GerateWohl

Fortunately, it was called just EVIL DEAD over here. It got lots of press at the time, though, and was heavily censored. VHS pirate copies of the uncensored version were doing their rounds in the underground.
 
But I can talk about Norwegian renaming all day long. It was very common in the 80s and 90s, not so much anymore (mostly for kiddie films these days). One funny aspect is how we often prefaced many wacky comedies with the word "Hjelp" ("Help"). So you have:
 
NATIONAL LAMPOON'S VACATION -> HJELP, VI MÅ PÅ FERIE! -> HELP, WE MUST GO ON VACATION!
CHRISTMAS VACATION -> HJELP, DET ER JULEFERIE! -> HELP, IT'S CHRISTMAS VACATION!
SPINAL TAP -> HJELP, VI ER I POPBRANSJEN! -> HELP, WE'RE IN THE POP BUSINESS!
AIRPLANE -> HJELP, VI FLYR! -> HELP, WE'RE FLYING!
 
....and many more.
 
Loads of other things too, like DIE HARD being OPERASJON SKYSKRAPER (OPERATION SKYSCRAPER), DELIVERANCE being PIKNIK MED DØDEN (PICNIC WITH DEATH) and so on.

I love the version of Helena's Theme with ASM.

It's basically a lose lose situation for us. If we support this garbage, it just encourages them to keep churning out garbage. If we boycott it, they assume nobody buys this stuff and don't invest more money in better releases.

That’s the name I’m gonna give my French restaurant… 
 
But yes Patton is a terrific score although as a listening experience, I favour the original album re-recording. To me it’s performed and sounds better than the original film tracks and has a bit more edge than the RSNO version although I find much to enjoy in that recording. His lack of an Oscar is astonishing if not actually surprising. The plebs love a hit song and a doomed love story…
 
I’m currently devouring the JG book and his Oscar losses are carefully noted. Some are against fine competition where you can’t really fault the winner but several are clearly travesties. Patton, Chinatown and Papillon from that period of his career are film music milestones for highly respected movies. His judicious approach to spotting, artistry and depth is something some contemporary film makers and composers could do with taking on board. When the music appears in those films it’s meaningful but when it’s slathered over every scene like slurry on a field it just becomes wallpaper. I don’t mean to shit on Ludwig Goransson too much but his music in Oppenheimer barely says anything about anything. It just plays incessantly in almost every scene in a droning, vaguely doom laden way. Now he has more Oscars than Jerry, Elmer, Ennio, Alex North…  etc.

But Varese already released that:
https://varesesarabande.com/products/killer-clowns-from-outer-space-reimagined?_pos=2&_psq=killer&_ss=e&_v=1.0
 
 
 
Cool project/album!
 
Yavar

Le petit Garçon -Philippe Sarde 

 
That is a beautiful score. Impressionistic three piece chamber ensemble (piano, violin, clarinet) accompanied by the London Symphony Orchestra. Lovely and never boring. 

Le petit Garçon -Philippe Sarde 

 
That is a beautiful score. Impressionistic three piece chamber ensemble (piano, violin, clarinet) accompanied by the London Symphony Orchestra. Lovely and never boring. 

That’s Sigourney Weaver

Le petit Garçon -Philippe Sarde 

 
That is a beautiful score. Impressionistic three piece chamber ensemble (piano, violin, clarinet) accompanied by the London Symphony Orchestra. Lovely and never boring. 

The Shaham arrangement is brilliant!

It's hard to separate the two in this case. There's so much "wanking" in Mutter's version, it's hard to tell where the arrangement stops and the performance begins. But yeah -- still the Shaham, followed by the lean (but very charming, and thankfully TO-THE-POINT) trio version.
 
I don't really care that much for either of these, however. It's one of those cases where there's only the original version for me.

For me it's option 1. For re-arrangements there is one rule: It must also work as a presentation of the piece when you hear it this way for the very first time.
The Mutter arrangement works as some kind of interesting variation when you already know the piece and can appreciate a variant. So, does not work for me as a work of its own.
At the third one I don't like that the flute at the beginning plays more or less every voice while in the original piece in some parts the idea is a statement and response conversation between different parts. If the whole conversation is played by one instrument this character gets lost somehow, what I don't particularly like in this case.
The first one is just a perfect chamber presentation of the awesome piece.

Option 1 - Gil Shaham & Jonathan Feldman, from the 2000 album Devil's Dance
 
 
Option 2 - Anne-Sophie Mutter, from the 2021 album John Williams In Vienna
 
 
Option 3 - Sara Andon, Cecilia Tsan, Simone Pedroni, from the 2024 album John Williams Reimagined

(big sigh) It's 'Dance Of The Witches' 

Doctor Zhivago. The main theme is pretty but it's now kind of an evergreen, and the whole score is built around that. I liked the Main Title theme more but it's only used there lol.
 
Lawrence of Arabia is good and the theme is great... But honestly I would've preferred if Elmer Bernstein's To Kill a Mockingbird had won the Oscar that year.

You mean, Mike is so good at remstering from old sources, he could even do it from the ashes of the burned original tapes?
 

You are both right.

Enrico Nicola Mancini
*16th April 1924 in Cleveland, Ohio
 

In fact, I am looking forward to getting a suite instead of a number of one and a half minute snippets.

Yes, by almost everyone attending.

Oh, sorry, I didn't think about it. I will edit my post ASAP!

Holy cow, you belong in a museum!
 

Me popping into this thread to see if there's any interesting discussion related to the thread title
 

We should create a thread: Top 10 scores for movies you didn't grow up on and only fell in love with it after you were out of your formative years

Try the Prometheus rerecording so the sometimes weak performance and awful recording doesn't block you from enjoying the music!