Romão 2,274 Posted May 3, 2012 Share Posted May 3, 2012 Well, Hymn is a an end credits piece, so its use is not as promenient as Barber's adagio in Platoon or Patton's March. Actually, considering both scores, I'd say the main themes are not the most interesting aspect of each. I couldn't possibly add anything to Marcus wonderful post, but I'd just add the German March is my favorite piece from Patton The Nazis always get great themesPatton is the better film, though Link to comment Share on other sites More sharing options...
publicist 4,643 Posted May 3, 2012 Share Posted May 3, 2012 What I was referring to was the personal, artistic response of a composer to a (war) drama...A personal artistic response heavily influenced by James Horner's COURAGE UNDER FIRE. It's really a rather expected approach and reinforces the more conventional leanings of the movie. Link to comment Share on other sites More sharing options...
Marcus 390 Posted May 3, 2012 Share Posted May 3, 2012 What I was referring to was the personal, artistic response of a composer to a (war) drama...A personal artistic response heavily influenced by James Horner's COURAGE UNDER FIRE. It's really a rather expected approach and reinforces the more conventional leanings of the movie.Well, Horner's Courage Under Fire may be conventional, but there is nothing even remotely conventional about the quality, integrity, sincerity and depth of Williams' score for Saving Private Ryan. It is important not to mistake a certain measure of expectedness for lack of quality. Conversely, "unexpected" has never equalled "quality". The great difference between Williams' Ryan effort and all the countless scores that may to some extent explore similar musical terrain, is that Williams imbues such terrain with a nobility and dignity unmatched by any living composer, and few historical ones. It is a question of craft, vision, and ultimately, I believe, empathy. Link to comment Share on other sites More sharing options...
crocodile 7,984 Posted May 3, 2012 Share Posted May 3, 2012 There is nothing wrong with SPR. One of those scores that grows on you as you're getting older. I really like the formal, raw and generally non-filmic (IMO) performance of Boston Symphony Orchestra and the more concert hall sounding acoustics. Gives it certain weight and dignity that might have been otherwise lost in a Hollywood recording studio.Having said all that, it is no competition to Patton.Karol Link to comment Share on other sites More sharing options...
Koray Savas 2,251 Posted May 3, 2012 Share Posted May 3, 2012 The Thin Red Line is better than either of them. Link to comment Share on other sites More sharing options...
John Crichton 4 Posted May 3, 2012 Share Posted May 3, 2012 SPR isn't a top 10 JW score, but I'd say Patton is a top 10 JG score. Link to comment Share on other sites More sharing options...
Williamsfan301 11 Posted May 7, 2012 Share Posted May 7, 2012 Apples and oranges. They're two totally different WWII movies and each score does exactly what it needs to. There's no comparison. Link to comment Share on other sites More sharing options...
JoeinAR 1,949 Posted May 7, 2012 Author Share Posted May 7, 2012 Apples and oranges. They're two totally different WWII movies and each score does exactly what it needs to. There's no comparison.wrong,which do you like better apples or oranges?They're two totally different fruits, there's no comparison...... Link to comment Share on other sites More sharing options...
Brónach 1,301 Posted May 7, 2012 Share Posted May 7, 2012 The Thin Red Line is better than either of them.Bah. I love TTRL to death (I want a complete one.) And I love the variation on the non-Zimmer melodies....but there's nothing on TTLR that's cooler than the march in Patton. Link to comment Share on other sites More sharing options...
InTheCity 140 Posted May 9, 2012 Share Posted May 9, 2012 Two all time great scores and movies - impossible to choose! Link to comment Share on other sites More sharing options...
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