Film Scores

[Snarky Oracle!]

Henry Mancini's score to BREAKFAST AT TIFFANY'S -- much better than the movie itself, the opening titles and all those period brownstone shots and Audrey's gaminosity notwithstanding.

 

[Snarky Oracle!]

The '60s had a bunch o' good ones:

 

[Snarky Oracle!]

 

[Snarky Oracle!]

And then there's Jerry Goldsmith:

 

[Snarky Oracle!]

And there are those Summer songs:

 

[Snarky Oracle!]

Theme to "A Man & A Woman" (1966)

 

[Mel O'Drama]

Gabiel Yared's score to The Talented Mr. Ripley is quite stunning with some diverse styles going on.


From the warm mid-century Italian atmosphere...

Through the lullaby that hints at a darker side...

To the driving desparation...

 

[Sarah]

Anyone else have an interest in these?

Let's talk scores and composers here: favourites; holy grails; the ones that got away. Maybe there are some scores you like more than the film itself.


Currently en route to me is the Deluxe Edition of Marco Beltrami's Scream 2, which came out last week:

It'll be so good to have the complete score on CD, and will be the perfect companion to the Scream Deluxe Edition which came out back in 2011 (hard to believe it's been five years):

I CANNOT forgive them for leaving Red Right Hand out of Scream 4. I just can't.

 

[darkshadows38]

i love Danny Elfman and i also like Richard Band as well. there are others as well that are good

 

[KillerBob]

There are so many great soundtracks it is almost impossible to mention one (my movie and TV-soundtrack-list on Spotify runs for 40 hours and I always add new tracks). I love a lot of the music of John Williams, especially Star Wars Episode V - The Empire Strikes Back and E.T (I've ordered La La Land Records' new release of the E.T soundtrack).

I also really like the soundtracks of Patrick Doyle from Great Expectations, Mary Shelley's Frankenstein, Much Ado About Nothing and Harry Potter and the Goblet of Fire. And of course Angelo Badalamenti's scores from David Lynch's work and... I should never have started to name people, I could go on forever!

 

[Barbara Fan]

loved this and a bonus to see the lovely Mr Havers and his legs running thro the cold waters at St Andrews in the film

 

[Barbara Fan]

and another one, one day i will get to the North of Scotland to see this place!

 

[Barbara Fan]

another John barry one

 

[Barbara Fan]

and another fav, Canon in D major by pachelbel

 

[Toni]

I also love all the composers and titles you have mentioned...I´m a big OST listener and helps me to relax and write, and I could mention 1.000 more scores...

I´ll just express my love for Michael Gore´s "Terms of Endearment", Richard Robbins´ "Maurice", Ryuichi Sakamoto´s "The Sheltering Sky" (better than the movie itself"), or Ennio Morricone´s "Love Affair".
​

In my dreams, this is the score to Bobby and Pam´s
reconciliation at the "true" end of "Dallas"
(the video is a little gem, btw...)
​

Those of you who have watched my videos must already know my obsession for Morricone´s "The Untouchables" Main Theme and Elliot Goldenthal´s "Coda" from "Michael Collins" which he includes in most of his other scores too...​

Epic, isn´t it?​

 

[Mel O'Drama]

Currently can't get Marnie theme out of my head.....

This is me today.

Over the last few days - while driving and just while pottering around the house - I've found myself listening to the beautiful re-recording of the score by Joel McNeely and the Royal Scottish National Orchestra and it's clicked with me in a big way.

That main theme in the Prelude is really an earworm, and I love the way Bernard Herrmann used it throughout the body of the main score, ranging from all guns blazing drama to tension to ethereal beauty of this kind:

You have to love the energy of The Hunt as well...

 

[Barbara Fan]

I cant believe i didnt post this in 2017, one of my fav films

 

[Barbara Fan]

abnd I always found this theme very haunting - From Picnic at hanging rock

 

[Mel O'Drama]

Franz Waxman's Peyton Place score is a longtime favourite of mine.

Not a popular opinion, but I'm also very fond of the Frédéric Talgorn re-recording with the Royal Scottish National Orchestra:

Recently I realised it had been a few years since I'd properly listened to the 2006 Varèse Sarabande Collector's Edition of the sequel, Return To Peyton Place. I've thoroughly enjoyed falling in love with it. Waxman gave it quite a different sound to the original. There's quite a bit of soft jazz, including tracks like this instrumental arrangement of a Dean Martin track:

This angle of the album reminds me a little of Alfred Newman's score to How To Marry A Millionaire, which had arrangements of the likes of Blue Moon embedded into a score that balanced soft jazz with a more traditional score that got quite urgent and frenetic at times.

Of course the sequel soundtrack is worth the money for having no less than FOUR versions of The Wonderful Season Of Love performed by Rosemary Clooney: the Main Title; the End Title; the Mono Version and a Demo Version with alternative lyrics (all four tracks being different to the version Rosie recorded on her Swingin' Riddle album).

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I can't find the Demo Version to post here, but it always makes me smile. As she gets to the high note on the very final word of the song, Rosie's voice breaks and she stops short and says "Sorry. Wasn't there". A man's voice can then be heard saying "Twenty and twenty one". I'm not sure if this is the take number, but his tone - weary and with more than a touch of annoyance - suggests it might well be.​

 

[Mel O'Drama]

This week, having invested in the expanded soundtrack, I've revisited Howard Shore's score for The Silence Of The Lambs and belatedly realised it's a work of genius.

It's a little shameful that I haven't paid that much attention to it before, despite the original (shorter) soundtrack sitting in my music library for many years and getting the occasional play. Having reflected on the reason for it going under my radar, I've deduced that there are two connected reasons:

1). When watching the film, I'm too wrapped up in the story for the music to consciously register with me.
2). Howard Shore has said that he took great efforts for his music to go almost unnoticed by the audience in order for it to work in harmony with other elements such as story, visuals and performances. Even when it hits some dramatic heights, it's all proportional to the story unfolding.