Hamlette's Soliloquy: soundtracks

Showing posts with label soundtracks. Show all posts

Saturday, July 13, 2024

Movie Music: George Duning's "3:10 to Yuma" (1957)

George Duning's brooding score perfectly suits the original 3:10 to Yuma (1957). It's dark, intense, and full of emotions, just like the film, which tells the story of a desperate rancher (Dan Evers) who agrees to help take a dangerous outlaw (Glenn Ford) to the train to Yuma State Prison in exchange for enough money to save his drought-stricken cattle.

If you had a western movie or TV show theme song you needed sung back in the 1950s, Frankie Laine was a the guy you wanted singing it. His husky, lonesome voice so perfectly evokes the sorts of strong, yet weary men that filled those stories.

"Lovely Emily" reuses the melody from the "Main Title," but turns it into a tender love song, simple and haunting.

"One More Shot" might be my favorite cue of all. It combines both danger and peace, starting out with a shiver of violence, then pulling in a wistful melody that was used in earlier scenes at Dan Evers' quiet ranch. This track feels very yearning and anxious to me. And there's a menacing little duet between piano and guitar that reminds us there's a lot to be done before this can be resolved. Parts of the theme song come into play too, never letting us forget about that train.

That last video is part of a 15-minute suite of music from the film on YouTube, if you want to hear more of this score!

(This review originally appeared here at J and J Productions on January 14, 2016.)

Saturday, March 02, 2024

Movie Music: Rachel Portman's "Chocolat" (2000)

Here I am again, ready to discuss more movie music with you. I really enjoy Rachel Portman's movie scores. Her music for both Chocolat (2000) and Emma (1996) make me happy and are particularly great for listening to when I feel like listening to something sprightly, but with a pang of melancholy here and there. I reviewed the Emma soundtrack a while ago, so today, I'm going to share my other favorite Portman soundtrack.

Considering the movie's subject matter, I'm sure it's no surprise that I really like to listen to the Chocolat soundtrack while I bake. It's also great for doing housework or powering through a writing session that needs some upbeat vibes.

I'll start you off with a feel-good song, lots of energy and spring to it. It really conveys the idea of vigorously setting to work, doesn't it?

Here's a completely different mood. "Caravan" is soft and sensuous, a slow and beautiful simmer. It was first performed by Duke Ellington in the 1930s, but here, the guitar track is laid down by none other than Johnny Depp, who co-stars in the film.

My favorite track on the whole soundtrack is "Minor Swing," another '30s jazz song which Johnny Depp also plays guitar on. It's joyful and energetic and just plain fun -- it gets my toes tapping and my fingers snapping.

If you like those selections, you can listen to the whole soundtrack on YouTube right here :-)

(This review originally appeared here at J and J Productions on September 15, 2015.)

Monday, November 27, 2023

Movie Music: Alexandre Desplat's "The Monuments Men" (2014)

I think The Monuments Men (2014) is a lovely movie, if you can ever call a movie about war "lovely." It feels like a throwback to classic WWII films from the 1960s, like The Great Escape (1963) and The Guns of Navarone (1963). Alexandre Desplat's soundtrack also hearkens back to the movies of that era, and it has become one of my favorite scores to write to.

The first track I'm sharing is "Basic Training." It's upbeat and cheery, one of those "let's all get working on something together" sorts of songs. And about 30 seconds in, it brings in the movie's main theme, which is endearingly jaunty and optimistic.

"I See You Stahl" is completely different -- dark and foreboding, and with a sense of desperation. In the middle it gets very menacing before a calmer theme arrives to bring a sense of hope that leads back into the more can-do feel that pervades the movie.

"Normandy" is a more thoughtful song, quiet and reflective, and yet ultimately also strong and confident.

And, as a timely treat, here's a rendition of "Have Yourself a Merry Little Christmas" that figures into the plot:

If you enjoyed those three short selections, you can listen to the whole soundtrack on YouTube here. I heartily recommend it.

(This review originally appeared here at J and J Productions on November 29, 2015.)

