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The least-discussed JW score . . .


Josh500
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I like some parts of it. It was a real departure for Williams and for that alone it's worth investigation.

Close Encounters are not that much discussed either. The overall approach may put-off many people. Some sections of the score are truly difficult to listen to. Many people love this score, I'm sure. But it's not a popular as many others.

Jane Eyre is also somewhat absent on the board. Truly beautiful, contains the best Williams' love theme and is equal to many of maestro's best efforts.

No one talks about JFK either.

The Witches of Eastwick is unlike anything JW has written before or since. It has the wackky quality and came out before Danny Elfman even started to write this kind of music.

Karol, who values Close Encounters more than other JW score in his career.

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Three of the above four titles have been out of print for a while, so that might explain it.

The Witches of Eastwick was reissued very recently, so it might get some more discussion soon, but before that it was a top collectible. Same for Jane Eyre. JFK is fairly easy to find online, but almost impossible in a record store.

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Close Encounters are not that much discussed either. The overall approach may put-off many people. Some sections of the score are truly difficult to listen to. Many people love this score, I'm sure. But it's not a popular as many others.

Oh, it's been discussed in it's day.

Jane Eyre is also somewhat absent on the board. Truly beautiful, contains the best Williams' love theme and is equal to many of maestro's best efforts.

Speaking for myself, it's the same situation as ET. It's just so bloody brilliant, most beautiful score JW's ever written, not much to discuss about it.

No one talks about JFK either.

That I would agree is underrated, in general.

Three words: Saving Private Ryan.

-Ross, who can't get enough of that score.

Love it in the film, am not a big fan of the album, obviously aside from the 'Hymn for the Fallen', one of the all time greats no matter how you look at it.

And I'll venture out and present my own choice- The Missouri Breaks. A fantastic little western score. Wonderful love theme, great Americana. In general, all kinds of JW Americana is underrated, including The River, Rosewood, and the wonderful suite from Conrack.

Oh, and Monsignor isn't discussed enough, but that understandable, concidering it's never gotten a legit CD release. But, still, it has one of JW's richest and most beautiful themes, among other stuff.

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Oh, and Monsignor isn't discussed enough, but that understandable, concidering it's never gotten a legit CD release. But, still, it has one of JW's richest and most beautiful themes, among other stuff.

I haven't heard any of it. Sadly :(

Karol

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  • 3 years later...

I agree about the weaker second half of Superman the Movie ,after The Helicopter Rescue.I think the score drags a bit from there in the chase cues and superfeats cues,those action cues are not as well defined as in the Star Wars OT and Indiana jones.

k.M.

i know this was a long time ago but.... Superfeats and Chasing Rockets are awesome! so is The Truck Convoy/Crime of the Century

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I want that amazing unreleased choral cue at near the end of the film when the japanese kid dies.

"I can bring it back. I can bring all missing cues back". :mellow:

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E.T. is hardly discussed on this forum.

It is, now... :mellow:

3 words... THE EIGER SANCTION

Here's another 3 words: THE MISSOURI BREAKS. This is a little gem of a score, from the opening solo bass line, and the "off" guitar chord, to the "out there" percussion, wind machine, and hoedown music. I got into this score in the Summer of 1976, and I've never gotten out of it.

IMO, more scores that deserve more discussion are: CINDERELLA LIBERTY, ROSEWOOD (criminally underated!), IMAGES (either the best thing J.W. has ever written, or total bollocks), MIDWAY, THE TOWERING INFERNO (I know Mark Olivarez likes this one-way to go, Mark!) EARTHQUAKE, THE LOST WORLD (so much better than the original), and HOW TO STEAL A MILLION. That'll do for now.

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We need to talk more about stuff like DADDY-O, I PASSED FOR WHITE, DADDY'S GONE A-HUNTING, THE SECRET WAYS, BECAUSE THEY'RE YOUNG, JOHN GOLDFARB PLEASE COME HOME, BACHELOR FLAT, THE KATHERINE REED STORY, THE PLAINSMAN, STORY OF A WOMAN, GIDGET GOES TO ROME etc. The real obscurities on Williams' resume. Then again, I doubt few have seen these things (even though some of them have had a CD release), so I guess it's kinda difficult. Of the ones I just listed, I've only seen DADDY-O (in the MST3K episode) and GIDGET.

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THE LOST WORLD (so much better than the original)

Interesting...

Was there ever a score release (legit or otherwise) for the BBC's 2001 mini-series adaptation of "The Lost World" starring Bob Hoskins? It was on TV a few weeks ago, and there was this one moment when the team was scaling the plateau that really sounded like the composer was channeling John Williams' The Lost World music. I'm not screaming plagiarism here, just homage. You'd have to be a JW geek to pick up on it.

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QUOTE(Miguel Andrade)

QUOTE(robthehand)

As for un-discussed scores, I don't hear much talk of I Passed for White or Bachelor Flatt.

I wonder why... Not even I ever heard I Passed for White!!!

Maybe it's because it doesn't exist? I mean, if even Miguel hasn't heard it...

