstein, Saul Chaplin, Johnny Green, Sid Ramin, Irwin Kostal) [Alamo Drafthouse]

July 19
TERMINATOR 2: JUDGMENT DAY (Brad Fiedel) [Alamo Drafthouse]
TORSO (Guido & Maurizio DeAngelis), THE STRANGE VICE OF MRS. WARDH (Nora Orlandi) [New Beverly]

July 20
BLAZING SADDLES (John Morris) [New Beverly]
CHARIOTS OF FIRE (Vangelis) [Laemmle Playhouse] [Laemmle Royal]

July 21
THE AFRICAN QUEEN [Fine Arts] [Laemmle Playhouse] [Laemmle Town Center]
BLAZING SADDLES (John Morris) [New Beverly]
THE OLD DARK HOUSE [Fairfax Cinema]
PEE-WEE'S BIG ADVENTURE (Danny Elfman) [IPIC Westwood]
THE PHILADELPHIA STORY (Franz Waxman), THE AWFUL TRUTH (Ben Oakland) [American Cinematheque: Aero]

July 22
THE BIG BOSS (Fu-Ling Wang) [Arena Cinelounge]
LAST YEAR AT MARIENBAD (Francis Seyrig) [Fairfax Cinema]
OVER THE EDGE (Sol Kaplan) [New Beverly]
WHAT'S UP, DOC? (Artie Butler) [American Cinematheque: Aero] 

July 23
KILL BILL: VOL. 1 (RZA) [New Beverly]
THE LADY EVE, SULLIVAN'S TRAVELS (Leo Shuken, Charles Bradshaw) [New Beverly]
MIDNIGHT RUN (Danny Elfman), BEVERLY HILLS COP (Harold Faltermeyer)  [American Cinematheque: Aero]
WOMAN IN THE DUNES (Toru Takemitsu) [Fairfax Cinema]

July 24
THE BIG LEBOWSKI (Carter Burwell), A SERIOUS MAN (Carter Burwell), BURN AFTER READING (Carter Burwell) [American Cinematheque: Aero]
BRIDESMAIDS (Michael Andrews) [Alalmo Drafthouse]
THE LADY EVE, SULLIVAN'S TRAVELS (Leo Shuken, Charles Bradshaw) [New Beverly]
MONOS (Mica Levi) [Fairfax Cinema]
SOMETHING WILD (John Cale, Laurie Anderson) [New Beverly]

July 25
THE BOSS BABY (Hans Zimmer. Steve Mazzaro) [Alamo Drafthouse]
DAYS OF HEAVEN (Ennio Morricone) [Fairfax Cinema]
DOWN BY LAW (John Lurie) [Fairfax Cinema]
GOOD MORNING (Toshiro Mayuzumi), TAMPOPO (Kunihiko Murai)  [American Cinematheque: Aero]
JURASSIC PARK (John Williams) [IPIC Westwood]
THE LADY EVE, SULLIVAN'S TRAVELS (Leo Shuken, Charles Bradshaw) [New Beverly]
SNEAKERS (James Horner) [Alamo Drafthouse]
WEATHERING WITH YOU (Radwimps) [TCL Chinese]


THINGS I'VE HEARD, READ, SEEN OR WATCHED LATELY

Heard:
Black Book (Dudley), Thanks for Sharing (Lennertz), Sicario: Day of the Soldado (Guonadottir), The Devil's Candy (Yezerski), Elle (Dudley), Star Wars: The Clone Wars: The Final Season: Episodes 1-4 (Kiner), The Public Eye (Goldsmith), The Lovers (Hoffman), La Gabbia (Morricone), Regarding Susan Sontag (Karpman/Kroll-Rosenbaum), Star Wars: The Clone Wars: The Final Season: Episodes 5-8 (Kiner), Midnight Movie (Kouneva), Jackie (Levi), The Alfred Hitchcock Hour: Volume Two (Herrmann), Monos (Levi), Star Wars: The Clone Wars: The Final Season: Episodes 9-12 (Kiner), Follies (Sondheim), Sleepover (Lurie), The Last Black Man in San Francisco (Mosseri), Symphony No. 6 (Bruckner), Forbidden World (Justin), An Unfinished Life (Lurie), Les B.O. Introuvables Vol. 3 (various), Dear John (Lurie), Symphony No. 2 (Mahler), One for the Money (Lurie), Sobibor (Bodrov), Love from a Stranger: Four British Film Scores (various), Tribes Vibes + Scribes (Incognito), The Tune (McElheron), Children of the Sea (Hisaishi), Compliance (McIntosh), Da Uomo a Uomo (Morricone)

Read: The House of Green Turf, by Ellis Peters (aka Edith Pargeter)

Seen: Black Widow [2021], Zola; Hitman's Wife's Bodyguard; F9: The Fast Saga

Watched: Jamaica Inn; Star Trek ("The Apple"); The Night Manager ("Episode 4"); The Neptune Factor; Henry Santry and His Soldiers of Fortune [1931]; A View to a Kill; Opening Night [1931]; Boardwalk Empire ("The Ivory Tower"); One Way Out [1931]; Sealab 2021 ("Tinfins"); Jack Buchanan with the Glee Quartet [1930]; The Awful Truth

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Comments (11):Log in or register to post your own comments
That's "L'√ČTRANGE" MONSIEUR DUVALLIER, Scott.

