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Bruce Broughton's The Boy Who Could Fly - original film tracks released commercially by Intrada


Jay

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INTRADA Announces:

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THE BOY WHO COULD FLY
Composed and Conducted by BRUCE BROUGHTON
INTRADA Special Collection Vol. 295


Intrada presents the premiere release of Bruce Broughton's emotional, soaring, and exciting score to the 1986 Lorimar film The Boy Who Could Fly. The major theme for in the score is first evoked gently with harp, flute, guitar and strings, embracing the characters in a warm, romantic glow. This theme follows the story closely -- taking us from darkness to heartbreak to adventure, all with a aching, bittersweet edge. “In a movie like Young Sherlock Holmes, there are six to eight themes running through it and they’re used over and over again because the story is so complex. But The Boy Who Could Fly has a very simple story about a kid who seems to be very simple, but has a rich interior life,” Broughton says. Like all fairy tales, The Boy Who Could Fly has darkness at its center and director Nick Castle was open about portraying the devastating hurt of losing a loved one. Broughton carefully incorporated this, achieving a score that kept this pain either above or below the surface...but always there and delicately balanced.

At the time of the film, no soundtrack recording was released, although several months later Broughton rerecorded 34 minutes of the score with the Sinfonia of London for the Varese Sarabande label. Truncating may of the cues and in some cases simplifying the orchestrations, it never quite caught the spirit and detail of the complete score recorded in LA. This release includes the complete score, as well as the end title song by Stephen Bishop, "Walking on Air." Additionally, bonus tracks include “Fireworks” (from To Catch a Thief), composed by Lyn Murray for the 1955 Alfred Hitchcock classic and newly recorded by Broughton for a television sequence as well as the brief vocal “Back of the Bus” performed by the Coupe de Villes.

The Boy Who Could Fly begins as the Michaelson family tries for a fresh start in a new neighborhood. Single mom Charlene (Bonnie Bedelia) has inherited her late husband’s insurance job, but struggles with new technologies. Eight-year-old Alex (Fred Savage) has one mission—to get around the block without being harassed by bullies. Meanwhile, fourteen-year-old Milly (Lucy Deakins), the anchor of the family, notices the teenage boy next door (Jay Underwood). He’s silent and seemingly emotionless, precariously balanced on his windowsill or roof. His arms are outstretched, as if waiting for a gust of wind to lift him away to a better place. Thus begins Milly's mission to understand this mystery boy and uncover what is and isn't reality.

INTRADA Special Collection Vol. 295
Retail Price: $19.99
SHIPPING NOW
For track listing and sound samples, please visit
http://store.intrada.com/s.nl/it.A/id.9332/.f

Original soundtrack by Bruce Broughton for Nick Castle fantasy about tragedy and loss, friendship and romance, magic and flight, starring Jay Underwood, Lucy Deakins, Bonnie Bedelia, Fred Gwynne. Emotional elements of youth struggling with death, inward feelings, reaching out, lines between fantasy and reality all gave Broughton considerable dramatic material to work with. He chose to anchor with gentle, quiet character of Eric, the boy who could fly.

Transparent scoring, haunting lydian harmonic vernacular of theme are gorgeous! Once idea is established, Broughton trains his musical forces on bigger ideas, fantastic flight sequences. Majestic, soaring music trades with dramatic undercurrents of story, even intense segments with darker edges. Entire, lengthy work is rich display of orchestral imagination, emotional thematic writing. Several long cues add to positive vibes. Many sequences stand out: warm Americana strains of "Family", exciting riffs for young Louis attempting navigation of neighborhood amidst bullies, intense horn writing during "Eric Agitated". Yet, towering above all are magnificent flying cues, culminating in sweeping, wondrous orchestral splendor of "Milly And Eric Flee/He Really Flies". Here, Broughton takes his gentle main theme, melds it with all elements of fantasy in glorious manner. Stunning music!

Intrada original soundtrack CD (not to be confused with Varese Sarabande release of re-recorded highlights) presents entire score in crisp, vibrant stereo from newly-remastered session mixes made by Armin Steiner, courtesy Warner Bros. Both Stephen Bishop's popular "Walkin' On Air" End Credits song plus Broughton's unused ending music appear! Extras include alternate version of "First Hint", Broughton's treatment of Lyn Murray's "Fireworks" from To Catch A Thief for TV sequence, "Back Of The Bus" number written by Broughton with lyrics by director Castle (performed by filmmakers Castle, John Carpenter, Tommy Wallace) plus Broughton's "Car Radio" source music. Bruce Broughton conducts. Intrada Special Collection CD available while quantities and interest remain!

01. Main Title (4:45)
02. Louis Meets Hitler (1:00)
03. Louis’ Retreat (1:14)
04. Late! (First Hint - Revised) (1:04)
05. Eric On The Sill (0:28)
06. On Milly’s Sill (1:24)
07. Eric On The Roof (2:25)
08. Milly’s Science Project (3:34)
09. First Triumph (1:40)
10. Family (3:09)
11. The Rose/Flying (9:35)
12. Eric’s Gone (4:00)
13. Eric Agitated (4:17)
14. Louis Gives Up (3:24)
15. The Ring (3:22)
16. Milly And Eric Flee/He Really Flies (9:01)
17. New Starts (4:15)
18. Milly Reflects/End Credits (Instrumental) (5:03)
19. “Walkin’ On Air” (End Credits) (3:28) (Stephen Bishop)
Total Time: 67:39
The Extras
20. First Hint (1:04)
21. Fireworks (From To Catch A Thief) (1:40)
22. “Back Of The Bus” (0:59) (Nick Castle/Bruce Broughton, Perf. by The Coupe De Villes)
23. Car Radio (2:16)

Total Extras Time: 6:04

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Order from your favorite soundtrack store!
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I'm all over this one. Loved this film as a kid. Magical, yet dealt with loss in a way few "kids" movies do. I haven't seen the film in years but need to watch it soon.

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Correct!

Also, the Percepto release was a promotional one, not a commercial one.

Roger says

One advantage is that this release is actually licensed for sale. The rights holder and AFM have been justly compensated and all is right with the world. :D


Yes, I always (naively) hope that people would support a legitimate release when they have an unlicensed version, because to do it legitmately we need to pay license fees, new use, mechanicals not to mention extra fees to include the song. In terms of sound quality, yes. The promo didn't implement any pick ups or do all the necessary assemblies.


http://www.intrada.net/phpBB2/viewtopic.php?p=71535#p71535

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I've ordered the new release and will add the Percepto 'promo' to my ever-growing pile of film music obsolescence.

For people like us, that pile is probably bigger than other people's entire CD collections.... used to be back when normal people actually still bought CDs.

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Gorgeous score, and a movie I loved when I was younger, too. I had a crush on Lucy Deakins back then . . . and actually met her about ten years ago. I fixed her copier—twice, actually. She had a different last name on the requisition form, so I had no idea what I was walking into. When I first entered the room and shook her hand, I checked the form, then looked at her again . . . "Lucy Deakins?" I said, a little thunderstruck. (That's not the kind of situation where you expect to meet someone from one of your "kid" films.) She had a baby of her own with her that day. I couldn't resist asking why she left moviemaking. She said she got tired of waiting by the phone for roles to come her way. Guess I can understand that. Pity, though—she was an intelligent actress who played well on screen (check her out in The Great Outdoors with John Candy, too).

Anyway, Broughton brought the perfect melodic tone to the story, as he so often did back then. Although I have to admit . . . I think I liked Erich Kunzel's interpretation of the main theme a little better.

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