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Author	Topic: What Jerry G did last 2 decades

mlw Oscar® Winner	I was bored, typed this: The Haunting/1/2 The Mummy/ (as good as Great Train Robbery in my op, just the difference between 1979 and 1999) Star Trek XXVIICLMCMXXLLII/1/2 EATERS OF THE DEAD/**+ Small Soldiers/* Mulan/** U.S. Marshals/* Deep Rising/* Air Force One/1/2 The Edge/1/2 L.A.Confidential/1/2 Fierce Creatures/1/2 2 Days in the Valley/1/2 Star Trek 8/1/2 Ghost and the Darkness/ Chain Reaction/1/2 Executive Decision/* City Hall/1/2 Powder/* First Knight/* Congo/ IQ/1/2 Gladiator/1/2 The River Wild/1/2 The Shadow/1/2 Bad Girls/*** Angie/1/2 Star Trek Voyager theme/ 6 Degrees of Separation/* Rudy/* Malice/* Dennis the Menace/ Matinee/* The Vanishing/1/2 Forever Young/* Mr. Baseball/* Mom&Dad Save the World/1/2 BASIC INSTINCT/**+ Medicine Man/1/2 Hollister theme/* Sleeping w/the Enemy/* Not Without My Daughter/* The Russia House/ H.E.L.P. theme/* Gremlins 2/* TOTAL RECALL/* Star Trek V/* Leviathan/1/2 The 'Burbs/ Warlock/* Criminal Law/1/2 Alien Nation/ Rambo III/1/2 Rent-a-Cop/1/2 Innerspace/* Extreme Prejudice/ LIONHEART/* Hoosiers/1/2 Link/1/2 Poltergeist 2/* LEGEND/**+ Rambo II/1/2 Baby Secret of the Lost Legend/*1/2 Runaway/* Supergirl/* Gremlins/1/2 Lonely Guy/* UNDER FIRE/*** Twilight Zone The Movie/ Psycho II/1/2 First Blood/* The Challenge/ The Secret of NIMH/ Poltergeist/ Night Crossing/ Raggedy Man/* Outland/** THE FINAL CONFLICT/* The Salamander/* Masada/** Inchon/* Caboblanco/**** [This message has been edited by mlw (edited 20 April 2000).]
posted 04-20-2000 12:53 PM PT (US)

Jeron Oscar® Winner	Star Trek XXVIICLMCMXXLLII/**1/2 ??????? LOL!!!! I can't stop laughing... mlw, what were you thinking??? haha Jeron
posted 04-20-2000 01:45 PM PT (US)

Andre Lux unregistered	One star for "Powder" MLWare? Must be deaf of something..
posted 04-20-2000 02:50 PM PT (US)

joan hue Oscar® Winner	I noticed you rated the Hollister theme. Have you heard it at any other place than on the Deconstructing Goldsmith Web Site? If yes, please Where Mr. Ware? Thank you, Joan NP Guess it had better be The Omen: The Essential Jerry Goldsmith CD [This message has been edited by joan hue (edited 20 April 2000).]
posted 04-20-2000 03:54 PM PT (US)

Marian Schedenig Oscar® Winner	I was watching Capricorn One the other day, and for the first 30 minutes I was busy wondering where else I had heard that motif (don't have the CO CD), until I recognized it as the motif also featured prominently in Star Trek XXVIICLMCMXXLLII... It's not only Horner...
posted 04-20-2000 04:51 PM PT (US)

H Rocco Oscar® Winner	Joan, that's the type of question Mr. Ware never seems to answer, though he might be willing to reply to MOM. I bet he only heard it at DECONSTRUCTING GOLDSMITH, since I remember recommending the place, and he wrote back later on the same thread something about "Fireworks," which might not be obtainable otherwise ... but who knows.
posted 04-20-2000 06:43 PM PT (US)

mlw Oscar® Winner	Oh yeah, that's where I heard that. I actually watched H.E.L.P. Star tRek Whatnot was about the same elegantly structured but muted Rick Berman fest as First Contact; Goldsmith's take on the Grateful Dead genre. And Caboblanco aint no FIVE stars. [This message has been edited by mlw (edited 20 April 2000).]
posted 04-20-2000 06:58 PM PT (US)

mlw Oscar® Winner	Andre-- Yes, I have to someday clean all that Po der out of my ears. Gross. But, it won't make that music any better. [This message has been edited by mlw (edited 20 April 2000).]
posted 04-20-2000 07:03 PM PT (US)

