Twilight Time Discussion Thread

[belcherman]

Originally Posted by Aclea

In a similar vein albeit more propulsive, from the same record label there's David Shire's terrific score for The Taking of Pelham 123:

http://www.screenarchives.com/title_...OF-PELHAM-123/

The Taking Of Pelham One-Two-Three | Soundtrack Suite (David Shire) - YouTube

You know, it's not talked about much, but the 70s really were a golden age for movie soundtracks.

[Aclea]

Well, even though pop song scoring was increasingly in vogue you still had studios hiring the likes of Jerry Goldsmith, John Williams, Elmer Bernstein, Alex North, Bernard Herrmann, John Barry, Nino Rota, David Shire, Jerry Fielding, Maurice Jarre, Ennio Morricone, Roy Budd, Lalo Schifrin, Georges Delerue, Henry Mancini, Richard Rodney Bennett, John Addison, Michael Small, Michel Legrand, Miklos Rozsa, Leonard Rosenman, Laurence Rosenthal et al...

Aside from Williams and the underemployed Shire that talent pool just isn't there anymore even if studios wanted more than stings and beats that religiously follow the temp track for their pictures. But it's great that TT offers so many isolated scores from the days when they did for so many of their titles.

[belcherman]

Originally Posted by Aclea

Well, even though pop song scoring was increasingly in vogue you still had studios hiring the likes of Jerry Goldsmith, John Williams, Elmer Bernstein, Alex North, Bernard Herrmann, John Barry, Nino Rota, David Shire, Jerry Fielding, Maurice Jarre, Ennio Morricone, Roy Budd, Lalo Schifrin, Georges Delerue, Henry Mancini, Richard Rodney Bennett, John Addison, Michael Small, Michel Legrand, Miklos Rozsa, Leonard Rosenman, Laurence Rosenthal et al...

Aside from Williams and the underemployed Shire that talent pool just isn't there anymore even if studios wanted more than stings and beats that religiously follow the temp track for their pictures.

I think that's what made the era special. You still had those old masters, but you also had folks like Quincy Jones and Isaac Hayes giving films an uptown feel. And, as you say, you had films like American Graffiti and Tommy using pop songs. A great period.

I think my favorite score from the 70s is Bernard Herrmann's score for Taxi Driver.

[Mose Harper]

Originally Posted by belcherman

You know, it's not talked about much, but the 70s really were a golden age for movie soundtracks.

Hell yeah they were!
I first developed an appreciation for soundtracks as a kid in the mid-late 70's.
If you wanted to relive a favorite movie in those days your main recourse was the tie-in novelization and the OST album.
And your imagination to fill in the blanks.

I only just got back into purchasing soundtracks four years ago.
In contrast to Bd labels, which can vary wildly in terms of quality and value, ALL the boutique soundtrack labels do an exemplary job IMO. I don't think I've been disappointed in any release yet.

Taking Of Pelham and One-eyed Jacks are excellent scores and both highly recommended!

I just got turned on to Friedhofer in the last year. Every thing I've heard from him so far is great and Bruce Kimmel's label Kritzerland is an especially high-value outfit, with the two disc, single disc priced, OE-J being a good case in point.

Shire is also vastly underrated. His range is remarkable- from the jazz funk of Pelham to the symphonic dark adventure scoring of Return to Oz and so many in-between. He hasn't fully gotten his due.

[RCRochester]

Originally Posted by Aclea

In a similar vein albeit more propulsive, from the same record label there's David Shire's terrific score for The Taking of Pelham 123:

[Show spoiler]http://www.screenarchives.com/title_...OF-PELHAM-123/

The Taking Of Pelham One-Two-Three | Soundtrack Suite (David Shire) - YouTube

I love David Shire's work on The Conversation. It's so damn haunting. That and Michael Small's work on Klute and The Parallax View actually give me shivers up my spine when I hear them.

Originally Posted by belcherman

I think my favorite score from the 70s is Bernard Herrmann's score for Taxi Driver.

That's probably mine too. It's the only film I ever remember watching specifically because I wanted to listen to the music.

I love the film score composers who took chances to create unique sounds rather than just a background wall of sound.

[Jobla]

Originally Posted by belcherman

I think that's what made the era special. You still had those old masters, but you also had folks like Quincy Jones and Isaac Hayes giving films an uptown feel. And, as you say, you had films like American Graffiti and Tommy using pop songs. A great period.

I think my favorite score from the 70s is Bernard Herrmann's score for Taxi Driver.

My favorite score of all time is 1976's OBSESSION by Bernard Herrmann, the same year as the excellent TAXI DRIVER score.

[belcherman]

Originally Posted by RCRochester

That's probably mine too. It's the only film I ever remember watching specifically because I wanted to listen to the music.

I’ve often thought that if I ever drove for Lyft or Uber, I would have the soundtrack to Taxi Driver playing in my car as I ferried my fares to their destinations.

[Professor Echo]

Originally Posted by RCRochester

I love David Shire's work on The Conversation. It's so damn haunting. That and Michael Small's work on Klute and The Parallax View actually give me shivers up my spine when I hear them.

