RESTORED ISOLATED SCORE: Always

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Several months back I started working on an isolated score presentation for Always, using material contained on the OST. With the announcement of a remastered expansion coming from LLL, it became a 'now or never' moment to finish what I started. I've since gone back and expanded the project to include the film's unreleased music, in the hope these videos whet people's appetite for the upcoming expansion.

 

Despite all the knocks this score has received over the years, when finally watching the film I was surprised to discover a very nuanced work from Williams. While Spielberg's collaborations with Williams through the early 80s would be associated with large-scale, virtuosic orchestral brilliance, the director's shift towards restrained dramas was well underway by the mid-80s. A trilogy-capping Indiana Jones film notwithstanding, Always rounded out the tail end of a boisterous decade of film scoring for Williams. While moments of lush scoring would prove scarce, the score's greatest strength is the impressive restraint of its central love theme, equal parts tender and wistful.

 

Although commonplace in collaborations to follow, the surprisingly late first instance of a score cue (22 minutes into the film) was unusual for its time in a Spielberg feature.

 

We begin with a short, atmospheric cue that underscores a (seemingly prophetic) moment of unease for Dorinda, as she sights the fateful plane of her partner's (Pete) future demise.

Cue Status: OST T15 Intimate Conversations (0:00-0:31)

 

A similar moment of retrospection follows soon after, as Dorinda notices something amiss with the glowing blue halo that engulfs Pete as he opens the fridge door.

 

Interestingly, Spielberg opted to track the immediately preceding cue into this moment. Williams' intended score is therefore both unused and unreleased, but the tracking works effectively.

Cue Status: Tracked from OST T15 Intimate Conversations (0:00-0:31), JW's Intended Version Unreleased & Unused

 

Increasingly worried over Pete's cavalier attitude towards the dangers of his work (flying planes over raging bush fires, dousing them with fire retardant), Dorinda begs Pete to consider a new role in Colorado. This cue is unreleased.

Cue Status: Unreleased

 

Two pilots down with a new burn in the South Rim, and despite being his layoff day, Pete is called for help.

 

With the previous night's discussion weighing on her mind, Dorinda rushes to the airfield before Pete's departure. In one of the score's highlights, Dorinda expresses her love for Pete, insisting he can't leave the ground without knowing.

 

As Dorinda returns to her bike, Pete returns the gesture... but his declaration of love goes unheard, drowned out by the propellers.

Cue Status: OST T10  Saying Goodbye (2:46 onward dialed out in the film, omitting Williams' dramatic conclusion).

[Jay 37,323]

Wowzers, the ending of that cue really wouldn't have worked if left in the film.  Spielberg was right to dial it out and have Pete's declaration drowned out only by the sound of the plane, and not music too

 

In fact I wonder if Williams knew where Spielberg wanted the music to end, but wrote a longer ending anyway to give his eventual score album a better ending in the track that would contain that cue.

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The fire operation goes awry. A dangerous dive into the flames results in Pete's left engine catching fire. Fellow pilot Al witnesses the resulting explosion -- Pete's number is up.

 

A heartbroken Dorinda ruminates. (Note: The film version of this cue is unreleased, which features celesta, bells & ethereal synth overlays in addition to the strings-based OST version).

Soon after, Pete finds himself wandering through an ashen forest, uncertain of his situation. Atop an impossibly lush hill in barren surrounds, Pete meets Hap. There, he ponders if he isn't dead, he must be crazy. Hap assures him he isn't crazy.

 

Pete is thus given an opportunity: return to the real world and inspire another, before moving into the afterlife. "They hear you inside their minds, as if it were their own thoughts," Hap explains, before a warning. "Remember, you've had your life... and anything you do for yourself now is a waste of spirit."

Cue Status: Film version of The Explosion is Unreleased. This video features the alternate OST version (T12 The Return, 0:00-1:19) followed by T9 Pete in Heaven.

 

Pete returns to Flat Rock airfield and finds the target of his inspiration, a young pilot named Ted. He also 'reunites' with old friend Al (now the base commander) who also meets Ted for the first time.