Andre Lux unregistered	Well, why don't you try them MLW? Maybe it will help you to apreciate this wonderful score... Or maybe you'll also need to clean the Po_der out of your... Never mind.
posted 04-21-2000 07:47 AM PT (US)

DANIEL2 unregistered	Goldsmith’s contribution to cinema over the past twenty years has been varied, and often excellent. The early 80’s saw this important film composer probably at the peak of his powers, and the rest of the decade was notable for Goldsmith’s experimentation. In fact, the middle 80’s saw some fascinating contrasts from score to score, as Goldsmith successfully nailed the complete range of genres, from romantic comedy to all out action. Even today, Goldsmith continues to create superb film scores, often with the bonus of making excellent albums, the most recent example being THE 13TH WARRIOR. Below I have indicated my appreciation of Goldsmith’s film scores 1980 – 1999 inclusive, ‘based on’ mlw’s marking system. 1999 A hat-trick of memorable, distinctive and wholly enjoyable scores. The Haunting **1/2 The Mummy The 13th Warrior 1/2 1998 Star Trek IX 1/2 Small Soldiers 1/2 Mulan 1/2 U.S. Marshals 1/2 Deep Rising * 1997 Air Force One 1/2 The Edge *1/2 L.A.Confidential 1/2 Fierce Creatures *1/2 1996 Star Trek VIII The Ghost and the Darkness ** Chain Reaction * Executive Decision * City Hall 1/2 1995 Powder 1/2 First Knight * Congo 1994 IQ 1/2 The River Wild 1/2 The Shadow * Bad Girls * Angie * 1993 The highlight here was DENNIS, one of my favourite Goldsmith scores from the 90’s. Six Degrees of Separation *** Rudy * Malice * Dennis the Menace **1/2 Matinee 1/2 The Vanishing *** Love Field 1/2 1992 Another Goldsmith/Verhoeven triumph. BASIC INSTINCT would prove to be one of the most influential film scores of the 90’s. Forever Young * Mr. Baseball 1/2 Mom & Dad Save the World BASIC INSTINCT *** Medicine Man 1991 Sleeping w/the Enemy *1/2 Not Without My Daughter * 1990 A trio of Goldsmith classics, here we see just what Goldsmith is capable of, sheer brilliance. THE RUSSIA HOUSE *** Gremlins 2 1/2 TOTAL RECALL ** 1989 Star Trek V * Leviathan * The 'Burbs 1/2 1988 Warlock 1/2 Criminal Law * Rambo III Rent-a-Cop *1/2 1987 Two scores, EXTREME PREJUDICE and LIONHEART, completely different in just about every way, yet bound by Goldsmith’s hallmark of quality. Innerspace * Extreme Prejudice ** LIONHEART * 1986 Goldsmith’s most recent British film (LINK) had a really fun score, and HOOSIERS (aka BEST SHOT) had a very successful multi-faceted score. Hoosiers 1/2 Link Poltergeist 2 1985 The action film score par excellence, and what many consider to be Goldsmith’s ‘magnum opus’. Legend *1/2 RAMBO: FIRST BLOOD PART II * Baby 1984 The pulsating RUNAWAY was a great example of the exciting electronic score. Runaway ** Supergirl Gremlins * The Lonely Guy * 1983 Perhaps UNDER FIRE gave us Goldsmith’s best album? TWILIGHT ZONE had a great score, especially the sentimental Crothers portion, and the spiky Lithgow segment. UNDER FIRE *** Twilight Zone: The Movie Psycho II 1982 Classic scores through and through. FIRST BLOOD virtually defined its genre, THE CHALLENGE was absolutely ace, and THE SECRET OF NIMH is really what film music is all about. First Blood ** The Challenge THE SECRET OF NIMH * Poltergeist 1/2 1981 Goldsmith surprised some with his profound Wagnerian work on THE FINAL CONFLICT, quite different from his previous Omen scores. Night Crossing Raggedy Man Outland The Final Conflict 1980 Goldsmith followed up STAR TREK: THE MOTION PICTURE (my favourite JG score) with the magnificent MASADA, a score that appears to come from the composers’ heart. Masada Caboblanco Average *** (2.79) I feel unable to comment on GLADIATOR, TWO DAYS IN THE VALLEY, HOLLISTER, H.E.L.P., ALIEN NATION, THE SALAMANDER, or INCHON as I have not heard Goldsmith’s music in the context of the production. A fine body of work, punctuated by some truly outstanding contributions, Goldsmith now rates 27th on my personal list of favourite film composers, one below Benjamin Frankel.
posted 04-22-2000 10:21 AM PT (US)

