I think every score (excluding the incredibly bland Hooper scores) has something to offer. Goblet of Fire has many great melodramatic moments, despite abandoning most of the previous themes. The Deathly Hallows Part 1 has a handful of cool, Williams-like action set pieces and The Deathly Hallows Part 2 also has the same set pieces with more respect to thematic continuity. Goblet of Fire and the two Deathly Hallows scores would be great as stand-alone scores but in the context of the franchise they are only pretty good.
Brave souls? Musically brain deaths I would say. Well, this the life here in JWfan nowdays. This shit and the Hobbit life. Atleast Hobbot is good film music, although not listenable outside of the film. I hope The Hobbit will win the Golden Globe.
SYMPHONY CROWD HEARS OF AN ASSASSINATION The radio microphones were present at a Boston Symphony Orchestra concert at an extraordinary moment in American history.
On November 22, 1963, conductor Erich Leinsdorf was leading the regular Friday afternoon BSO concert at Symphony Hall. Before the program began, it had been reported across the nation that president John F. Kennedy had been shot by a sniper while riding in a motorcade in Dallas. It was known, too, that his injuries were serious, but that was all the information that was available. The orchestra then went on to play the Funeral March from Beethoven's Eroica Symphony for the grieving audience. http://www.youtube.com/watch?v=IVNKNz-lc6k#t=606
One of the last remaining witnesses to the orchestra's funeral march speaks about his experience:
As is evidenced by the radio announcer's preamble few in the hall, even backstage, knew in advance what had happened or what, as far as the concert was concerned, was about to occur. One of those few, and one of the only remaining witnesses to that event still with the orchestra, was its librarian, then and now, William Shisler. In a phone interview, he spoke publicly for the first time about his recollections. The memories, he confides, are still painful. He hasn’t been able to bring himself to listen to the broadcast in the 50 years since. Along with many others he had already heard about the shooting and that Kennedy was hospitalized. "I was in the library working on scoring some music, when my wife called from our home in Needham, Massachusets – it's around 10 miles from Boston," he says, "She liked to watch the soap operas in the afternoon. On this day she was watching one called As The World Turned. And the world did turn. The program was interrupted to report the shooting in Dallas. So she phoned me immediately and I was one of the first to hear that in Symphony Hall." Word quickly spread, but as the musicians prepared for their afternoon concert and the audience started to arrive it was not yet known whether or not Kennedy had been killed. "Nobody in Symphony Hall was aware. It was near 1 p.m. in Dallas when they announced it, which was nearly 2 p.m. in Boston, coinciding almost exactly with the scheduled start of our regular Friday afternoon concert." With the show due to start in less than ten minutes' time, Shisler got a relayed message from Leinsdorf himself. Run to the archives, put out and distribute the music for Beethoven's Eroica Symphony. The president is dead. Such was the rush that Shisler remembers little of his feelings from that moment. His memories get clearer of the minutes immediately following, when it was incumbent upon him to hasten to the stage with scores in hand. "The musicians were already there on the stage, in their places and of course the hall was filled with people. I had to tell each of the musicians as I was handing out the music what was going on. That was the first they knew of the death. It wasn't an easy moment, for them or for me." In the short pause before the conductor strode out with his own heavy burden, Shisler walked, in something of a daze, back into the wings and then out to the auditorium where he took up his favored listening position, at the back of the first balcony where he could hear but not see. The entrance to the library is nearby and he would sometimes slip through the balcony door to listen in during rehearsals and concerts. He was an accustomed presence there, none of the ushers would have detected anything unusual. Everything seemed normal. Only Shisler knew how different this concert was about to be. "I was – standing there," he says, haltingly, trying to express the strangeness of the moment, "Knowing he was going to make the announcement and I was about to witness that moment. I had already had my own gasp upon hearing the news, and now I'm standing there witnessing the audience about to have the same reaction. When it came, of course Leinsdorf came out and announced to the audience and there was this huge gasp, it was very emotional." Some people left, rushing out in grief. But most, he says, stayed as the orchestra played. Many cried. Shisler was among them. "I was brought to tears by the movement of the Beethoven. It's such beautiful music anyway."
Yeah, cause crying when : Your Uncle is shot Your best friend is killed The love of your life dumps you You face hardships in your family life = bad Rather have Spider-Man crying than doing that bullshit wailing Garfield did in TASM. Franco was fine, and one of the best things about SM3. Same goes for Dafoe. But hey, maybe some people like pointless/ soulless beat for beat remakes with an uninteresting villain.
Thanks Hlao-roo. That's just we were missing here, the cynical critics by the people without any idea of (real)music. Heil Hans and his soulless and generic stuff. Sentimentalist? I've listen the score twice and just love it.
Jane Eyre, anyone? And let's see... a Rossini pastiche; Mos Eisley big band outtakes; old hat Williams soaring strings flying music; lots of disjointed, anonymous sounding action cues, including a fugue that goes nowhere and disintegrates into an inert mess worthy of "Jango's Escape." I suppose the ticking clock counts as new in the Williams canon.
I think most people and critics didn't get War Horse at all. It wasn't a historical drama (or weighty drama of any kind). It's a film based on a children's story and made in the style of the 40's cinema. If you look at it from this perspective, the score is one of the few elements of this that puts it in the right genre. Dated or not. Karol