Restored Isolated Score: Far and Away

[Holko 9,529]

 

I thought I'd do this film a huge favour by removing the accents and allowing everyone to focus on its two best aspects, the cinematography and the score.

 

JW's themes that are used in more than one cue, following the booklet's lead:

Love theme - A sweeping, romantic, optimistic theme.

Ancestral - An ethnic sounding theme representing destiny and Joseph doing right by his father.

The Dream - A jaunty motif for Joseph acting on his desires and fulfilling his dreams.

Ireland - A scarcely used melody for uillean pipes.

Joe Sr. - A darker tinged, more melancholy variant of the Ancestral and Ireland themes.

Donnelly - An Irish jig and reel for Joseph and his family.

Donnybrook - A fast Irish dance recently developed into its own concert piece.

 

 

1M1&2 County Galway, June 1892 - Ireland the introductory text, then Ancestral takes over on penny whistle as we glide over the water and the main titles start, orchestration shifts/phrase changes coming as the camera pans up and starts flying. When the town is coming into frame, the Love theme is introduced on whistle. My gut feeling of how to sync the cue up is seconds off from how it is used in the actual film, but I went with it anyway.

 

 

 

1M4 The Fighting Donellys - Joseph and his brothers are introduced comedically with the Donnelly dances.

 

 

 

2M1 Joe Sr. Passes On - Joe Sr. plays on the tin whistle, then horn and other ethnic instruments as the camera represents his soul going up to the heavens. This original version ends with a dark orchestral and synth passage for Stephen and the enforcers arriving, which was removed for the final film in a retake.

?M? Burning The Village - The dark strings continue for the burning of the house. A lighter folksy passage takes over for Joseph getting his gun, but the dark Joe Sr. plays as the full weight of his planned assassination sinks in.

 

 

 

2M4 Leaving Home - Joseph sets off on his journey, accompanied by the Ancestral and Love themes.

 

 

 

3M2 The Barn Scene - Horn scores the Christie estate's reveal, then a gentle flute passage accompanies the morning look through the barn.

 

 

 

4M3 I'm Running Away - Oboe references the melody from the middle of the previous cue, then the Love theme comes in on twinkly synths as Shannon starts explaining her situation, then once again as Joseph hears the magic word, "Land". The cue ends with comedic woodwinds for their bickering. The final film uses none of it.

5M1 The Duel Scene - Ireland returns to set the dramatic mood, then the Ancestral theme briefly plays as Joseph picks his weapon. Drums start building up, until the count is up and the duel starts to Donnelly, then it picks up in tempo and morphs into triumphant Love theme statements as Joseph decides to run away with Shannon.

 

 

 

6M3 This Is My Destiny - Ancestral scores Joseph's memory of his father, and the Love theme follows for the rest of his vision.

 

 

 

7M1 Burning The Manor House - A melancholy passage plays as Christie tells his wife about Shannon, but it's violently interrupted with the hellish chaos of the riot (featuring a variant of the Love theme for the shot of Shannon's picture on the piano and Mrs. Christie collecting her letters, which also returns in the aftermath when they decide to go to America).

 

 

 

7M3/8M1 Am I Beautiful - Understated comedic writing for the two leads' growing lust for each other, culminating in a Love theme statement. Completely unused in the final film.

8M4 Blowing Off Steam - The Donnybrook scores Joseph winning his first fight.

 

 

 

8M8 Fighting For Dough - Donnelly returns for the montage of Joseph climbing the ranks (while Shannon slaves away unappreciated), capped off by a happy Love theme.

 

 

 

9M2 My Own Man - The Ancestral theme returns for Joseph' pride, then after some dark scoring, returns for him accepting the deal about an upcoming match.

 

 

 

9M4 Into The Bathtub - The Dream is introduced as a comedic element, and the Love theme is used for Joseph's frustrations about their relationship. The cue is completely unused, IMO it's a bit too comedic and a bit too gentle.

 

 

 

9M4/10M1 Facing Goliath - The orchestra comes in, starting to hype us up with The Dream, but it stops like Joseph for a Love theme. Now The Dream is in full hype mode, leading Joseph onto the battlefield together with the Love theme. Ancestral makes appearances throughout the fight, as the stakes are high, and so does the Love theme as Joseph is on a roll, then when he sees Shannon and makes his way to her. I used a part of the alternate for the full clean ending of the same take.

10M2 Joseph Is Defeated - Joseph has lost focus and is getting pummeled, the momentum of the motif from the previous cue is lost. The Love theme scores his ultimate defeat on sampled choir, then woodwinds. I used the alternate for a clean opening of the same take.

 

 

 

10M3 Banished - Among dark nightmarish scoring, the Love theme briefly pops up when Joseph sees Shannon's picture, then again when they're thrown out.

11M1 Inside the Mansion - After the bleakness of the last cue, the leads and audience get a breath of fresh air with this beautiful glistening cue, athematic when they're just exploring the house, but the Love theme takes over as the conversation starts personal. The film has a small gap between its two parts, which I replicated here.

