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Comments
The rest are decent enough. I really like Kamen's score especially - energetic and muscular action scoring.
It's DN despite its several inspired moments (Kingston Calypso is one of the bounciest and funniest tunes on all the saga).
But, as many people say, NSNA is a poor excuse for soundtrack with only the two songs and Jealousy bringing something minimally listenable. Still, it doesn't spoil the film for me: I still prefer it to TB. That said, when I see Michel Legrand credited on a film, or TV show, I always tirn on my internal alarm system (he was awesome at scoring cartoons, I'll bring him that).
Right. After Bond kicks Loque off the cliff, Glen should have told Moore to dance around with his arms in the air, fist-pumping to a variation of the Rocky Theme.
When I'm skiing I want to hum OHMSS to myself, but it's always Runaway that my brain produces :)
Runaway is such a great track, and a great scene.
That and 'A Drive In The Country' really make their respective action scenes more exciting and punchy. The way the Bond theme comes in just as Bond starts to outwit the other drivers and make the car chase go his way is perfectly triumphant.
That's it exactly the longer the track goes on the more it builds, works well with the action. John Barry is the undisputed great we all know that though the odd variation in score in the Bond series is welcome it offers something new and different.
Submarine is another track from FYEO that has a good build up (listening to it now).
Not in the least...
On top of this, while I welcomed the return to a more serious tone, the film is a bit to lethargic and even though Bond shuns her advances , the Bibi storyline is cringe worthy
I nominate SP because it's so regurgitated. I don't think it was all Newman's fault and i really like his score for SF.
Other than that it would have been GE but although a lot of it is irksome, it does have a few good themes in it.
The Sotheby's auctioneer comes to the stage. "Any more?" Votes that is! :) Do any other academy members wish to vote?
But disco was already dated by 1981. Someone forget to tell Conti that. ;-)
With his FYEO score confirming that no one is perfect . 😏
Ha. Touche.
So it's good to reuse stuff if it's good.
So it's bad to reuse stuff if it's good.
He didn't say that it was fine to reuse the score in FRWL, just that it was deemed good enough to do so. So, if someone claimed that the SF score was rubbish, it would be legitimate to respond that it was considered good enough to reuse in SP, even if you don't condone its reuse.
So it's a good score then! :)
My second choice would have been DN. However, having a limited budget and not quite knowing how to “define” Bond yet, I’ll forgive any shortcomings in Norman’s score. In general, I tend to give DN a break in all matters when comparing it to the movies that followed, but at least there are musical moments in the score (for better and for worse) that I can recall easily.
A great movie score (IMO) is one that you will enjoy listening to even on those occasions when you don’t have the time to actually watch the movie itself. When I listen to the score for OHMSS, for example, I find myself literally replaying the movie – scene by scene – in my head. I can’t say the same about SP. But then again, I don’t rank the movie – SP – that highly either. So, I’m biased in that regard.
Well, I'm not keen on the SF one either. I was just making the point that if you were, then you could still disapprove of its reuse in SP.
I just disagree with the idea that music gets worse if you hear it a second time. If Skyfall was deemed good enough to repeat then.. it was good. Did the Bond theme get worse when we heard it again? I doubt you'd find many folks around here saying so.
I'd say that film music had been around for a few decades up to this point though: Adam and Connery and Young etc. all managed to do good jobs on their own terms regardless of whether Bond had been defined previously. Sure, they got better in later films, but they were still very good at filmmaking right here. I'm not judging it against other Bond film scores: just other films scores. It's not a very good one.
I consider film scores to be like desserts. After the movie, it's something to fall back on for months, till news starts surfacing concerning the next installment.
Well, am so happy for Zimmer & Marr.....I dare say when their score gets released, SP's score might fall even deeper into 'Worst Bond Score'.
I happen to think music can really lift a film, even if that film is mediocre. For whatever reason, possibly beyond our ability to explain, SP and its score really doesn't inspire many of us.
To be fair though, when you see quite a few sequels you will get music very similar to the first instalment, often with the same themes etc. Most superhero sequels etc are like that. It's an approach.
Yeah, Sure....but with some Revamps here & there. To be fair to Newman, he himself even did it in SP with the 'Westminster Bridge' track which is SF's 'The Moors' but a bit more Rock-like and almost Metallic sound at times, with the Bond theme from THUNDERBALL and a few of Newman's signature atmospheric sound around it....especially, towards the track's ending.
Newman should have done more of this with the tracks he refused from SF.
Where the musical score of DN is used in FRWL (and not credited to Monty Norman), I really expect that's John Barry's. That's why he was brought in, Norman's scoring work was deemed unusable.
I also credit the James Bond Theme 90% or more to John Barry. It's criminal he's formally given no credit for it.