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I didn't know until last year this was composed for a film. Paul de Senneville & Olivier Toussaint wrote it for the 1974 French film Un linceul n'a pas de poches, based on the book No Pockets in a Shroud, by American writer Horace McCoy. The cast of the film includes Michael Lonsdale.
Here's the original version of the theme.
The Hydra / The Hydra Fight
I listen to this score often, fantastic themes from a great movie.
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The Wrong Man
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This is my favorite Ennio Morricone piece. From Wolf:
This is another terrific piece, from Frantic:
Beginning at 1:45, Morricone does this fascinating thing with the strings, where they feel like they're shapeless, just moving in seemingly random directions, at random times. It's hypnotic.
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I was watching Absolute Power last night; these two themes stuck out to me.
Love it when the piano kicks in in this first one by Lennie Niehaus:
This one was composed by Clint Eastwood I believe:
There is a resemblance to Claudia's Theme from Unforgiven. Both lovely pieces:
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I want to showcase some of Randy Edelman's work. Successful but still somewhat undervalued as a film composer. But that's for another post!
Frantic good film and enhanced by the great Morricone, thriller scores work best when there is that air of uncertainty within the music.
It's incredible how prolific and varied Morricone was; there's so much of his stuff that I hear for the first time that I wouldn't even necessarily be able to tell is him. Other than it's pretty much always brilliant!
Very nice. I'm reminded of this piece from the first film:
1:02 is brilliant! Really captures the feel of that surprise in the film... "Is that... an ape?! Am I going crazy?" It sounds delightfully grotesque.
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I also like this by Jerry Goldsmith:
I love that bridge at 1:10 with its irregular meter.
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That low synthesizer in the main title works really well in adding a sense of otherworldly menace. And I love the fact the title is underscored. "KING KONG". It carries its own weight, its own history.
The Nightfall cue reminds me of Sacrifice from LALD. Slowly transforming source music into dramatic underscore works well, as in Death of Fiona from TB.
In Fog Bank I think the background strings are just playing at random rhythms.
Jack in Pursuit is one of my favorites. Both the film and the music are suspenseful, but within the suspense of the chase, there is another layer of tension when the ape jumps from one Twin Tower to the other. I love how the music tells a 5-second musical "mini story" for that bit, with a beginning, a middle and an end, and then goes back to the musical idea that was playing before.
I completely agree, @mattjoes.
1:00 Amazing
1:50 Incredible piece of music.
1:50 such a cool theme.
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Basil Poledouris' music for Quigley Down Under. Utterly fantastic film and score, I just can't recommend them enough:
A lovely rearrangement of the previous theme to give it a softer, delicate touch:
This is mostly a quiet, emotional piece, but the swell at 4:20 is glorious. As you can imagine, it underscores a very touching moment in the film.
The chord progression in this next one is dramatic and heroic. I like the fact those stabs don't have any high brass, just woodwinds. I also like the banjo that joins in at 1:06. And I love the horns repeating the violin phrases at 1:48.
Going to watch French Connection 2 over the weekend, recent re watched the first film.
I saw Quigley Down Under on its intitial release on Home Video, not watched it since. Had no recollection of the score, i am a huge fan of Basil Poledouris I listen to Conan the Barbarian some times two or three times a week and love his work on Robocop.
Murphy's Goes Home
Excellent piece of music to a brilliant scene.
Funeral Pyre
Personally I think this is arguably the best score ever written.
I have never watched the film though a phenomenal piece of music by JB.
This is the version I have on one of many of my JB Albums...
Very nice indeed. Especially love 1:34 to 1:56 and 2:27 to 3:16.
From that score, I'm also delighted by this piece. Perfectly captures the threat of ED 209 and the pace of the scene. That ostinato at 0:13 could go on endlessly-- it's fascinating.
This is another piece I adore, especially 0:17 to 0:44; it's brilliant stuff. 1:33 to 1:38 reminds me of May Day Jumps from AVTAK.
And of course this rendition of the RoboCop theme. Love the anvil (of Crom) and the transition at 0:43 punctuated by a woodwind phrase, it's very beautiful.
Speaking of RoboCop, I think the score of RoboCop 2 is excellent as well. It has a more comic book-like sensitivity, as does the film, but it's rousing music. In this piece, I love how the anvil and cymbal players take a second to get in sync at the beginning; it adds a unintentional but welcome touch of freshness. 0:27 to 0:57 is terrific. I love how the staccato brass notes from 0:47 to 0:50 play groups of five notes, but the brass notes from 0:51 onwards alternate between groups of four and five notes. A subtle touch of unpredictability to make things more exciting.
