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Black Sunday on DVD!


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According to Mondo-Digital Paramount wil be releasing John Frankenheimer's 1976 film Black Sunday on DVD. I would not expect an isolated score to be included on this, but it's another film with music by John Williams to be released on DVD and that's always a good thing.

The complete specs have not been announced yet, but here is the cover art.

BlackSunday.jpg

Neil

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And Once Upon A Time In The West. One of the best marriages between film and music.

And listed in the Future Undated, THX 1138! I signed a petition for this one to be finally released.

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Alex Cremers

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I fail to see the correlation between the two titles, but okay.....

You want a correlation? John Williams is Spielberg's house composer

Really? I had no idea. :roll:

Neil - who wouldn't really describe Williams as being a "house composer" for Spielberg.

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Never seen it, but it's based on Thomas "Silence of The Lambs" Harris' novel.

I beilieve it's about a plot to blow up the superbowl, with the CIA and the Mossad working together to stop it. I won't tell you the end.

It has some very good Williams stuff.

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Black Sunday... can someone tell me what that film is about?

I've seen this film today on TV and it is very interesting film. I like it very much. Terrorists as the main characters. Very unusual and interesting! :music:

Maybe this plot summary on IMDB can be useful for you.

:music: Black Sunday - music from the finale is great! I hope someday this score will be officially released :?

E-Wan - who wants officially-licensed CD soundtracks from Images, Family Plot, Black Sunday and Monsignor so much!

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It's a gripping thriller that obviosuly was an inspiration for "The Sum of All Fears."

A disgruntled Vietnam vet, brilliantly played by Bruce Dern, teams with a Palestinian terrorist played by Marthe Keller to fly the Goodyear blimp into the Super Bowl and blow it up. Robert Shaw is the Isreali intelligence agent trying to stop them.

Keller's character is especially interesting -- an unusually strong, intense, focused woman for film, who Harris freely admits was the forerunner of Clarice Starling.

The film is sharply directed in an almost documentary style by the late John Frankenheimer. I suppose he went for this handheld camera, realistic acting approach because the storyline is so seemingly cartoonish. It works quite well.

The highlight is the finale, which was filmed at an actual Super Bowl. Amazingly, producer Robert Evans was friends with someone big at the NFL and Frankenheimer was friends with the head of Goodyear from having made Grand Prix, so they were able to do everything for real.

Harris, no doubt fearful of lawsuits, made his villain the fictional Aldrich blimp, which might as well be the Acme blimp. In the film, though, when you see the actors among the real Dallas Cowboys and Pittsburgh Steelers and flying on and fighting around the actual Goodyear blimp, it's very impressive.

I highly recommend it.

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Like E-Wan, I saw it on our TV this past weekend too. It was televised on the Saturday's afternoon.

This movie was tagged as "catastrophic" thriller. I'm not sure about labeling it as such, but it definitely has Williams' classic disaster approach. I watched the movie thrice over the weekend to memorize the score as much as for what the Czech dubbing allowed (they'll never air these old movies undubbed), and I think my Top 4 Williams' disaster scores would then be:

1. TOWERING INFERNO

2. POSEIDON ADVENTURE

3. BLACK SUNDAY

4. EARTHQUAKE

Is there any other disaster movie John Williams scored? I mean disaster "plot-wise", if that helps. ;-)

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scissorhands wrote:  

What's the problem with Poltergeist?  

Poltergeist is one of my favourite Spielberg directed movies  .  

K.M.

Yeah, and Tobe Hooper should've had that Oscar for best actor. It's so unfair!

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Alex Cremers

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Is there any other disaster movie John Williams scored? I mean disaster "plot-wise", if that helps. ;-)

Eiger Sanction seem to fit in that category of Willlams scores .And maybe Midway too.

Thanks, KM. I saw neither but own scores to both. I know I'm a weirdo.

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Is there any other disaster movie John Williams scored? I mean disaster "plot-wise", if that helps. ;-)

Eiger Sanction seem to fit in that category of Willlams scores .And maybe Midway too.

Eiger Sanction is more espionage thriller... you should skip the film and read the book by Trevanian. I also recommend the sequel book 'The Loo Sanction'... both very good spy thrillers.

The only thing good about 'Eiger' the movie is the climax and the beautiful cinematography of the mountains... but then again, how hard is to point a camera at the Alps and make them look beautiful.

Jeff

:sigh: The Last Starfighter (Safan)

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Is there any other disaster movie John Williams scored? I mean disaster "plot-wise", if that helps. ;-)

Eiger Sanction seem to fit in that category of Willlams scores .And maybe Midway too.

Eiger Sanction is more espionage thriller... you should skip the film and read the book by Trevanian. I also recommend the sequel book 'The Loo Sanction'... both very good spy thrillers.

I mean it's musically similar,trademark 70's Action/Thriller/Disaster scores before Williams perfected his more operatic Star Wars sound.

some of Midway is sort of a transition to the Star Wars sound.Men of the Yorktown March is like an early draft of Throne Room.

K.M.

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Is there any other disaster movie John Williams scored? I mean disaster "plot-wise", if that helps. ;-)

Eiger Sanction seem to fit in that category of Willlams scores .And maybe Midway too.

Eiger Sanction is more espionage thriller... you should skip the film and read the book by Trevanian. I also recommend the sequel book 'The Loo Sanction'... both very good spy thrillers.

I mean it's musically similar,trademark 70's Action/Thriller/Disaster scores before Williams perfected his more operatic Star Wars sound.

some of Midway is sort of a transition to the Star Wars sound.Men of the Yorktown March is like an early draft of Throne Room.

K.M.

I always felt that his 'Eiger' score is one of his most distinguished and unique scores in that he employs so many musical styles from Jazz (Main Theme and its variations), Classical (Training With George), Modern (Microfilm Killing) along with his disaster/70s-action type scoring (Fifty Miles of Desert). It makes you wonder what kind of temp track the film had, if any at all.

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