RoboKennyRogers Oscar® Nominee	MEMO TO DANIEL2: My beef against you, Danny-boy, is the fact that you judge scores in the context of the movie. I don't understand your bias against listening to records. Ultimately, what you are is an audio-video synergy-lover. Not a music-lover. I recently re-heard STAR TRIPE: THE MOTION PICTURE and it bored me to tears, just like before. It's not my failing, dammit. My only conclusion is that you & H. Rocco & everyone else have been brainwashed into liking it by the malevolent ghost of Colonel Harlan Sanders.
posted 04-22-2000 05:56 PM PT (US)

DANIEL2 unregistered	RoboKennyRogers. Fair comment, though I don’t necessarily think things are as cut and dried as that. My own personal opinion is, music written for film is BEST heard within the movie. That may seem like an obvious statement to some, and a conformist belief to others, but it is one that I cannot escape from. Personally, I regard film music as a completely different animal to music intended for stand-alone consumption. To me, a Beethoven symphony is best appreciated whilst relaxing in the comfort of one’s living room, free from any audible or visual distraction. By the same token, a film score is best heard when married to the images it was intended to augment. That said, there are always exceptions to the ‘rule’. You mention STAR TREK: THE MOTION PICTURE, and this is one such exception to the ‘rule’, in my opinion. Though my favourite Goldsmith score is to this 1979 movie, I actually found the movie itself to be disappointing. In my opinion however, Goldsmith’s music transcended the material, and the composer’s skill at defining what the film was all about, and providing a ‘spot-on’ musical narrative, was masterful. I entirely respect your opinion of Goldsmith’s score to STAR TREK: THE MOTION PICTURE. Though many film music enthusiasts DO rate this score highly, it is bound not to appeal to everyone. I myself have frequently been very much in the minority when it comes to my opinions about certain movies, composers and scores, and some people have registered their surprise at my beliefs, and I in turn have attempted to explain my likes and dislikes to the fullest. The resulting discussions have not only helped me to reappraise my own opinions, but I have also LEARNT a great deal from listening to other peoples’ opinions. Your dislike of Goldsmith’s STAR TREK: THE MOTION PICTURE provides a welcome alternative opinion, and as such, allows me to more fully appreciate my admiration of that score. Indeed, STAR TREK: THE MOTION PICTURE, to me, is one of those film scores that DOES make a satisfactory stand-alone listen; UNDER FIRE, THE RUSSIA HOUSE, and MASADA are a few other Goldsmith scores that also make satisfactory albums, in my opinion. Generally though, to make a good film score, the film composer should, in my opinion, be less interested in creating meaningful music, and more concerned with creating a meaningful musical narrative, and applying whatever is musically appropriate to the needs of the movie. This may mean that the music is meaningless away from the movie and makes a wretched album, but if it works for the movie that’s all that REALLY matters, at least to me. Indeed, it is quite possible that an excellent piece of MUSIC written for film, may not necessarily make for successful film scoring. That’s why I don’t necessarily see Horner’s plagiarism, or Zimmer’s frequently used scoring devices, as negatives. Though some film score enthusiasts have registered criticism of them for those reasons, Horner and Zimmer