I remember in Rosenman's second Oscar victory speech, he said he was baffled by how he, being for the most part a composer of original music, had won two Oscars for adapting someone else's compositions (Barry Lyndon was one score I believe, I don't remember the other, though I think he was also nominated for his Star Trek score, so he did receive some recognition from the Academy for his original work).
I used to have this next album on CD; I think my father bought it at a newsstand. This is the first version I heard of the RoboCop 2 theme. For what it is, it's good, and quite faithful to the original but, of course, it's synth-based, so it's probably not to everybody's liking. I do prefer the orchestral version myself:
I hadn't even seen that film back then, nor the original, only the third one and the animated TV series from the 80s. I then watched the first one, and only last year the second one. I like them, they're all good.
I haven't listened to that score in full, but that is a very good piece. 2:56 to 3:21 is particularly enjoyable.
I like the main theme as well, though I prefer this next arrangement to the one from the film, or to be specific, the one from Anvil of Crom, as this one adds some higher brass and woodwinds to the melody, which gives it a more dynamic sound. Anvil of Crom does too, but it's less noticeable.
And since we're talking about Conan, bringing up this Conan-inspired piece is in order. Posted with images for maximum effect:
Magnificent. I believe we talked about it in another thread. 1:39 to 1:54 is sublime; I love the emotionally-complex mood it creates.
Thank you for reminding me of this excellent score. That suite has some of my favorite tracks for sure. I adore the non-piano at 0:25 and the rhythm of the brass ornaments throughout that first piece. 5:02 to 5:19 is sheer beauty, as is 6:14 to 7:02... and those string chords at 7:20... and when that celebratory brass kicks in at 7:44, gorgeous!
I haven't seen the film either, though I will some day. I did watch a Peter O'Toole film the other day, one I'd been wanting to see for a while. It's called Foxtrot. I liked it; I might write something about it in the Last Movie You Watched thread.
Very catchy. It's The Lion in Winter meets The Knack. The brass at 1:33 is pure OHMSS, though.
The film it accompanies isn't great however. It's one of those standard examples of 'the music is better than the film it was written for'.
That music is seared into my mind. I think it was one of the first Barry soundtracks I have ever heard, along with Goldfinger and OHMSS. I actually only saw Raise The Titanic for the first time about ten years ago despite knowing the music by heart as a kid. It's majestic.
The score very much had elements of Star trek 4 and at times was over the top re: the main theme. The chorus 'Robocop' is hilarious and great at the same time. Scores during the 80's and 90's often did not hold back.
Total Recall is another favourite of mine, the main theme is suspiciously similar to Conan when comparing them, two great films two great scores.
A few more Arnie movie classic scores, during his movie peak Arnie was blessed to have some of the all time masters scoring his movies...
Fantastic opening.
This has been my mobile phone alert tone for years, I absolutely love this theme.
The Running Man - Main Theme
Another Classic Score.
Going back to James Horner, the first minute of this track is phenomenal. It was never used in the film itself though was later used in Die Hard...
It does not get much better than this.
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I was blown away by this film as a teenager and the music. I have the 88 track version of the Score and the LP.
I don t care for the film, but the soundtrack is great.
Poltergeist score is fantastic, I am a big fan of the film also and its history.
One of the more underrated soundtracks of classic Hollywood, Franz Waxman’s Sunset Blvd. I love how utterly bombastic the music becomes as Norma descends those stairs in that dramatic final scene:
And as a big Lynch fan, it would be remiss of me not to mention the haunting music of Angelo Badalamenti:
George’s Delerue’s Le Mépris, such an emotive piece that permeates a stunning film.
And no list could omit the indomitable John Barry. I’ve selected one of his more underrated works, 1971’s Walkabout:
Laura Palmer's Theme (Instrumental)
Badalamenti’s music is what hooked me to Twin Peaks. Laura Palmer’s theme is a (twin) crescendo of emotion that trails into darkness. It suits Twin Peaks as a whole like a glove.
Badalamenti is just as good with TP The Return.
Badalamenti + Lynch + Julee Cruise’s vocals are really the heart of Twin Peaks. The episode “Lonely Souls” is as emotional as it because of that holy trinity