What did you think of JAMAICA INN? I watched it last year and was shocked to learn it was once included in a book called "The Fifty Worst Films of All Time." I prefer it to some of Hitchcock's better known and/or more acclaimed films.

Just dropped the S from L'etrange. (Screen Archives has the S there, so it's not totally my fault).

I thought Jamaica Inn was really weak. I probably hadn't seen it since I was a teen, and the BluRay looked good but was so slick it almost looked more like a Twilight Zone episode than a 30s film.

I liked some of the production value, especially the cloudy sky cycloramas on the big "exterior" sets and some of the visual effects involving the sea, but I didn't find it effective as a thriller at all. And though the bloodthirstiness of a lot of movies can be annoying, the over-forgiving nature of the two female leads in this ("I love my husband, even though he's murdered dozens of sailors" "Don't hurt that master villain who's overseen the deaths of dozens, he's not in his right mind!") drove me batty.

Not that it matters, but there's also one inexplicable continuity error, where a menacing Laughton enters the room with a gun, and then when it cuts to a wider angle the gun is gone and has seemingly disappeared from the scene entirely.

Just dropped the S from L'etrange. (Screen Archives has the S there, so it's not totally my fault).

I thought Jamaica Inn was really weak. I probably hadn't seen it since I was a teen, and the BluRay looked good but was so slick it almost looked more like a Twilight Zone episode than a 30s film.

I liked some of the production value, especially the cloudy sky cycloramas on the big "exterior" sets and some of the visual effects involving the sea, but I didn't find it effective as a thriller at all. And though the bloodthirstiness of a lot of movies can be annoying, the over-forgiving nature of the two female leads in this ("I love my husband, even though he's murdered dozens of sailors" "Don't hurt that master villain who's overseen the deaths of dozens, he's not in his right mind!") drove me batty.

Not that it matters, but there's also one inexplicable continuity error, where a menacing Laughton enters the room with a gun, and then when it cuts to a wider angle the gun is gone and has seemingly disappeared from the scene entirely.


***

I saw this one years ago on a big revival theater screen -- ah, those were the days! -- and while I still remember vividly the opening storm-tossed action sequence and the poetic moment just before the final fade-out, everything else in between is pretty much a blur aside from the art direction, despite my affection for Laughton, his protegee Miss O'Hara, Newton and Williams. I suspect the next time I look at it (on the BluRay) my feelings about the film will closely match yours. Just as an aside, I vaguely remember a long time ago reading an interview with Hitchcock in which he said something to the effect of, "The hardest things to photograph are children, motor boats and Charles Laughton, Lord rest his soul."

I re-read the section on it in Hitchcock/Truffaut, where he said that Laughton produced the film and insisted his part be enlarged, but it made no sense for plot reasons since his character was the secret master villain and should never have been hanging out at the criminal-filled inn at all.

It wasn't even the biggest problem with the film. Overall Hitchcock seemed kind of bored, showed almost none of his usual flair. Even something like Under Capricorn may be minor but the visuals are amazing.

My sympathies for you having to endure The Neptune Factor. I saw this as a kid when it first came out, having been stoked to see the movie by the exciting poster they created for it. The poster was a classic bait and switch. Come see giant sea monsters attack a submarine! In reality, the movie was a talky, low budget bore. Very unrewarding.

My sympathies for you having to endure The Neptune Factor. I saw this as a kid when it first came out, having been stoked to see the movie by the exciting poster they created for it. The poster was a classic bait and switch. Come see giant sea monsters attack a submarine! In reality, the movie was a talky, low budget bore. Very unrewarding.

It was pretty terrible. I think I saw it on ABC in my youth. It did seem more lavish than expected, if only because of all the full-size scenes shot on- and underwater.

As far as unscary giant-small animal movies from that era go, it would make a great double feature with Night of the Lepus.

Very odd to see Ben Gazzara in a movie like this. Also answers the trivia question "Which sci-fi movie besides The Black Hole did Yvette Mimieux and Ernest Borgnine star in?"

It was fun to see Donnelly Rhodes, the ship's doctor from the Battlestar: Galactica reboot, as one of the leads.

But as far as terrible Fox films from the early 70s go, it can't compare to what I'm watching now, Myra Breckenridge. They made a really special kind of bad movie in those days (But kudos for casting Farrah Fawcett and Tom Selleck years before either were names).

I remember Donnelly Rhodes from 'Soap'. And ten yrs before he was kind of a hunk in a Mission: Impossible ep.

Myra Breckinridge was quite all over the map. But in 1967 was the more-or-less intentional mess that is Casino Royale.

That's "L'√ČTRANGE" MONSIEUR DUVALLIER, Scott (again). That S and the absence of the accent seem to have minds of their own.

I feel no moral compunction about adding or not adding accent marks. I'm perfectly happy without them. This is essentially a blog, after all.

Hey, if anyone goes to see Pig, look for the older blond actress who plays "Mac" in a couple early scenes. That's Gretchen Corbett, beloved familiar face from 70s TV (Rockford, Banacek, Columbo, et al). She gets to use language she never got to use on the Universal lot. (at least, not on camera)

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