Thursday, October 05, 2023

Movie Music: Miklos Rozsa's "Ben-Hur" (1959)

Yesterday -- October 4, 2023 -- was the 100th anniversary of the birth of Charlton Heston! I meant to finish and post this yesterday, in celebration, but life got in the way. Still, only a slightly belated celebration :-)

Ben-Hur (1959) is the first movie I ever saw Charlton Heston in. My family rented it from the video store one weekend when I was probably ten or eleven, and I absolutely loved it. When we bought our own copy a few years later, I watched it once a year or so. For years, I dreamed of a chance to see it on the big screen, and I was actually able to do that a few years ago! My husband and kids and I got to go see it in the theater, and it was magnificent.

While I have seen Charlton Heston in many other movies over the years, Ben-Hur remains my favorite film of his, and my favorite performance of his. So, today, I am reviewing the film's soundtrack.

This is the most majestic score I have ever heard, and I have many favorite themes which get featured in many different tracks. Miklos Rozsa 100% earned that Oscar, my friends.

I'll begin with the "Prelude" because it's what opens the film, and because it has bits of most of the major themes in it, so if you're only going to listen to one track, this one gives you an excellent taste of the style and overall sound of this soundtrack. And yet it manages to meld so many disparate themes into a cohesive whole -- remarkable achievement, really.

"Friendship" is mostly a lyrical song, but with a masculine sensibility. The title refers to the bond of friendship between the main character, a Jewish noble named Judah Ben-Hur (Charlton Heston), and Messala (Stephen Boyd), a Roman soldier. The destruction of their friendship sets the story in motion, as a beautiful childhood relationship dissolves under the weight of adult loyalties.

"Parade of the Charioteers" is all barely-contained energy and mounting adrenaline. Even if you don't know there's going to be a famous, fantastic chariot race happening next, this music would cue you in that something awesome and exciting is about to take place.

And now for something completely different: the "Love Theme." It's tender, pensive, yearning. An oasis of quiet gentleness among all the spectacle. But at the same time, not remotely boring.

If you want a little more, "The Overture" is also fantastic, and it covers even more of the main themes than "The Prelude." Yes, Ben-Hur is such a colossal movie, it has an overture, and then a prelude. And an intermission. And it deserves them.

Okay, I'll stop here :-) If you like these samplings at all, do yourself a favor and listen to the whole thing on YouTube, starting here. Then if you love it, buy the CDs, the big, long, full score, because it is completely worth it. I do not tire of this music.

(This review originally appeared here at J and J Productions on October 13, 2015.)

Friday, June 23, 2023

Movie Music: Marvin Hamlisch's "The Sting" (1973)

The Sting (1973) follows two con artists (Paul Newman and Robert Redford) as they run a long con to ruin the man who had their friend murdered. It's set in the 1930s and filled with amazing period costumes, sets, and music. Marvin Hamlisch blends Scott Joplin's classic rags with original bluesy variations of other period songs to create a soundtrack that is a pure delight. Here are my three favorite tracks from a soundtrack I listen to whenever I need a quick pick-me-up.

My favorite song of all on this album is Joplin's "Easy Winners." I love how jaunty it is. I can't help smiling when I hear it.

"Luther" is more melancholy, a solemn contemplation of loss and mortality. It takes bits of "Solace," another of my favorite Joplin pieces, turns them minor, and melds them into a dirge.

"The Entertainer" is probably the most famous rag, whether by Scott Joplin or anyone else. The Sting uses it to great effect, as it's a great blend of spry playfulness and an undercurrent of more dramatic seriousness, which pretty perfectly describes the movie as well.

That's all for today, friends. If you liked these selections, you can hear the full soundtrack on YouTube here!

(This review originally appeared here at J and J Productions on January 29, 2016.)

Tuesday, May 09, 2023

Movie Music: Erich Wolfgang Korngold's "The Adventures of Robin Hood" (1938)

Time to share a film score that is a classic in every possible way a soundtrack could be. From long ago, still enjoyable today, and something others might try to imitate but can never duplicate. And it even comes with an adventure story of its own, separate from the one in the movie it accompanies!