Cue Status: Unreleased

 

As Pete embarks on his first 'lesson' with Ted, Dorinda arrives at Flat Rock. Although unaware their paths have intertwined (albeit spiritually), the pair sense an immediate connection. Williams underscores this moment with a melancholic, strained variation on Pete & Dorinda's love theme.

Cue Status: OST T12 The Return (1:17-end)

 

Taking refuge from the storm in an abandoned base, Pete discovers an Old Timer who can seemingly hear what he says. He attempts communicating to Ted via the Old Timer, but choice words are lost in translation and Pete's intent doesn't go to plan. (Note: the film only partially uses the OST version of this cue before trailing off in a more lighthearted, playful direction; the film version is unreleased. Also of note is a substantial section of music on album which has no corresponding footage, indicating this sequence was heavily trimmed down after Williams scored it).

 

Excited by Ted's return to Flat Rock, a young mechanic gussies up in preparation for his arrival. Mechanical trouble and wacky hijinks ensues.

Cue Status: Film version partially uses an unreleased alternate. This video uses the OST version from T17 The Old Timer's Shack, followed by T8 Follow Me.

[Jay 37,323]

The beginning of their love theme reminds me of the People's House theme from Lincoln

 

16 minutes ago, crumbs said:

a young mechanic

 

Marg Helgenberger is only 8 months younger than Holly Hunter

 

And they are both older than Brad Johnson

 

These videos are great, keep up the good work!

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Pete and Dorinda are finally reunited... in spirit. Despite Hap's warning, Pete uses this opportunity to say all the things he wishes he'd said while alive.

 

Dorinda, perhaps aware of his spiritual presence, pauses to reminisce... until Ted interrupts.

Cue Status: OST T14 Seeing Dorinda

 

While sharing a ride, Dorinda and Ted stumble upon a bus driver suffering a heart attack. Ted responds with CPR and saves his life. Although they started on shaky ground, Dorinda begins to feel something for Ted.

Cue Status: Unreleased

 

While enjoying their first dinner together, Ted and Dorinda split a wishbone. Rather than wishes, discussion turns to Pete. But before long, the pair acknowledge their deepening feelings for each other, much to Pete's dismay.

Cue Status: Unreleased

 

Her newfound feelings for Ted progressing too fast, Dorinda ends the night prematurely. With the one year anniversary of Pete's death lingering on her mind, she tries on the dress Pete gifted her one year prior. She dances alone to Smoke Gets In Your Eyes before retiring to bed. Pete resumes his spiritual courtship while Dorinda sleeps, unable to let go. (Note: Williams wrote two equally touching versions of this cue, and combined both versions in OST track 11 Pete And Dorinda).

 

Waking in Heaven, Pete is reunited with Hap. Disappointed by Pete's self-serving use of spiritual energy, Hap offers him another chance to say goodbye to Dorinda. "I sent you back to settle with the one you love. I sent you back to say goodbye. Until you do that, she won't be free... and neither will you." Heartbroken, Pete responds, "I'm not ready to say goodbye."

 

Hap wisely explains, "You still have to learn... to gain your freedom, you have to give it."

Cue Status: This video features the film version of Pete and Dorinda from OST T11 0:00-1:36, followed by T10 Promise to Hap.

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With firefighters trapped in a raging firestorm and the nearest rescue choppers 40 minutes away, Pete inspires Ted to lead a dangerous rescue mission. Perturbed by echoes of the past, Al calls Dorinda to inform her of Ted's intentions.

 

Unable to bear another loss, Dorinda takes charge and pilots the plane into the furnace.

Cue Status: OST T13 The Rescue Operation

 

With Pete's guidance, Dorinda saves the firefighters and escapes the blaze. At last, Pete is able to tell Dorinda everything he wanted to say in life.

 

Mechanical trouble forces an emergency landing on the lake. Dorinda survives but the plane sinks to the lake bed. Seemingly reluctant to escape the flooding cockpit, Dorinda pauses before easing back into the chair and accepting her fate... until Pete appears before her. He extends his hand and Dorinda chooses to live.

 

At last Pete releases Dorinda, who embraces her future with Ted. Pete smiles and walks in the opposite direction, assuming his place in heaven.