provide their movies with exactly what is musically required, in my opinion…..to me, they create the most successfully appropriate film scores of today’s cinema. Likewise, I don’t necessarily believe that a film composer’s ‘creative honesty’ or desire to avoid plagiarism or current musical fads as being a particularly positive attribute when it comes to writing music for FILM. The doctrines of the concert hall bear very LITTLE relation to the dictates of the world of film composing, in my opinion. So yes, I do generally judge film scores in the context of the movie; but, this is NOT to say that the art of film scoring is in any way inferior to the art of composing stand-alone music, be it pop, jazz, classical, or whatever. Writing music for film is just DIFFERENT from writing music for stand-alone consumption; in other words, film music is PART of a larger art-form……that being the movie. For good FILM music to be heard at its best, to me, it should be heard within the context of the intended movie; away from the movie, film music often loses much of its purpose and identity, in my opinion. Likewise, movies WITH film music, are often substantially enriched; without film music, the movie may lose not just a single element, but also much of its substance. Having said all of that, I realize that many people derive a great deal of pleasure from listening to soundtrack albums. I don’t question peoples’ desire to listen to soundtrack albums, it’s just not MY thing. However, though I may not find listening to soundtrack albums usually satisfying, I believe I am still able to appreciate the art of writing music for film. Here are the rest of Goldsmith’s movies that I have seen, rated using mlw’s marking system. 1979 Two classic and very influential sci-fi scores, completely different from one another. STAR TREK: THE MOTION PICTURE *** Players Alien **1/2 1978 A vintage period, characterized by a manic energy in Goldsmith’s writing. THE FIRST GREAT TRAIN ROBBERY * Damien: Omen II * Capricorn One 1/2 Coma 1/2 The Swarm 1/2 THE BOYS FROM BRAZIL ** Magic 1977 MacArthur Islands in the Stream *1/2 Damnation Alley 1/2 Twilights Last Gleaming 1/2 1976 The Omen 1/2 The Cassandra Crossing * Logan’s Run 1/2 1975 BREAKHEART PASS was a fun mystery movie, with a knockout ‘western’ score. Breakheart Pass ** The Reincarnation of Peter Proud 1/2 The Wind and the Lion * Ransom 1/2 Breakout * 1974 A late entry in noir scoring, and up there with the best. Chinatown 1973 Papillon *1/2 Shamus 1/2 Indict and Convict 1/2 1972 Pursuit * The Other 1/2 1971 Wild Rovers Escape From the Planet of the Apes * The Mephisto Waltz ** The Last Run The Brotherhood of the Bell 1/2 1970 The Ballad of Cable Hogue 1/2 Patton Tora! Tora! Tora! 1/2 Rio Lobo 1/2 1969 100 Rifles The Chairman 1/2 Justine The Illustrated Man 1/2 1968 The Detective ** Planet of the Apes 1/2 Sebastian 1/2 1967 Warning Shot 1/2 The Flim Flam Man Hour of the Gun 1/2 In Like Flint * 1966 Stagecoach 1/2 The Sand Pebbles The Blue Max Seconds * 1965 Von Ryan’s Express A Patch of Blue 1/2 Our Man Flint *1/2 The Satan Bug In Harm’s Way 1/2 1964 Rio Conchos Fate is the Hunter 1/2 Seven Days in May 1/2 The Prize 1/2 1963 A Gathering of Eagles 1/2 THE LIST OF ADRIAN MESSENGER ** Lillies of the Field 1/2 1962 The Spiral Road 1/2 Lonely are the Brave Freud 1/2 1959 Face of a Fugitive * City of Fear * Average * (3.01) Career Average *** (2.91) Though I haven’t seen all of his movies, I believe Goldsmith has proved to be one of the most influential film composers.
posted 04-23-2000 10:18 AM PT (US)