Composer Erich Wolfgang Korngold and his family escaped Vienna just before the Nazis invaded in 1938 thanks to this film score. According to the liner notes of my copy, Korngold was offered the job of composing the score for The Adventures of Robin Hood in Hollywood, and that gave him a legitimage reason to leave Austria in what was becoming an increasingly dangerous time. He was able to bring his wife and younger son along, but had to leave his older son with family in Austria. They arrived safely in California, where Korngold promptly turned down the job because there was too much action in the film! He wrote operas and scored romantic movies, not action films, and he didn't think he could match the studio's needs and expectations. But they prevailed on him to try, so he stayed, and wrote the entire score in six weeks. During that time, Hitler invaded Austria, and the Korngolds were relieved to learn that their other son had escaped with his grandparents to Switzerland just before the Nazis arrived.

This score went on to with Korngold his second Oscar, which is amazing when you think that he didn't want to write it at all at first. It's a very sweeping, lyrical score, one I enjoy listening to on a glum morning to help boost the mood for me and my kids. They're actually the reason I bought this album in the first place -- they love the movie and kept asking why I didn't have the soundtrack. Well, I didn't have it because the original recording isn't available -- all you can get are re-recordings. I did some research and consulted with a knowledgeable friend, and learned that the 1988 recording available from the Varese-Sarabande label is the best available, so that's the one I got. It was produced by George Korngold, the composer's young son who accompanied him to Hollywood on the trip to compose the score.

When we listened to this when they were younger, my kids would tell me exactly what's happening in the movie during different parts of the music, and sometimes act it out :-) Very fun, though sometimes a bit disruptive of breakfast.

The first cue, "Prologue (Main Title)," begins with a lot of rollicky, boisterous prancing that lets you know this is the sort of movie that will make you bounce up and down in your seat and cheer. Then the mood shifts and a softer theme weaves its way in, alerting the audience to the fact that yes, there will be a love story here too. But that doesn't last long -- the piece ends with a some bold and vaguely regal flourishes.

This score has some of the most cheerful action music you'll ever hear. "Escape from the Castle" is a joyous romp from start to finish, lots of flourishes and musical galloping.

My favorite track is "The Archery Tournament." It's brash and playful and ready to have a good time. Rather like Robin Hood (Errol Flynn) in this version, come to think of it.

This is a really fun movie. If you haven't seen it, I strongly encourage you to! You can read my review of it right here if you want to know more about it. And you can listen to the soundtrack album here on YouTube.

(This review originally appeared here at J and J Productions on February 15, 2016.)

Monday, April 03, 2023

Movie Music: Rachel Portman's "Emma" (1996)

Rachel Portman is one of those composers whose scores I almost always enjoy. She's great at writing joyful music that moves scenes along, and she can layer deep emotions under the surface of that joy as well.

"Main Titles" gives you a great idea of what the tone of the movie will be before anyone says a single word of dialog. It begins softly, sweetly, a little bit pensive even, then picks up tempo and becomes sprightly and humorous. Then it ends with grace and dignity.

"Harriet's Portrait" makes me smile, and not just because the part of the film it belongs to makes me laugh aloud. It's such vivacious music, isn't it? Playful and bright and energetic.

"The Dance" is pure fun. It makes me want to cavort. Sometimes I do. It's a little bit repetitive at first, and you can envision people doing an English Country Dance with it's fancy patterns, and then about 40 seconds in, it gets louder and boisterous, and yeah... who can resist dancing to such music?

"Emma Insults Miss Bates" is a more serious track, as befits a more serious scene. You hear that same theme from the opening credits, only now it's very slow and sad, mournful in places. Emma grows up quite suddenly in this scene, realizing that her behavior can affect others in bad ways as well as good, and this delicate, wistful song fits the scene perfectly.

The entire soundtrack is delightful -- you can listen to it on YouTube here. It's one of my favorites to listen to in the spring, when I'm feeling very bright and hopeful, but with a touch of wistfulness here and there too.

(This review originally appeared here at J and J Productions on March 4, 2016.)

Tuesday, February 07, 2023

Movie Music: Mark Knopfler's "The Princess Bride" (1987)

Mark Knopfler's score for The Princess Bride (1987) is as subtly off-kilter as everything else in the movie. Fairy tale motifs get twisted slightly to make them fresh, funny, and surprising. Here are my favorite tracks that show off the flavor of the music really well.