 

(Note: The film's climactic cue (from 4:33 onward) is actually a revision. Williams' darker, more pensive original version was nonetheless paired with the penultimate cue in OST T7 Among the Clouds, segueing as Williams originally intended).

Cue Status: OST T7 Among the Clouds (0:00-4:28), T18 Dorinda Solo Flight

 

Another version of Smoke Gets In Your Eyes opens the end credits, which segues into Williams' unreleased end credits suite. Sadly the song partially replaces the start of the suite, and the ending was tracked over by a reprise of Dorinda Solo Flight.

 

For this presentation, I have used all the music that appears in the film (0:08-3:38) and patched in the start and end using Theme from Always from the first Spielberg/Williams collaboration album (which appears to be derived from the film's credits suite).

Cue Status: Unreleased, partially unused in film

[Madmartigan JC 85]

Thank you so much for our providing us with these. It's extraordinary to be able to see the music in context.

I've always liked to think of this movie was an overlong episode of Amazing Stories. And Williams using his well trodden americana sound helps the film in that way. As much as I love Dreyfuss I have to pretend it's part of that world, to tolerate the saccharine.

As usual, Williams elevates the film by downplaying the overly emotional story and making it resonate in other ways.

 

[Jay 37,323]

2 minutes ago, Madmartigan JC said:

As usual, Williams elevates the film by downplaying the overly emotional story and making it resonate in other ways

 

Hmmm, I'm not sure I follow what you're saying here.  Can you elucidate?

[Bespin 8,480]

John Williams always elevate a film with his music, but I don't think that I would qualify his method by using the word "downplaying".

 

His music always plays a character in a movie, sometimes his role is to add subtility, sometines his work is to add more shine. But that's overall, the utility of music in film... well according to me!

 

The particularity of John Williams, again according to me, is that his music is NEVER just a background music! It always have a clear purpose. John Williams is a very humble person in life, but his music in films IS ABSOLUTELY NOT!

[Jay 37,323]

31 minutes ago, Bespin said:

The particularity of John Williams, again according to me, is that his music is NEVER just a background music! It always have a clear purpose. John Williams is a very humble person in life, but his music in films IS ABSOLUTELY NOT!

 

Yes!

[Madmartigan JC 85]

I agree!
I might me misremembering the film, since I last saw it many years ago. But I remember it as not a very subtle film -at all-. As I recall it, the message of 'love transcending all barriers, even death' and the way the story is portrayed was rather in-your-face. That's why I mostly associate it with Amazing Stories, which were very high concept stories (and perhaps also because of the episode "The Mission", scored by JW 4 years before this film, has many points in common with Always).

I guess a different composer could probably have focused more on the schmaltzy romantic aspect of it. But Williams tinges it with other elements (be it grief, longing, even heroicism and a bit of magic when needed), to transcend what the script is telling. And he does those things in way I find structurally different from other scores of that period. I feel particularly the harmonies sometimes give us a glimpse of paths he would take in future score (around the 2000s).
 

I didn't mean to say it's not an emotional score. On the contrary, it's can be very moving at moments, but at the same time I find it much richer and reflective than the script. This is true of probably every JW score, but I guess it shows a bit more when the film it's accompanying is more one-note. 

I'm so excited about this new release!

[Jay 37,323]

54 minutes ago, Madmartigan JC said:

I might me misremembering the film, since I last saw it many years ago. But I remember it as not a very subtle film -at all-. As I recall it, the message of 'love transcending all barriers, even death' and the way the story is portrayed was rather in-your-face.

 

I think you are misremembering, because that is not the message of the film.

 

Their love didn't transcend death; Hap tells Pete early that his life is over, and anything he does as a ghost for himself is pointless.  His role as a ghost is to help Dorinda get over him, be able to move on with her life, and love someone else (and also help Ted be a better pilot I guess). 

 

Pete and Dorinda weren't a healthy couple before his death; it isn't actually quite clear if they were really even technically in a relationship or not, I don't think.  But they never say "I love you" out loud to each other, until just before he takes off of his last flight, when she says it to him, but by the time he realizes he is willing to say it finally and does so, his plane's engine drowns out his words and she never hears it.  He dies with her never knowing that he finally was capable of providing the love she desired.

