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Favourite track called "The Hunt"


GerateWohl

Favourite track called "The Hunt"  

34 members have voted

  1. 1. What is your favourite film cue called "The Hunt"

    • Bernard Herrmann "The Hunt" from "Marnie"
    • Jerry Goldsmith "The Hunt" from "The Final Conflict"
    • John Williams "The Hunt" from "The Lost World
    • Jerry Goldsmith "The Hunt" from "Planet of the Apes"
    • other (Please name film and composer in the comment section)

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17 hours ago, Thor said:

Well, Tom, if we're expanding it to any titles that just have the words "The Hunt" in them, alongside more words, the list is obviously much, much longer.  But the challenge here - as I understood it - is to select tracks that are only called "The Hunt", period.

I know, hence I ordered the tracks so that it was clear which were just called The Hunt, but I thought it would be interesting to expand it as it seemed silly to preclude a track just because, John Barry and JNH (for example) decided to include the name of the thing being hunted in the track title. Plus they are fine cues.

 

Today's exciting hunts (as it were), Scarlett by John Morris. Oh OK, he clarifies that it's a fox hunt... but I'm glad I gave it a spin. Great score generally. Next up, The Hunt (name purity) from Running Free by Nicola Piovani... although not sure if he wrote this as it's a percussion track performed by Mickey Hart and Planet Drum. I recall the rest of Piovani's more trad orchestral score being pretty good. Next up, The Elephant Hunt by Malcolm Arnold from Roots of Heaven. Kinda reminds me of other composers somehow, but not sure why... maybe a little Herrmann and Waxman, but pretty superficial.

Wow... the Buffalo Hunt from Rosenthal's The Return of a Man Called Horse is terrific.

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Goldsmith did another (more traditional) fox hunt cue for John Huston's 'List of Adrian Messenger'. Would have made for a great double program with 'The Hunt' (or Herrmann's Marnie foxhunt cue).

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I voted for the original Planet of the Apes hunt, but the Final Conflict is definitely a very close contender. The equivalent Elfman cue from the POTA remake is pretty great too. Not sure anyone has mentioned the hunt from Escape from the Planet of the Apes. You can hear the pedigree of the original, although parts of it have a slight Morricone vibe with the guitars. Overall much more low key, though, without the visceral energy of the original.

 

The Hunt from Rebel Without a Cause, is pretty unmistakably Rosenman. I think it would be safe to say that the hunt from Morse by Barrington Pheloung is the understated... thinking this would be a more methodically driven hunt using detective work rather than a chase!

 

On the recommendation of @Brundlefly I gave the Corigliano Fox Hunt from Revolution a spin, that is indeed a very fine cue. Exactly what you imagine a fox hunt track to sound like. Great score generally.

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On 23/1/21 at 2:45 PM, Disco Stu said:

Obviously the Williams wins.

 

I'm not saying that this belongs in the poll but the score for Downton Abbey (the series) is generally kind of underrated and it has its own excellent cue titled "The Hunt"

 

 


Ahem, I did post the Downton Abbey one already

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57 minutes ago, Jurassic Shark said:

No, we're still restricted to "The Hunt".

 

I didn't know Beethoven titled his piano works in English. (And the name isn't by him anyway, according to Wikipedia: A third party gave the piece the nickname "The Hunt" due to one of its themes' resemblance to a horn call.)

 

If that counts, I don't see why an official name like Jagdlied wouldn't?

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My favourite is The Hunt from The Lost World but Goldsmith's cue from The Final Conflict is a very close second. The way the jovial tone is suddenly interrupted by the menacing main theme on powerful brass at 0:50 is incredible.

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THE FINAL CONFLICT is a decent enough film. Sam Neill walks the line between genuinely creepy, and full-blown ham, and there is sterling support from Harrow, Holm, Brazzi, and Gordon.

The cinematography is nice, and there are some good twists and turns. The ending is brave - whatever one's religious convictions,  there aren't too many films that end with the defeat of The Antichrist, and the return of Christ.

The score speaks for itself.

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I meant to post this here, but accidentally ended up putting it in the Wagner thread (where it's not entirely out of place either, in several ways):

 

 

…and here's another embed of the video, because the thread quote doesn't display it:

 

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