11M2 Shannon Is Shot + 11M2 (New Ending) - The dark scoring for the shooting echoes 7M1 Burning The Manor House, then a distressed Love theme plays as Joseph carries Shannon away. After some more dreamlike scoring, the Love theme comes in on flute as Joseph says farewell, then the Ancestral theme returns as Joseph leaves and runs away in anger. In the final film, the end of the cue seems to be out of sync, I shortened a shot of Stephen a bit to bring it back.

 

 

 

11M3 Day Dreaming - The Love theme returns on the penny whistle.

 

 

 

12M1 Joseph's Dream - The classic penny whistle setting of Ancestral scores Joe's dream reunion with his dad, but as he's reminded of the Land Rush, The Dream takes over completely, building to a grand Love theme for the hopeful march across the country, which is played off by more of The Dream in a fun westerny setting for the arrival at the camp.

 

 

 

12M3 The Horseshoe (Version #2) - A dreamy Love theme plays as Joseph picks up a lucky horseshoe and immediately notices Shannon.

 

 

 

13M1 The Reunion - The cue skirts around variations, only arriving on Ancestral as they say everything is fine (not believing it themselves), but then the Love theme warmly comes in for their parting and the final compliment.

 

 

 

13M3 Oklahoma Territory (New) + 13M3 Oklahoma Territory - A string, horn and woodwind development based on the Love theme scores the preparations, then a comedic westerny motif scores Joseph's struggles with the horse and the Christies' sneaky plan.

 

 

 

14M1 The Land Race + 14M1 (Insert) - The cue starts with a buildup of a new Race motif in various guises, then it erupts as a full fanfare when the race begins, supported by brass renditions of Donnelly. The huge ultrawide shots are scored by a low Race, with another Donnelly inbetween. When we cut from the moving wide shot to closeups of people, the Love theme takes over, then a small comedic Donnelly comes in for Joseph still struggling with his horse. The following slow motion shots return to Race with big boom-tsss punctuations, then a unique section with a Love theme when we focus on Shannon, then the cue climaxes with a giant Love theme capped off with The Dream as Joseph sprints across and takes the lead. Ancestral serves as a cute coda for the Christies. The footage in the final film is a little shorter, and in the middle many musical changes seem unmotivated to me, so I reedited it a bit.

14M2 The Race to the River - After a joyous fanfare for the Christies, the Race continues with Dream and Love variations.

 

 

 

15M2 Settling With Steven - The Love theme scores Joseph's arrival, then shortly combines with the Donnybrook for him charging at Stephen. Ancestral gets a grand rendition when he rushes off to claim the land, but the music turns dark with a bittersweet Love as he realises it wouldn't be worth much without Shannon.

15M4 Joseph and Shannon - The cue gently mourns with Shannon, until, mirroring his father's first passing, Joseph comes back to life, at which point the Love theme fully takes over in glorious finale settings.

End Credits - Donnelly kicks off the suite in a new rendition full of orchestral additions and new phrases. The Love theme then takes over in a gentle penny whistle setting, then joined by orchestra, then fully taken over by the orchestra. The Dream takes a short turn on brass to bridge to the Donnybrook, then again bridges from it to the Love theme in a combination very much like 12M1 Joseph's Dream, but with an all-new ending. The film's credits are shorter, and use Enya's song for half, and an edit of the piece for the rest.

 

 

 

9M7/10M1 (Insert) - This unused revision featured a less confident and reassuring orchestral piece featuring a bit of Donnelly.

 

 

 

13M3 Oklahoma Territory - The original version of this cue focused entirely on the one-off playful westerny motif, making the pre-race preparations much less anticipatory.

[Jay 37,372]

Wow!  They just keep on coming! 

 

I wish I had time to watch all these soon!

[Holko 9,529]

5 minutes ago, Jay said:

Wow!  They just keep on coming! 

This one was a real fun breeze, I started proper work on it yesterday morning!

[Jay 37,372]

Wow!  Impressive!

 

BTW isn't there two different endings for Joe Sr's Passing?

[Holko 9,529]

2 minutes ago, Jay said:

BTW isn't there two different endings for Joe Sr's Passing?

 

27 minutes ago, Holko said:

This original version ends with a dark orchestral and synth passage for Stephen and the enforcers arriving, which was removed for the final film in a retake.

I didn't think it was significant enough to do a separate video for.

[Jay 37,372]

Ah yes, that makes sense

[JohnnyD 1,223]

Awesome!

 

Just curious, but any chance of tackling Hook?

[Faleel 5,359]

1 hour ago, JohnnyD said:

Awesome!

 

Just curious, but any chance of tackling Hook?

I already started.

 

 

[Holko 9,529]

5 hours ago, JohnnyD said:

Awesome!

 

Just curious, but any chance of tackling Hook?

Aww, feels so nice to be appreciated. A single nonspecfic word, not even a like, and immediately "can you do something else?"

 

 

Hook would definitely warrant a proper full treatment (all due respect  Fal), but I didn't want to start before I got to know it better, or when the release is still brand new and selling steadily. The lack of real useful deleted scenes bothers me too, there'd be many black screens, some real long, but even if this release shifted Spielberg's mind, new stuff would take years to be released.

[bollemanneke 3,349]

Aww, I love Irish accents, bad or not. I'm very modern in that way.