Jump to content

Goldenthal's Alien3 - Music or Noise?


crumbs
 Share

Recommended Posts

How's about some discussion on the Alien3 score? I personally find it one of the most engrossing, frightening and apocolyptic atonal scores of the 90s. It's so atmospheric and disturbing, even if a little loud and noisy. Adagio is definitely a highlight, but some other cues have their moments. Wreckage & Rape and Agnus Dei introduce some strong thematic ideas that are never properly fleshed out, but the score adds sigifnicantly to the tight atmosphere of this underrated and now newly appreciated film.

Link to comment
Share on other sites

  • Replies 22
  • Created
  • Last Reply

Top Posters In This Topic

Top Posters In This Topic

The music outscared the film and tried to manoeuvre you into thinking that what you are watching is very frightening. It's like adding a laugh track to a comedy. They have decided where you should laugh. In Alien3 the music decided where you should be scared. The new public likes to be spoonfed, so it is only natural that Alien3 is being rediscovered.

Alex

Link to comment
Share on other sites

I don't think Alien3 meant to push the scare button but more to mirror the atmposphere of the planet and the savagery of the alien. Goldenthal brought together styles of Xenakis, Varese, Crumb, and married them to more tonal emotive passages inspired by Bruckner and Wagner. Personally, I think Alien3 is one great symphonic tone poem of dread and humanity. It certainly did a better job of illustrating the narrative than Fincher's clunky direction.

Link to comment
Share on other sites

Music.

I also happen to like Frizzell's "resurrection" score quite a lot, although not everything of the score can sustain the same excitement. Frizzell should get more scoring assignments, I find his style very interesting. (Beavis and Butthead do America is hilarious ROTFLMAO)

Link to comment
Share on other sites

it's no match for Goldsmith and Horner's works.  Especially Goldsmith's.

For once, I actually prefer James Horners action packed score over Goldsmith's quieter suspense effort. The LSO's percussion deserves a special mention as it is absolutely top-notch in Aliens. Oh and I think it was the first time I'd heard Horner's clanging metal fetish, though it suits this particular film superbly.

Link to comment
Share on other sites

It's a rare case of true 20th Century contemporary/avant-garde classical music in film. There's so few of them (Corigliano, etc...)

Link to comment
Share on other sites

And it was Elliot Goldenthal's breakthrough movie. He got seriously recognised after this movie. I enjoy his score. Pity some of it is found in later Goldenthal scores like A TIME TO KILL.

So for me...it's Music. To hear Metal...beat two crowbars together.

Link to comment
Share on other sites

Pity some of it is found in later Goldenthal scores like A TIME TO KILL.

Well, parts of Goldenthal's style is that you always get bits and pieces that clearly remind you of his earlier works. There's traces of Interview with the Vampire in most of his later scores, for example... and Alien³ is one of the most prominent examples. I don't mind though, he always makes it work.

Link to comment
Share on other sites

It's a rare case of true 20th Century contemporary/avant-garde classical music in film.  There's so few of them (Corigliano, etc...)

Don't forget Davis :(

Link to comment
Share on other sites

It's a rare case of true 20th Century contemporary/avant-garde classical music in film.  There's so few of them (Corigliano, etc...)

Don't forget Davis ;)

How could one not mention Miles Davis. Bravo Chris!

Link to comment
Share on other sites

Create an account or sign in to comment

You need to be a member in order to leave a comment

Create an account

Sign up for a new account in our community. It's easy!

Register a new account

Sign in

Already have an account? Sign in here.

Sign In Now
 Share


×
×
  • Create New...

Important Information

By using this site, you agree to our Guidelines.