[Madmartigan JC 85]

Thanks! You just made me want to rewatch it. And this new edition is a perfect excuse to revisit the film.

[Bespin 8,480]

In fact the plot of the movie is quite simple: that's the final film role of Audrey Hepburn! 

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While we wait for the LLL tracklist announcement, here's a rough idea of the alternates we can expect to be included somewhere on the release.

 

Firstly, the film verison of Pete's Death. This is similar to the OST version, but with additional synth and celeste elements throughout (Williams used a strings-only version on the OST).

Cue Status: Unreleased

 

Presumably revised after his initial version (as heard in the OST track), the film version is more playful and sounds like a precursor to music he would write for The Last Crusade. The ending also eschews the heavy synth elements of the OST equivalent.

Cue Status: Unreleased

 

Perhaps one of the more bizarre alternates in JW/Spielberg's collabs, this sounds more like an excerpt of The Fury than a lighthearted chase sequence. It leaked with a Born on the Fourth of July bootleg but was not included on the OST or used in the film.

Cue Status: Unreleased & unused

 

Paired with the final film version in the OST track of the same name, this alternate for Pete & Dorinda is a more wistful, longing presentation of their theme than the romantic version used in the film. It's equally as affecting though, providing a different tone to the film alternate. The ending echoes a cue Williams would write in years to come (8M4 Believe Your Eyes).

Cue Status: Unused in film, OST T11 Pete and Dorinda (1:35-end).

 

The most significant alternate in the film, Dorinda Survives is an early version of the film's final cue -- and it's truly stunning. For this presentation, I've combined it with the preceding cue (Among the Clouds, as it appears on the OST) so you can enjoy Williams' intended scoring for the entire 8+ minute sequence (though the actual alternate cue begins at 4:33).

 

This cue (revised in the final cut with Dorinda Solo Flight) scored a slightly longer underwater sequence, presumably showing more interaction between Dorinda and Pete (or perhaps lingered on Dorinda's decision to remain in the flooding plane, rather than escape). It's a darker, less heroic interpretation than Williams' revised climax, especially with its comparatively restrained approach to the film's closing shot. In all likelihood, this will make a fitting finale to LLL's upcoming expansion.

 

Side note: pay close attention to Holly Hunter's performance in the early section of this video. For all the film's perceived faults, Hunter's performance here does an amazing job at capturing the longing, the grief and the heartbreak that accompanies losing people we love. Paired only with Williams' touching score, it's all the more affecting.

Cue Status: OST T7 Among the Clouds (only the second half is unused)

[Jay 37,323]

Great work on all those new videos, and the entire group of videos as a whole.  Nice audio editing job on that end credits track, too!

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46 minutes ago, Jay said:

Great work on all those new videos, and the entire group of videos as a whole.  Nice audio editing job on that end credits track, too!

 

Thanks for that!

 

Looking forward to hearing a much better quality version of the credits suite on the LLL (and a clean start & end!)

[Incanus 5,713]

Indeed great work on these @crumbs!!!

 

The alternate Follow Me sounds like something left over from the Last Crusade. It very much feels like Indy's Very First Adventure and presages some his whimsical Home Alone chase music.

[Holko 9,499]

And since nobody else pointed it out yet, also nice work on the colour correction to make the movie look a lot better, Maestro @crumbs!

[Holko 9,499]

Since this post, the LLL came out and we of course got a lot better source for what are here only rips, and also stuff that aren't here, so I thought I'd have a go at redoing it (with @crumbs' approval). I broke the LLL down into a more simple C&C revised main program + original version bonus tracks with the help of @Jay's spreadsheet, sometimes having to fabricate endings/openings - it didn't work perfectly everywhere but mostly tracks end or begin on held notes so a loop and fadein/fadeout was enough.

 

 

Seeing the Plane (Revised) - Ghostly synth carries the Premonitions theme.

 

 

Pete at the Refrigerator - An eerie texture for the lighting (cold blue light of the fridge separating Pete from the warm orange glow of the natural fire) foreshadowing Pete's separation from the natural world.

 

 

Your Number is Up - The film reuses the previous cue here, I tried to match it up to logical beats, end it when the dry banter starts.

