MovieMusic.com Message Boards: Goldsmith's Runaway & Criminal Law

Message Boards

Movie Soundtracks

Goldsmith's Runaway & Criminal Law

Archive of old forum. No more postings.

Please visit our new forum, The MovieMusic Lobby, to post new topics.

Author	Topic: Goldsmith's Runaway & Criminal Law

Taco Oscar® Nominee	I got these two scores back in the 80ies, and man, I haven't listened to them since the day I bought 'em. I love Goldsmith's music, but I think these two soundtracks are an unbearable listening experience. Anyone out there who actually likes them? Hmm, I wonder what Zimmer would sound like if he did those scores around that time...
posted 02-04-2000 02:37 PM PT (US)

Widescreen Oscar® Winner	I happen to love the Runaway soundtrack. It was a refreshingly different score for Goldsmith, and I think he should do more with Synth when the occasion calls for it. Certainly his orchestral work is very satisfying, but Runaway is a rare and underappreciated gem. If you have it on CD and don't care for it, there are people like myself who are highly interested in having an original copy, like myself.
posted 02-04-2000 02:45 PM PT (US)

Greg Bryant Oscar® Winner	Even if you don't like Runaway, hang onto it. According to the US Soundtracks on CD Guide it's one of the top 50 most sought after/valuable soundtrack CD's. Or put it on Ebay and watch the bids climb. As far as other Goldsmith materials, I don't get rid of them anymore, even if I don't like them. I made that mistake with Under Fire. I won't do it again.
posted 02-04-2000 06:50 PM PT (US)

Jeron Oscar® Winner	Or Taco, you could donate it to someone who would appreciate it! Someone like.... me! I'd gladly pay you for 'em. Lemme know if you are interested. I definitely am. Sincerely, The Jeron Foundation for Goldsmith CDs
posted 02-04-2000 09:16 PM PT (US)

DANIEL2 unregistered	Goldsmith’s ‘Runaway’ has always been a favourite score of mine. Coming towards the end of a particularly fruitful period in Goldsmith’s career, characterized by a tremendous diversity of scores, this movie sees Goldsmith in full electronic mode. During the same period, Goldsmith gave us the breathtaking ‘Under Fire’, the charming ‘The Lonely Guy’, the entertaining ‘Gremlins’, the all-encompassing ‘Legend’ and the pulsating ‘Rambo : First Blood Part II’. Each of these scores provides a rich musical soundscape that not only served the movies well, but also provided a satisfying stand-alone listen. Pulsating is certainly a word that can be used to describe ‘Runaway’, an uncompromising electronic onslaught that magnifies the events onscreen very effectively. ‘Runaway’ was an okay film, but was unfortunately let down by a small-scale feel to the production. However, Tom Selleck’s charm, Gene Simmons’ menace, and Goldsmith’s vivid score, make the film a worthwhile entertainment. Goldsmith’s other exclusively electronic score was less interesting, particularly as a stand-alone listen, but still served the movie well. Being a thriller, rather than an action movie, ‘Criminal Law’ gave Goldsmith less opportunity to ‘open up’, however, there are many effective ‘Goldsmith’ touches throughout the movie, itself a rather disappointing entertainment. [This message has been edited by DANIEL2 (edited 05 February 2000).]
posted 02-05-2000 09:20 AM PT (US)

Jeron Oscar® Winner	Wow Daniel, hey - nice to hear from you again.
posted 02-05-2000 09:25 AM PT (US)

H Rocco Oscar® Winner	I quite like these two scores. RUNAWAY is compulsively listenable, though a lot of its sound is rather dated now (the technology has improved vastly). CRIMINAL LAW, on the other hand, while difficult to appreciate at first listen, has some fascinating textures and elements. Anyone have Goldsmith's other electronic score, the rejected ALIEN NATION? I've heard there's a boot out, but don't know anyone who has one.
posted 02-05-2000 12:17 PM PT (US)

Taco Oscar® Nominee	So I own a goldmine? Wow. Well, I better hang on to them then. Actually I listened to Runaway just now, and yes, pulsating indeed and very bombastic. But it just doesn't grab me like other Goldsmith scores do. The movie itself was bad, didn't Michael Crichton make it? Well, maybe that's why then. He should stick to writing. He heard he messed up "The 13. Warrior", and it shows. Mr. Goldsmith saved that show. Shows you what music can do. Daniel2, I've heard about you, is it true all they're saying? I agree about the scores you mention, "Under Fire", "Gremlins", "Legend", "Rambo", "Explorers", they are indeed my favorite Goldsmith scores (maybe because I discovered Goldsmith around that time and, without getting sentimental, made an impression on my teenage life). Heck I even enjoyed "Link", and still do. But I don't agree with you when you say he came to an end of a fruitful period of his career, I don't think that period has ended at all. Of course, he's had his ups and downs, but who doesn't. That doesn't mean his career is not fruitful anymore. My all-time two favorite Goldsmith CD's are and will always be Lionheart Vol 1 & 2. Pure magic. What a masterpiece.... np Medicine Man
posted 02-05-2000 02:08 PM PT (US)

DANIEL2 unregistered	Taco. Goldsmith’s output during the period 76-84, in my opinion, contains the very best of this composer’s work; this is not to say that his work before and after that period is not fruitful. For instance, I couldn’t agree with you more, ‘Lionheart’ is fantastic. A truly magnificent main theme, backed up by a string of secondary themes that all have a special magic of their own. Particular favourites of mine are the tracks, ‘Mathilda’, with some breathtakingly energetic passages, and ‘The Banner’, a truly noble rendition of the main theme. That apart, the rest of the album is simply superb, and a fine example of just how good Goldsmith can be. And ‘Link’ is another favourite of mine – a very quirky score that contains a variety of styles. Even recently, Goldsmith has composed brilliant scores to ‘The Haunting’ and ‘The 13th Warrior’, and yes, the music to ‘The 13th Warrior’ did improve an otherwise ordinary movie. Perhaps you ARE being sentimental when you refer to Goldsmith’s mid-80’s scores as being your favourites, but I also think of them as being particularly good examples in Goldsmith’s repertoire.
posted 02-06-2000 02:46 AM PT (US)

Old Infopop Software by UBB