"I Will Never Love Again" begins very sad, pensive, minor. Lots of strings, a bit of a twangy '80s sound going on here and there. It's a love theme gone horribly wrong, which suits the early part of the film perfectly.

"The Friends' Song" is an obviously humorous song, got a good swagger and a bounce to it. Some cheeky guitars open it, then a flute joins in with a delicate little strain of sweetness that is eventually overwhelmed by more strings. But that flute isn't going down with out a fight, and reasserts itself, learning to play nicely along with the strings. After two minutes, the whole mood shifts to almost a dance, bits of a menace coming in underneath. It's like a little peasant dance that's being interrupted.

"The Swordfight" is delightful. Parry, thrust, parry, thrust -- even the music is dueling. There are some blithe castanets at the beginning to bring in a Spanish flair as befits Inigo, and lots of worried strings keeping us anxious as to what the outcome of this duel will be. Some trumpets try to butt in triumphantly, but they get pushed back out, and the song twists minor, the strings get dizzyingly busy, and it almost feels like something you'd hear during a swashbuckly silent film where the story has to be helped by the music because there's no dialog.

You can listen to the whole soundtrack on Mark Knopfler's YouTube channel here. And, if you've never visited it, the Official Site is a delight for any Princess Bride fan :-)

(This review originally appeared here at J and J Productions on March 12, 2016.)

Sunday, December 04, 2022

Movie Music: Newman, Ahrens, and Flaherty's "Anastasia" (1997)

I have owned this soundtrack since I was in college. I first saw Anastasia (1997) on Thanksgiving break during my freshman year of college, and I loved it so much, I bought the soundtrack when I was home for Christmas. Anastasia is hardly the stuff historical documentaries are made of, but if you're like me and don't expect your animated movies to be exactly factual, then you can enjoy it for the history-inspired fable it clearly is. The music by David Newman, Lynn Ahrens, and Stephen Flaherty, was nominated for two Academy Awards, though it didn't win either of them.

The first song in both the movie and the soundtrack is "A Rumor in St. Petersburg," and it's so much fun -- it reminds me of the song "The Rumor" from Fiddler on the Roof, as I'm sure it's meant to. After all, both movies are set in Russia in the early part of the 1900s. The song works splendidly to communicate not just the setting, but also tell us the basic plot: two con artists (voiced by John Cusack and Kelsey Grammer) are searching for a girl to impersonate the missing Princess Anastasia to get them a big reward from her grandmother.

Meanwhile, an orphan named Anya (Meg Ryan) with no memory of her past sets off to figure out who she used to be, as the song "Journey to the Past" explores. The music helps us feel the mixture of determination and hesitancy she feels about trying to find out her history. The music swells as her questions give way to optimistic ideas of what she might find on this journey. This was nominated for the Oscar for Best Song, but of course it lost out to a little tune called "My Heart Will Go On." Sigh.

My third selection to share today is "Once Upon a December." I think this is the most beautiful song in the whole score, and the one that best captures the mystery and yearning that run through this film. In it, Anastasia regains a memory of dancing with her father in the palace as a child. It's haunting, isn't it?

Usually I limit myself to three tracks for these reviews, but today I'm sharing one more song. "At the Beginning" plays during the end credits, sung by Donna Lewis and Richard Marx. It's my favorite song on the whole album. This song gives me a happy energy high, and I could listen to it over and over. In fact, I often have :-) My favorite part is at 2:25. My college roommates and I used to belt this song together -- we were all singers, and although we had wildly different musical tastes, we all loved this soundtrack and this song. Ahh, such good memories <3

Dasvidaniya! (Which doesn't mean "farewell" the way Rasputin claims in one of his songs, but is more like "until we meet again," just fyi...)

(This review originally appeared here at J and J Productions on November 18, 2015.)

Wednesday, October 26, 2022

Movie Music: Alan Jay Lerner and Frederick Loewe's "Brigadoon" (1954)

I used to listen to this soundtrack all the time as a teen. In fact, I still have most of the songs memorized, even the minor ones. I'd listen to this while I was doing schoolwork or writing, and hearing it always makes me think of my little corner in the basement where I had my desk, not far from the family computer, which was a 486 and so cool because it played CDs! (Does anyone here even know what a 486 is?)