Marian Schedenig Oscar® Winner	quote: Originally posted by DANIEL2: My own personal opinion is, music written for film is BEST heard within the movie. That may seem like an obvious statement to some, and a conformist belief to others, but it is one that I cannot escape from. Personally, I regard film music as a completely different animal to music intended for stand-alone consumption. To me, a Beethoven symphony is best appreciated whilst relaxing in the comfort of one’s living room, free from any audible or visual distraction. By the same token, a film score is best heard when married to the images it was intended to augment. I agree a bit. There are score that are heard best in the film, and then there are scores that are equally enjoyable on their own. Most of my favourite scores fall into the second category, but Planet of the Apes e.g., although a great work, is quite tough when played on it's own. There are even scores that are BETTER when heard without seeing the film. E.g. Omen. I love the score, and I like the film, but I find that the score adds litle more than atmosphere to the film. While it succeeds in this function rather well, I still find it a bit disappointing as a film score. When heard on it's own, I can better concentrate on the music, and the atmosphere is still there, so why watch the movie (except if I want to SEE the MOVIE, of course ). NP: Symphony #9 (Anton Bruckner; Bruckner Orchester Linz/Kurt Eichhorn - with reconstructed 4th movement)
posted 04-23-2000 10:34 AM PT (US)

Graham Watt Oscar® Winner	RoboKennyRogers, I wouldn't put labels on people just because they recognize the symbiosis between image and music. People have different ways of listening to scores (see the thread "How Do YOU Listen To Film Music?) For example, I love film music just as I love Film plus Music. Many of the LPs and CDs which I have were bought because I liked the film PLUS the music: some of the things I have (by no means the majority) are great souvenirs of movies which have made an impact on me in some way. I intend to get Ron Grainer's The Omega Man, but I wouldn't be interested in collecting all non-soundtracks which exhibited, in their day, a similar 70s pop sound. Likewise, I love Lalo Schifrin's jazz scores, but I'm not a collector of jazz per se (though Schifrin etc did open my ears to "pure" jazz when I was younger). I honestly do consider myself a music lover, and I'm sure that D2 does also, but trying to ignore why film scores exist in the first place isn't logical. And, of course, soundtracks are a tiny drop in the huge ocean of music in general. If we all simply considered our soundtracks as "music" from the point of view of a "music lover", movie scores would make up, what, 1 percent of our collection?
posted 04-23-2000 01:17 PM PT (US)

Andre Lux unregistered	Uh-oh... Here we go again...
posted 04-23-2000 01:25 PM PT (US)