Sory - jumping in late here since I never have time to post but have been around for eight years, but I'm afraid I have actually seen "I Passed for White". Okay, maybe not seen, but skimmed. It's out on DVD, or at least was 4-5 years ago when I Netflixed it, and I managed to at least rip the main and end title. What can you say? It's early Johnny. Actually not a bad melody, but nothing to write home about.

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Morlock said:

'Hymn for the Fallen', one of the all time greats no matter how you look at it.

Really? You still think that now?

Also, where's robthehand thesedays?

I thought he was you.

-Tom, whose love for Saving Private Ryan remains the same, four years later. Funny my name doesn't.

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THE LOST WORLD (so much better than the original)

Interesting...

Was there ever a score release (legit or otherwise) for the BBC's 2001 mini-series adaptation of "The Lost World" starring Bob Hoskins? It was on TV a few weeks ago, and there was this one moment when the team was scaling the plateau that really sounded like the composer was channeling John Williams' The Lost World music. I'm not screaming plagiarism here, just homage. You'd have to be a JW geek to pick up on it.

What can I say, Wojo? I just prefer "The Lost World" to "Jurassic Park". IMO, it's better played, better recorded, and is musically more dynamic. It's a far more interesting, and satisfying listen.

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Morlock said:

'Hymn for the Fallen', one of the all time greats no matter how you look at it.

Really? You still think that now?

Also, where's robthehand thesedays?

I thought he was you.

-Tom, whose love for Saving Private Ryan remains the same, four years later. Funny my name doesn't.

Hang on, déjà vu... I'm having one ;)

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If it's not Harry Potter, Star Wars, Jurassic Park or Indiana Jones related, it's not really discussed.

Mark, if you would like to discuss the merits of "The Towering inferno" (I know you like it, and it's in my all-time J.W. top 3), I am more than happy to oblige!

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I believe we may have started a thread at one time on the older version of the board, Joey and I were the main contributors.

I think most of the comments from everyone else may have centered on the main theme only and the rest of the music sounding dated. "Planting The Charges" got some love too.

The Main and End Titles do stand out, in fact the final 3, "Planting the Charges", "Finale" and "An Architect's Dream", are top notch Williams that belong up there with his best works. The grand statement of the Finale as McQueen's character leaves the scene and then segues into the end credits with both love themes gives me goosebumps. The Main Title cues is simply wonderful and is, sadly, something a composer couldn't do in today's world. The only thing I don't like is that Williams' on screen credit is reduced to the end of the film and not during that amazing helicopter ride.

I think the 2 love themes are some of Williams best, and I don't find the early 70's style they are initially presented in to be dated at all. I think the movie is also spotted correctly, letting the movie work without the need to overscore. But when it's time for Williams to lay on the music, he does so effectively. You can feel the hopelessness and desperation in "Trapped Lovers" as it builds to Wagner's demise.

I hope that this does get reissued so more of Williams' fans who missed it can get a chance to enjoy it.

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Morlock said:

'Hymn for the Fallen', one of the all time greats no matter how you look at it.

Really? You still think that now?

Also, where's robthehand thesedays?

I thought he was you.

-Tom, whose love for Saving Private Ryan remains the same, four years later. Funny my name doesn't.

Hang on, déjà vu... I'm having one :P

I always thought Robthehand was a you, because it sounded like a wankers name....

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I believe we may have started a thread at one time on the older version of the board, Joey and I were the main contributors.

I think most of the comments from everyone else may have centered on the main theme only and the rest of the music sounding dated. "Planting The Charges" got some love too.

The Main and End Titles do stand out, in fact the final 3, "Planting the Charges", "Finale" and "An Architect's Dream", are top notch Williams that belong up there with his best works. The grand statement of the Finale as McQueen's character leaves the scene and then segues into the end credits with both love themes gives me goosebumps. The Main Title cues is simply wonderful and is, sadly, something a composer couldn't do in today's world. The only thing I don't like is that Williams' on screen credit is reduced to the end of the film and not during that amazing helicopter ride.

I think the 2 love themes are some of Williams best, and I don't find the early 70's style they are initially presented in to be dated at all. I think the movie is also spotted correctly, letting the movie work without the need to overscore. But when it's time for Williams to lay on the music, he does so effectively. You can feel the hopelessness and desperation in "Trapped Lovers" as it builds to Wagner's demise.

I hope that this does get reissued so more of Williams' fans who missed it can get a chance to enjoy it.

I agree with everything you said, Mark. The score like the film has become a "guilty pleasure". Let's not forget that the film was once the most successful ever released, but was not acknowleged as such, because of "Jaws" coming along six months later. My favourite tracks are "Let There Be Light", and "Waking Up". The slow statement of the "hero" theme, as it rains on those in the Promenade Room, is sublime.

I keep wondering about the Man Who Loved Cat Dancing ...

What about it? I like the score, but I also like Legrand's rejected score, which is, quite often, the more interesting listen. Given the style of the film, though, IMO, Legrand's score would not have fitted the film at all.

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