Okay, anyway, this is the soundtrack for Brigadoon, a musical about a very unusual town in Scotland: it only exists on earth once every hundred years. Two American hunters, Tommy (Gene Kelly) and Jeff (Van Johnson), stumble into the town on that one day, and Gene's character quickly falls in love with a Brigadoon woman, Fiona (Cyd Charisse). Most of the movie takes place during that one day they have together.

"Once in the Highlands" is a lovely, haunting song that tells you the basics of the story before the movie even begins. I guess the show's writers audiences to have extra help wrapping their heads around this kind of odd story. "And this is what happened... the strange thing that happened... to two weary hunters who lost their way..." I like the use of chorus here because it ends up sounding sombre and eerie, and really setting the mood for the story.

"The Heather on the Hill" is the big romance number. Tommy is fascinated by Fiona, mostly because she's not trying to get him to marry her, but also because she's quiet and intelligent and sincere. He's got a girl back in America who is loud and bossy and wants to marry him, you see, and the contrast kind of hooks him. So here, he asks if he can join her in gathering flowers.

After that song, they dance this dance, which I love, partly because it's very different from Gene Kelly's typical jaunty, peppy dancing. Fiona hasn't told Tommy yet that Brigadoon is magical, and in the dance, she's trying to keep herself from liking him because she knows it can't last, but gradually she finds she can't help falling for him. (Her dress has the weirdest neckline ever, though -- it's always bugged me.)

And after dancing together, she leaves, and he sings my favorite song from the whole movie, "Almost Like Being in Love." And dances a much more typical dance, for him. He says "almost," but we can all tell there's no "almost" about him being in love by this point. I'm just going ahead and including the movie clip for this song, partly because I love watching Gene Kelly dance and partly because Van Johnson is so grumpy and fed up through the whole thing that he makes me chuckle. But if you'd rather just listen to the music, you can do that too -- you don't *have* to watch it if you're not all that into musicals or whatever.

That's all for today! But if you want a gently haunting movie to watch this Halloween, I definitely recommend trying Brigadoon for yourself.

(This review originally appeared here at J and J Productions on October 28, 2015.)

Thursday, September 15, 2022

Movie Music: Daniel Pemberton's "The Man from U.N.C.L.E." (2015)

Daniel Pemberton created a fun, retro soundtrack for the 1960s-set Man from U.N.C.L.E. (2015) that perfectly suits the film's upbeat vibe. Pemberton uses lots of period songs from icons like Nina Simone and Roberta Flack, as well as what I think must be European pop music from the era. Several times in the film, these period songs begin as something playing on the radio, then swell to be simultaneously diagetic and non-diagetic, which is a fun way to suck the audience into the film. I'm not going to share any of those today, though -- instead, I'm going to focus on my four favorite original tracks. Rather than a lush orchestral sound, Pemberton chose to write stripped-down songs using only a few instruments, rather like a band in the '60s. The results are, I must say, pretty groovy.

"His Name is Napoleon Solo" has a lovely swagger, but a thread of tension and worry running through it as well. The swagger is for Napoleon Solo, who's being discussed during the scene where this plays, and the tension and worry are for Illya Kuryakin, who is being briefed on this potential adversary early in the movie. The two emotions weave around each other in interesting ways, much like the two characters when they are forced to work together.

"Circular Story" has almost a spaghetti-western sound to parts of it, which at first seems weird, cuz what does a movie about spies in the '60s have to do with spaghetti westerns? Ah, but those are called "spaghetti" westerns because they were filmed in Italy, many during the '60s, and much of this film takes place in Italy, so... it makes sense in the end. (There's even part of an Ennio Morricone song used in the movie, though it's not on the soundtrack.)

"Take You Down" gets used during my absolute favorite moment in the movie, a moment that is glorious, brilliant fun that makes me want to stand up and cheer, though in the theater I contented me with just clapping. It's one of those moments that, when I know it's coming soon, I start bouncing up and down and grinning madly. This song is a celebration of revving engines, speed, and the joy of the chase. The Morricone influence is back here too, with that opening "Wah-wah-wahhhhhh" reminding me so much of the beginning of the main theme for The Good, the Bad, and the Ugly (1966).