DANIEL2 unregistered	Having detailed my appreciation of Goldsmith’s scores to those movies of his I have seen, I now indicate my PERSONAL regard for the movies’ as a whole. 1999 THE MUMMY was a really entertaining movie, to me. The Haunting The Mummy 1/2 The 13th Warrior 1/2 1998 STAR TREK IX evoked the charming campness of the 60’s series, and DEEP RISING was a delicious Mickey-take of the action/sci-fi/horror genres. Star Trek IX Small Soldiers 1/2 Mulan * U.S. Marshals Deep Rising *1/2 1997 AIR FORCE ONE was a favourite at the box office and LA CONFIDENTIAL was the darling of the critics. Air Force One The Edge * L.A.Confidential **** Fierce Creatures 1/2 1996 British director Stuart Baird came up trumps with the excellent EXECUTIVE DECISION. Star Trek VIII 1/2 The Ghost and the Darkness 1/2 Chain Reaction * Executive Decision **1/2 City Hall 1/2 1995 Powder * First Knight 1/2 Congo 1/2 1994 ANGIE was a warm and sentimental drama; it deserved to do better at the box office, in my opinion. IQ 1/2 The River Wild 1/2 The Shadow Bad Girls 1/2 Angie *1/2 1993 The kids loved DENNIS, and so did I. Six Degrees of Separation * Rudy Malice 1/2 Dennis the Menace **1/2 Matinee 1/2 The Vanishing * Love Field * 1992 BASIC INSTINCT was very classy and is now a legend of cinema. Forever Young *1/2 Mr. Baseball Mom & Dad Save the World * Basic Instinct **1/2 Medicine Man 1/2 1991 Sleeping w/the Enemy * Not Without My Daughter * 1990 TOTAL RECALL had Goldsmith working on a top quality action comic, and he didn’t disappoint. The Russia House Gremlins 2 Total Recall **1/2 1989 Star Trek V Leviathan 1/2 The 'Burbs ** 1988 RAMBO III continued where RAMBO II left off, tremendous fun. Warlock 1/2 Criminal Law 1/2 Rambo III *1/2 Rent-a-Cop 1987 Innerspace * Extreme Prejudice * LIONHEART 1/2 1986 HOOSIERS wasn’t just about basketball, it was also about what makes us human. Hoosiers **** Link 1/2 Poltergeist 2 1/2 1985 RAMBO II was to me the perfect action movie; who could forget Rambo’s 'I’m gonna get you Murdock'. Legend * Rambo: First Blood Pt II **** Baby * 1984 THE LONELY GUY was a sweet and insightful comedy. Of the many comic highlights, the most memorable were Grodin’s ‘….if you’re like me, never go to sleep in the afternoon….it just means you have to wake up and realize who you are TWICE in the same day….’, and the sight of a rigor mortised Martin being dumped into a trash can still clutching his television remote control. Runaway *1/2 Supergirl 1/2 Gremlins 1/2 The Lonely Guy 1/2 1983 UNDER FIRE was a very involving movie with superb performances, and an absolute peach of a score from JG. Under Fire 1/2 Twilight Zone: The Movie Psycho II 1/2 1982 FIRST BLOOD is maybe the granddaddy of the modern action movie, and THE SECRET OF NIMH was a beautifully realized tale. First Blood The Challenge 1/2 The Secret of NIMH ** Poltergeist 1/2 1981 Night Crossing 1/2 Raggedy Man * Outland ** The Final Conflict 1/2 1980 Masada ** Caboblanco * 1979 ALIEN is a truly classic movie. Star Trek: The Motion Picture 1/2 Players 1/2 ALIEN *** 1978 The First Great Train Robbery * Damien: Omen II Capricorn One 1/2 Coma *** The Swarm 1/2 THE BOYS FROM BRAZIL 1/2 Magic * 1977 MacArthur Islands in the Stream Damnation Alley * Twilights Last Gleaming ** 1976 The Omen 1/2 The Cassandra Crossing * Logan’s Run 1975 Breakheart Pass 1/2 The Reincarnation of Peter Proud 1/2 The Wind and the Lion * Ransom Breakout 1974 Out of the blue came this near classic, recapturing the essence of the 40’s noir. Chinatown **1/2 1973 Papillon 1/2 Shamus *** Indict and Convict * 1972 Pursuit *** The Other 1/2 1971 THE LAST RUN benefited from a superb performance from Scott, excellent locations, a fine Goldsmith score, and an interesting ‘human’ story. Wild Rovers 1/2 Escape From the Planet of the Apes The Mephisto Waltz * The Last Run ** The Brotherhood of the Bell 1970 PATTON is one of the best screen biographies. The Ballad of Cable Hogue 1/2 Patton Tora! Tora! Tora! Rio Lobo 1/2 1969 100 Rifles The Chairman 1/2 Justine * The Illustrated Man 1968 THE DETECTIVE had a blistering score from Goldsmith, and is one of the most entertaining ‘detective’ stories of the 60’s. The Detective ** Planet of the Apes Sebastian * 1967 Warning Shot * The Flim Flam Man Hour of the Gun *1/2 In Like Flint 1/2 1966 THE BLUE MAX provides a very colourful depiction of life amongst the German ranks during the Great War. Stagecoach * The Sand Pebbles * The Blue Max Seconds * 1965 Goldsmith’s parodic score to OUR MAN FLINT, was just one of that film’s assets. Von Ryan’s Express A Patch of Blue 1/2 Our Man Flint 1/2 The Satan Bug In Harm’s Way *** 1964 SEVEN DAYS IN MAY had a great cast and a fascinating plot. Rio Conchos 1/2 Fate is the Hunter 1/2 Seven Days in May * The Prize 1/2 1963 THE LIST OF ADRIAN MESSENGER was a gimmicky movie that also happened to be very good. A Gathering of Eagles * The List of Adrian Messenger Lillies of the Field * 1962 The Spiral Road 1/2 Lonely are the Brave * Freud * 1959 Face of a Fugitive City of Fear 1/2 Average 1/2 (2.39) The average of 2.39 stars relates to how much I enjoyed the movie as a whole. This compares with an average of 2.91 stars when it comes to my personal opinion of Goldsmith’s actual score (detailed earlier in this thread). On the whole, it appears the quality of Goldsmith’s scoring is EVEN better than the movies to which he is attached.
posted 04-24-2000 06:07 AM PT (US)