 

 

Saying Goodbye - Energetic renditions of the love theme, in its first appearance. The film dials out the (admittedly maybe overdramatic) ending in place of the noise of the plane that drowns out Pete's first explicit declarations of his love.

 

 

Explosion of Pete's Plane (Film version)
Pete in Heaven - This one's partially unused, replaced by Promise to Hap. I had to slow the footage for multiple times to bring the obvious sync points back to sync - the transition, the ending, the appearance of the love theme as Pete thinks of Dorinda.

 

 

Pete's Aura - The movie dials the ending out when Ted enters.

 

 

Dorinda's Flying Entrance - The premonitions and love themes play as Pete and Dorinda nearly miss each other.

 

 

The Old Timer's Shack (with insert and revised ending) - The cue is heavily cut down in the film, including the removal of a section featuring the love theme for I assume a Pete monologue, or a cutaway to Dorinda?
Follow Me (Revised)

 

 

Seeing Dorinda - Premonitions and the love theme return again.

 

 

Ted's Heroics

 

 

Remembering Pete - Premonitions and love theme again.

 

 

Dorinda and Pete (Revised) - A clearly formed piano rendition of the love theme. I had to fake an ending since it's combined with the original version on the LLL, it should have a longer fadeout into...
Promise to Hap
Intimate Conversation is a very clear simple love theme rendition that would have been for an unreleased deleted scene here, but it works great as the LLL's opener.

 

 

The Rescue Operation (Revised) - As Dorinda starts letting go of her resentment towards Pete's hotheaded heroics and jumps in a plane herself when there's a need for it, her theme starts coming in on synth, the love theme also joining in. Although this is already a revision, the film replaced the ending with tracked music.

 

 

Among the Clouds - The film shortens the triumphant/relieved opening and goes straight into the intimate material for the final "conversation", featuring the love theme.
Dorinda Survives (Third Version) - As Dorinda makes the choice to take Pete's hand, her theme gets a big orchestral rendition, flowing into the love theme.
End Credits (Revised) - JW recorded two versions of the credits in 3 parts, this is all the later ones. I guess he really liked his original approach to Dorinda Survives, because this revised first part is basically a rearranged version of it. The second part then covers Smoke Gets In Your Eyes, and the third part closes with Among the Clouds' french horn solo. On the OST (and thus it's the same way on the LLL), he replaced the last 2 segments with the original versions, presumably to remove traces of Smoke Gets In Your Eyes? On the LLL, the pieces are combined in a different way, presumably to collect all the Smoke Gets In Your Eyes variations out of the main program and into the bonus section?

 

 

Seeing the Plane (Original) - A clearer statement of the Premonitions theme.

 

 

Explosion of Pete's Plane (Album take) - the same composition for strings only, without celeste.

 

 

The Old Timer's Shack (Original) - The more playful inserts replaced material that is much more mock-dramatic.
Follow Me (Original) - This original version is much less grand than the revision, more lowkey comedic, with the only memorable melody being the ostinato.

 

 

Dorinda and Pete (Original) - A much more rich sounding version with a flute rendition of the love theme.

 

 

The Rescue Operation (Original) - Before JW wrote Dorinda's theme, he scored those moments with Smoke Gets In Your Eyes renditions here.

 

 

Dorinda Survives (First Version) - A much longer cut than the final film, emphasising some pretty different emotions.

 

 

Dorinda Survives (Second Version) - Same cut as the first one, this time the approach was to make it much more quiet and subtle until Pete releases Dorinda - this was of course thrown out for the big third and final version with the new Dorinda theme.

 

 

End Credits (Original) - I started this assembly with the Platters' Smoke Gets In Your Eyes, JW then takes over with a unique rendition of the love theme, then a piano then full orchestra rendition of the song, which leads into a reprise of the love theme rendition at the end of Dorinda Survives, more love theme and a reference to the Garry Owen March.

[Jay 37,323]

Looks great, can't wait to check it out! 

 

BTW, the end credits wasn't on the OST album.  The LLL set debuted the original and revised pieces. 

[Holko 9,499]

Huh.

[Bespin 8,480]

Thanks for these vids!