Hi to you all and ofcorse to the more experienced members on this board.

BTW: What does the NP mean? Probably not No Problem. Are there any more such abbreviations on this board?

np Stargate ****/***** (as in 4 out of 5)

(Can't wait for the Gaines movie. How about another Gaines CD, too, Garth?)

NP: "Innerspace" - complete score ****/**** (man, I love "The Pod Battle")

All anyone talks about it THE MUMMY or THE HAUNTING, average scores (and lousy movies) for Goldsmith, at best, he's done so much better.

Humphrey Searle's original score to the 1963 THE HAUNTING is much more adventurous than Goldsmith's version (although I will give Goldsmith the doubt because the recent film is so much worse) and Franz Reizenstein's THE MUMMY (1959) is silk compared to Goldsmith's wool (but, once again, the movie was scum, so I must defend Goldsmith somewhat).

[This message has been edited by PeterK (edited 27 January 2000).]

As a filmmaker, I would have ditched the score immediately...but perhaps it was Robert Wise's vision that the music be what it was? Who can say? All I know is that I felt it was completely inappropriate for the film. Just MHO!

Joe

[This message has been edited by JoeInSanDiego (edited 27 January 2000).]

I have to disagree with you on the effectiveness of Humphrey Searle's score in the original THE HAUNTING - parts of it really wouldn't make the best listening music, but in the film, it greatly adds to the effect (thinking esp. of when I first saw the film, when I was 8 yrs. old, home from school and alone in the house - the scene when the camera suddenly zooms into Julie Harris' face from a high angle, accompanied by a cacophony of sound.)

I always have great respect for your opinions, please don't be offended by what I wrote, It's just my own opinion. Overall, I think Jerry is a terrific composer and I don't mean him any disrespect. I've met him personally, and I liked him very much. I shouldn't take my frustrations about the problems on the other board out on him.

PeterK:

Believe it or not, I appreciate your censoring of my post. I was stepping into a trap that I should have known better than to do. I'm really not normally a name caller. Thanks.

Joe, the comments that PeterK removed were NOT about you.

Bye the way, Joe, what was it about the Searle score that you didn't like? I'm very curious to understand why you don't like it. I know it is one of those scores that people either love or hate. It was scored in a rather dry, astringent, modernistic style and it is a cold score, compared to Goldsmith's warmer tone, but I did think it suited Wise's film's more methodical, detached style. I'd love to read your comments on it.

Goldsmith's ability to ennoble even so rancid a picture as THE HAUNTING is mirrored in the amazing performance of Lili Taylor, who had virtually nothing to work with, but easily stole the movie from the estimable Liam Neeson (who looked even more pained than he did in PHANTOM MENACE) and the magnetic Catherine Zeta-Jones.

I'm not one of these people that gets all upset about CGI effects. When done well, they can add tremendously to a film's effect, but when overdone, as I believe they were in THE HAUNTING, the effect just becomes so cartoonish that all suspense is dissipated.

It seemed that every time a scene was beginning to work, the effects would be poured on until everything was smothered in eye candy.