Holko

The Color Purple - Spielberg here is full of his energetic creative juices... overflowing and spilling on the floor at times, I felt the tone and approach in many scenes was completely off/wrong for the subject matter. But then I adored the rest, especially the letter reading sequence and most of the stuff after. Immediately after viewing that helps leave a good impression but overall I'm more mixed on it. Always - And here his juices ran out. This is a mess of some well done scenes (I liked a lot of the firefighting shots), not very well done scenes, half-done scenes with characters that disappear, the pilot guy sucked, and this bad doesn't feel like it tries to do or say anything, it's just... there. The LLL release of JW's score is a far better piece of anything in every way. And with that, I've seen all of Spielberg's directed feature films, except for Duel (depends on how you count it) and West Side Story which I somehow am not drawn to at all.

I don't really care about this release but gave the samples a go just to be sure. Holy shit! 60s TV music was recorded and archived in this quality??? What the fuck happened to film score recordings in the 70s???

Wow, I've never heard that. I only care about and know of people who care about stuff like the highly visible blue technic pins in very very unfitting places.

Yes you are. Who knows what's rotting in the vault that could be much more interesting than some copypaste rewrite with removed flowery solo lines that the director ordered in the last week of postproduction? And it seems you misunderstood Jay's posts, the Varese of this score features alternates in place of the film versions.

Who gives a shit, just look at him

Temple? He's in his all time peak form there!

Using this topic to ask... in one scanned version of the script that I got off the internet, there are studio evaluations and comments attached at the end. Including... well... excuse me but what the everloving pile of jesus fuck is this??? No trace of such a thing in the script itself, it's very close to the final film in general. It's not even in the treatment which is further in details but still close enough. Did some dumbass studio heads misunderstand some pitch relayed to them through 5 other people this badly???

Main Title and many of the source cues, all rearranged and rerecorded, plus at least one all-new track (Mr. Yunioshi).

Well, after the first few listens I can say for sure that I really like this score! In my mind I slot it between Presumed Innocence and Always, having more variation and diversity than the former but not as much of a clear dramatic arc and satisfying resolution as the latter. I knew it was going to be piano-heavy but not how woodwind-heavy it is! Woodwinds are great! The booklet's nice, though it talks more about the movie and JW's inspirations than the score. I wasn't a big fan of the movie but when I read that it was a remake of a 1954 one I just went "aaaaaaaaaaaaaaaaah, yeah it makes sense now!" Titus is great as always, mostly tastefully simple and elegantly restrained here. I also really like Party in the Moonlight! It will probably most commonly function as some nice easy listening to put on as pleasant background noise, but I love how much overthinking and "story' Mike put into it in the booklet! One thing that weirdly stands out is La Vie An Rose at the end - not only is it the only tune from it that I already knew, but IMO somehow it feels like a different kind than the rest of the disc, bigger, louder, more in your face.

So recently I got a Mancini compilation (never seen anything he scored or heard anything but the most well-known pieces of his), of mostly his OSTs and some recordings of his from other composers' work. Overall it painted one picture of the man, and didn't leave me wanting for more. Breakfast at Tiffany's was definitely one of my favourites though and when going through some backlogs while assembling my last order, I found this: Intrada expanded it and it's still available. Listening to the samples made the decision pretty easy and now that I've heard it multiple times, I really like it! The dramatic/emotional score cues paint a whole different picture of scoring abilities he showed no proof of in the albums I've heard, like in An Exceptional Person, Turkey Eggs or Where's the Cat. It's also interesting to basically witness the birth and first uses of what is now, 60+ years later, still one of the most recognisable and ubiquitous tunes in popular music history. Chris Malone is a wizard to make this all sound so good despite the disparate and aged sources. Definitely zero regrets on getting it. The program is a bit strange with today's eyes, though. I kept thinking all this source music would be in a bonus section today - but then what we'd be left with is 30 minutes of variations on Moon River and the date theme and 30 minutes of mostly completely unrelated pop tracks. Hepburn's rendition coming in after the long party stretch definitely makes it stronger than if it was just one more variation between a long stretch of many more. The barrel organ rendition of Meet the Doc should definitely be switched with the clean bonus section version, it's source music overlay that takes away from it with its disparate rhythm. And of course the big obvious one, now when Doug's pressing hard for second discs with a copypaste of the same music, only worse sounding, it's strange to see the OST with its 30+ minutes of new arrangements and even completely new music being ignored here, it could've benefitted from a proper remaster.

Finally received it and listened 2 more times. I love the magic, the playfulness, the almost mythic grandeur it achieves at times. I love how woodwind-heavy it is! And even with my keenly attuned ears, so far I didn't notice any Fakeisms, maybe aside from a transition or performance edit or two what were done with a fadeout/fadein a tad too quick for my taste, but that's really nitpicking. Even the front cover kinda grew on me enough that I don't want to switch it.

Hasn't it been part of film scoring for half a century by that point?

He forgot it!

In this week's edition of weird mashups my brain came up with and I can't forget: when the theme from Sabrina plays in my head, the string bridge from Minority Report's A New Beginning comes in after a statement, and then Sabrina continues after.

Dianoga and the first third of Trash Compactor