"The Unfinished Kiss" is about as different from the previous track as possible. It's tender, wistful, hesitant. But still strong and determined -- such a fascinating contrast!

Well, there you have it: one of my favorite soundtracks, from one of my favorite movies. Ciao!

(This review originally appeared here at J and J Productions on September 8, 2015.)

Tuesday, August 02, 2022

Movie Music: Alan Silvestri's "The Quick and the Dead" (1995)

I, Hamlette, love westerns. You probably know that by now, since I just finished co-hosting Legends of Western Cinema Week for the... fourth year? Something like that.

I feel like The Quick and the Dead (1995) is not an especially well-known movie, so I'll quick recap what it's about: An unknown female gunslinger (Sharon Stone) enters a gunfighting competition on a quest to avenge her father's death. It is a leeeeeetle bit cheesy here and there, but that's more than made up for by the presence of Russell Crowe as a killer turned pacifistic preacher, and of Gene Hackman as the powerful man who runs the town and knows everyone's secrets. There's also a young Leonardo DiCaprio, and Gary Sinise is in a flashback scene. Good cast, good music, satisfying story. It's rated R, though, so watch with caution, as there are some skippable things.

But you don't need any caution when listening to the soundtrack by Alan Silvestri! Here are a few tracks to give you an idea of what the soundtrack as a whole is like.

"Redemption" has such a classic western sound to it, with the whistling, the whip-cracks, and lots of guitar. Really captures the exciting-but-sometimes-dark-and-pensive tone for the movie.

"The Big Day" starts off all edgy and off-kilter, upping the tension handily. It builds slowly, finally reaching a moody climax that conveys more sorrow than triumph.

Back to that main theme again that you heard in "Redemption," only this time it's presented with a clear and determined trumpet instead of whistling. Then, because this is played during the end credits and composers like to do this, it pulls in other themes from throughout the score, so that this one track is kind of a nice overview of the major themes. In fact, it might be my favorite track on the whole album!

Silvestri's score for The Quick and the Dead is one of my favorites to write to, especially if I'm writing action scenes or gunfights. But it's also great when I need a little burst of energy while cooking or doing housework.

(Most of this review originally appeared here at J and J Productions on October 22, 2015.)

Sunday, July 17, 2022

Movie Music: Greg Edmonson's "Firefly" (2002-03)

The soundtrack for Joss Whedon's tragically short-lived TV show Firefly (2002-03) is a lot of fun. Composed mainly by Greg Edmonson, the music is a fascinating blend of east plus west, like the show's culture. You've got twangy banjos and ethereal flutes, pounding rhythm and delicate melodies. It's got such a unique flavor, just like the rest of the show.

"Inside the Tam House" offers a good example of the more eastern music, with lyrical melodies from strings and a flute laid over a trickling piano.

"Mal Fights Niska/Back Home" represents what I think of as the classic Firefly sound -- lots of strings and wind instruments and percussion. I like how this one starts a little slow, then switches to a more actiony vibe, because it definitely gives you the feeling of people facing each other, then starting to fight. Around 1:22, it then flips to the more peaceful and gentle "home" theme that makes me feel cozy and happy.

Hands-down, my favorite track on the whole album is "River's Dance." It's joyful and carefree, which the rest of the album isn't, for the most part. Definitely makes me feel like dancing!

I'm so glad that, although Firefly was short-lived, the powers that be saw fit to release a soundtrack to CD, because I have had many hours of enjoyment from listening to this.

If you've never heard this before, what did you think of it?

(This review originally appeared here at J and J Productions on August 21, 2015.)

Friday, June 17, 2022

Movie Music: Henry Mancini's "Charade" (1963)

Is there any composer at all who embodies '60s cool so completely as Henry Mancini? Yeah, didn't think so. And nowhere does his music exude cool so much as in the soundtrack for Charade (1963). It's a thrilling adventure that stars Cary Grant and Audrey Hepburn and James Coburn and Walter Matthau and George Kennedy, and if you want to know more about it, you can read my review here.