Lest we forget David Shire's incredibly evocative score for FAREWELL, MY LOVELY or Michael Small's atmospheric work on NIGHT MOVES. The 60's and the 70's are the TRUE Golden Age of film scoring, despite the era generally being labeled the Silver Age. I do enjoy many of the classically inspired pieces of the 40's by all the old master film composers, but the game changer was Alex North with STREETCAR NAMED DESIRE and suddenly all bets were off with the old European models of orchestral music. Once you get into the 60's and scores like PSYCHO by Herrmann, PLANET OF THE APES by Goldsmith and the Leone western scores by Morricone, there are suddenly no more rules, neither in film scoring or knife fights.

In terms of sheer anarchic and thrillingly innovative filmmaking on every level, no era beats the 60's and 70's.

[slm]

It looks like The Hound of the Baskervilles is now sold out on TT and SA. I waited too long! I'll have to look into the Arrow edition.

[xochipilli]

For those who haven't seen it, Leave Her to Heaven is being re-released by Criterion! This should be great news for those who missed out on TT's release and don't want to pay e-bay scalper prices (apparently already going down). I was lucky enough to pick an OOP copy up for 140 euro plus customs charges, the most I've ever paid for a TT or really any release!

I'll be keeping my release for the extras, and eventually get the Criterion, even if just to have a release without that moronic pause-activated timeline at the bottom of the screen you can't remove except by pulling up the pop-up menu (that's the worst thing about early TT releases, worse than the same thing on Paramount's releases, since at least there it's only full screen releases that are affected. With TT they obviously took The Egyptian (2.55.1) as the benchmark, since it's just high enough it's not over the 2.35.1 black bars, so other than films shot in either early Cinemascope or Ultra Panavision, you can't pause over an unobstructed image!) Sorry for nerding out, I'm an habitual pauser.

Anyway, with 1984 and now this, it got me thinking: which OOP title/s could you see being picked up by Criterion?

[Dailyan]

Originally Posted by xochipilli

Anyway, with 1984 and now this, it got me thinking: which OOP title/s could you see being picked up by Criterion?

Titles such as "Breaking Away", "The Driver", "Drums Along the Mohawk", "Emperor of the North", "House of Bamboo", "Hush...Hush, Sweet Charlotte", and "Jane Eyre" would seem like to be up their alley

[StarDestroyer52]

Originally Posted by Dailyan

Titles like "Breaking Away", "The Driver", "Drums Along the Mohawk", "Emperor of the North", "House of Bamboo", "Hush...Hush, Sweet Charlotte", and "Jane Eyre" would seem like to be up their alley.

It would be super if Criterion would release Drums Along the Mohawk.

[bwdowiak]

It may be too small of a film, (I don't know really... Huston, Mitchum, and Kerr so maybe not) but I'd love to see Heaven Knows Mr. Allison get a restoration and another release. A lot of TT titles that have gone OOP are available through other labels or if you are willing to import, but that's one that is elusive.

[bonehica]

Originally Posted by bwdowiak

It may be too small of a film, (I don't know really... Huston, Mitchum, and Kerr so maybe not) but I'd love to see Heaven Knows Mr. Allison get a restoration and another release. A lot of TT titles that have gone OOP are available through other labels or if you are willing to import, but that's one that is elusive.

Would love to see that get another release as well.

[xochipilli]

Originally Posted by bwdowiak

It may be too small of a film, (I don't know really... Huston, Mitchum, and Kerr so maybe not) but I'd love to see Heaven Knows Mr. Allison get a restoration and another release. A lot of TT titles that have gone OOP are available through other labels or if you are willing to import, but that's one that is elusive.

According to Park Circus Heaven Knows has a 4K DCP waiting at Fox, so it was one I was waiting to see if it would come from a label in the UK, like Eureka's Song of Bernadette, before Disney started making unpleasant noises. Here's hoping!

[ponytail]

Originally Posted by xochipilli

Anyway, with 1984 and now this, it got me thinking: which OOP title/s could you see being picked up by Criterion?

The Train

[Dailyan]

Originally Posted by ponytail

The Train

Still in-print for the time being at SAE.

[hariseldon]

But beyond the 3 year license agreement so it should be up for negotiations should someone wish to have a go at it

[StarDestroyer52]

Originally Posted by bwdowiak

It may be too small of a film, (I don't know really... Huston, Mitchum, and Kerr so maybe not) but I'd love to see Heaven Knows Mr. Allison get a restoration and another release. A lot of TT titles that have gone OOP are available through other labels or if you are willing to import, but that's one that is elusive.

Hopefully, Eureka will release it before Disney puts a halt to all films. Even if it is the same version as the TT version.

[Rzzzz]

Originally Posted by xochipilli

Anyway, with 1984 and now this, it got me thinking: which OOP title/s could you see being picked up by Criterion?

[Show spoiler]I think it was Mr. Lime in the Kino thread who said another company had this and there have been rumors about who aquired it but that was years ago. Why hasn't it shown up? Maybe Criterion nabbed it....