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Most controversial JW works


indy4

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Blum's topic got me thinking about the more controversial scores JW has written. The recent stuff is probably the most, especially continuations of franchises. I'd say the prequel scores, and to a lesser extent KotCS. His concert works only seem to be discussed by those who enjoy them, so I don't know where to place them.

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I'm not sure what is meant with 'controversial' in this case. Controversial in terms of style? Controversial in terms of the topic of the film? Controversial in terms of how the music is USED in the film? Controversial in terms of Williams self-referencing?

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All his 90's drama scores. The great JW divide.

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I'm not sure what is meant with 'controversial' in this case. Controversial in terms of style? Controversial in terms of the topic of the film? Controversial in terms of how the music is USED in the film? Controversial in terms of Williams self-referencing?

Meaning it divides JW fans the most.

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I'm not sure what is meant with 'controversial' in this case. Controversial in terms of style? Controversial in terms of the topic of the film? Controversial in terms of how the music is USED in the film? Controversial in terms of Williams self-referencing?

Meaning it divides JW fans the most.

Oh. Well, I'm not sure I'm quite up-to-date on all the discussions over the years. But yeah -- TINTIN and KOTCC seem to have divided fans, like previously mentioned.

Other contenders are HEARTBEEPS; SPACECAMP, PRESUMED INNOCENT, HARRY POTTER & CHAMBER OF SECRETS.

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His early funky, jazzy '70s scores are able to split the Red Sea. To many fans, Williams only started to be Williams when he made the more classical sounding Jaws and Star Wars.

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If there's one thing JW scores aren't, it's controversial.

Not in the history of art and universe they are not. But perhaps we could descend to the level of normal fan reception here.

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There's hardly anything controversial in Williams' music.

If we talk about fan reactions to specific works, well, you can find people spitting even on his most celebrated and famous works, so I really don't mind about that. Anyone has his/her taste. Surely there are works which are more divisive than others (especially since mid-late 1990s until today), but nothing particularly shocking or truly "controversial".

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There's hardly anything controversial in Williams' music.

If we talk about fan reactions to specific works, well, you can find people spitting even on his most celebrated and famous works, so I really don't mind about that. Anyone has his/her taste. Surely there are works which are more divisive than others (especially since mid-late 1990s until today), but nothing particularly shocking or truly "controversial".

True. If there's any controversy about him, it's when classical elitists look down their nose on his compositions, calling them cheap Wagner or Strauss knock-offs or whatever. But that's from a community outside our own, so probably not what indy4 had in mind.

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Saving Private Ryan.

Easily one of the most divisive.

Add Sleepers to the list.

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I think Joey's the only one that doesn't like Hook

Add me to that list. Hate the film even more.

Me too. For the life of me I have no clue why the expanded release was so desired--and expanded Williams releases generally make me take notice. There's just too much music; the more "spiritual" stuff I like, such as You are the Pan. I also like the music that underscores the abduction sequence. But that's not even 10 minutes out of a massive score that just doesn't maintain enough interest for me to even listen to the original CD from 1991.

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The only musical parts of Hook that draw me in are the final cues from the time Peter confronts Hook as the Pan till the beginning of the End Credits, up until the tracked material starts.

The controversy I bring up is from past discussions on other boards in regards to Williams staying too close to Grusin and Delerue on several cues.

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War of the Worlds is a controversial score as well. It offers you absolutely no Spielberg/Williams comfort. Even Munich backs away from complete bleakness.

Karol

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Generally Jane Eyre is the score that people pinpoint as being the one where he first showed his true orchestral colors Alex.

Or The Reivers. That's the one that hooked Spielberg, anyway.

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Nobody really talks about Images or the concerti, except those that like them. I think everybody else just isn't familiar enough with them, because if you don't like something you're less likely to spend a lot of attention on it.

Images and the Flute Concert, I'd say. WOTW also pulled the rugged under some people's feet

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It's curious that people don't like Images, I can understand the more complex passages perhaps, but it's got some really accesible and fascinating stuff. Blood Moon and Dogs, Ponies and Old Ruins being the prime example of this.

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