Marian Schedenig Oscar® Winner	quote: Originally posted by DANIEL2: On the whole, it appears the quality of Goldsmith’s scoring is EVEN better than the movies to which he is attached. Ok, but I think we agreed on THAT often before. NP: Symphony #3 (James Ho...err...Robert Schumann) I HATE FLOOD CONTROL!
posted 04-24-2000 06:49 AM PT (US)

DANIEL2 unregistered	Marian. I’m glad you got my drift. I’ve made some further analysis of Goldsmith’s movies, primarily making a comparison between the success of his scoring and the overall quality of the projects themselves. When one examines Goldsmith’s body of work, it is fascinating to note the contrasts. For instance, two projects starring one of America’s newest citizens, Sir Anthony Hopkins, indicates a contrasting level of Goldsmith scoring success. Perhaps I shouldn’t refer to Hopkins as Sir Anthony now, though in actual fact he does retain dual citizenship….a status that Sir Winston Churchill once hoped all US/British citizens would share. Maybe Hopkins is so embarrassed by his awful Barclays Bank advert, he intends to spend even more time hiding away in California….certainly the advert in question, and Hopkins appearance in it, has been universally ridiculed here in Britain. Anyway, the two films in question are MAGIC (1978) and THE EDGE (1997). I felt Goldsmith’s work on MAGIC was excellent, and was even better than the movie itself, whereas THE EDGE, overall, was a very good movie, even better than Goldsmith’s fine score, in my opinion. Overall though, as Marian has recognized, Goldsmith’s music has been EVEN better than the movies he has worked on, I think. My own personal rating, based on mlw’s marking system, uncovers a difference of 0.52 stars between the quality of the projects (2.39 stars) and the success of Goldsmith’s scores (2.91 stars). [This message has been edited by DANIEL2 (edited 24 April 2000).]
posted 04-24-2000 10:51 AM PT (US)

DANIEL2 unregistered	Here's one I forgot. 1966 The Trouble with Angels - movie 1/2 score 1/2 The above addition doesn't effect the overall averages detailed at my previous post at this thread. [This message has been edited by DANIEL2 (edited 26 April 2000).]
posted 04-26-2000 12:15 PM PT (US)

RoboKennyRogers Oscar® Nominee	MEMO TO DANIEL2: Hayley Mills be with us yet. Lest we forget, lest we forget. You gave THE SWARM 1 & 1/2 stars, which is too generous by half a star. You gave ALIEN 5 stars. Whereas for me, ALIEN is perfectly devoid of any entertainment value. I respect you for liking THE LONELY GUY because it's derived from a Bruce Jay Friedman book. Friedman is a brilliant short-story writer. As a novelist he's uneven. His latest novel, A FATHER'S KISSES, is fine quality entertainment.
posted 04-26-2000 02:26 PM PT (US)

DANIEL2 unregistered	Just saw Sir John being interviewed the other day…..92 and still going strong. Anyway, I just saw another Goldsmith-scored TV-movie – 1974’s A TREE GROWS IN BROOKLYN aka The Little House on the Sidewalk (movie * score *)
posted 05-01-2000 01:35 PM PT (US)

H Rocco Oscar® Winner	I don't remember the score, but I HATED the movie. Didn't think much of the original version, either. A proper film version of that novel has yet to be made.
posted 05-01-2000 01:55 PM PT (US)

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