If you like cool '60s movies OR rompy mysteries OR classy, sassy movies with a Hitchcock vibe, then you need watch this movie. But if you don't have time to watch it just this minute, you can hang out here and listen to a few of my favorites from the soundtrack.

"Main Title" has this sexy, lounge-y theme set over some very tense and insistent percussion. Like someone telling you to run away from the bad guys, but be sure to look really fetching while you do so.

"Megeve" has that mellow '60s sound going on -- a good rhythm to keep life moving along, but overall it's laid-back and happy to just hang out in the background while you sip a few cocktails and discuss who's cooler, Frank Sinatra or Dean Martin.

"The Drip-Dry Waltz" comes from that super-famous scene where Cary Grant takes a shower, fully clothed. Oh yes, he does, in his own charming Cary Grant way, and it's a scene almost guarantee it will make you laugh (and want to watch the whole movie -- that's what happened to me. I saw this scene in some sort of PBS program when I was a teen and could not rest until I'd found and watched the whole movie). But anyway, the song is a frothy little bit of adorableness that perfectly matches the scene in every respect.

If you want, you can listen to the whole album here on YouTube!

(This review originally appeared here at J and J Productions on May 10, 2016.)

Saturday, May 21, 2022

Movie Music: Danny Elfman's "Mission: Impossible" (1996)

Way back when this movie came out, my brother and I pooled our money and bought the soundtrack together because we loved the movie so much. We listened to it All The Time. We especially thought it was awesome as background music when we were playing with our Star Trek action figures -- we memorized which tracks were which so we could cue up exactly what we needed for whatever was going on in our tiny fictional universe.

So, today I'm going to share my favorite tracks from the soundtrack. And I'm of course going to begin with the iconic theme song. It's an instant smile-inducer for me :-)

My mom had this book from the 1960s that had the sheet music for the theme song from the original TV show, and I figured out a jazzed-up version of it to match this one and memorized it. Did I mention that I really love this soundtrack (and movie) a lot? Thanks to this, Dick Tracy, and Men in Black, Danny Elfman was possibly my favorite composer in the '90s.

I think my favorite track of all is "Zoom B" because it's basically an adrenaline rush set to music.

But I also love "Betrayal." It's very minor, and feels shadowy, mysterious, kind of chilling.

Okay, that's it for today, my friends. As Jack Harmon says, hasta lasagna!

(This review originally appeared here at J and J Productions on August 15, 2015.)

Thursday, April 14, 2022

Movie Music: Davies, Gordon, and Tognetti's "Master and Commander: The Far Side of the World" (2003)

Today I'm going to share one of my absolute favorite soundtracks with you, that for Master and Commander: The Far Side of the World (2003), which is one of the most beautiful scores I've ever heard. It contains both original music composed by Iva Davies, Christopher Gordon, and Richard Tognetti and classical pieces by Mozart, J.S. Bach, Boccherini, and others. Why the mix? Because the two main characters, Captain Jack Aubrey (Russell Crowe) and Dr. Stephen Maturin (Paul Bettany), play the violin and the cello.

(In the books the movie is adapted from, they first met at a concert, where Aubrey annoyed Maturin by tapping his toe and waving his hand to the beat -- Maturin dismissed him as a gauche musical naif, only to discover that Aubrey was actually a gifted violinist. Not only that, but Aubrey was in command of a ship about to sail that needed a surgeon, and Dr. Maturin was in need of a job, and so an unlikely friendship was formed.)

Here's a scene from the movie where they play a song that's on the soundtrack, part of Mozart's Violin Concerto No. 3:

(Both actors took music lessons so that they would at least look reasonably proficient at playing their instruments, though their performances do not appear on the soundtrack.)

And here's one of my favorite written-for-the-score tracks, "Into the Fog." A lot of the music for this movie is very militaresque, as befits a movie about a British warship that involves a healthy number of naval battles. Lots of drums, some strings, some fifes and other wind instruments. I love listening to it in the morning, when I need to get myself motivated to make breakfast, etc.

And here's one final song, which also happens to be from the end of the film, a snippet of Boccherini's "La Musica Notturna Delle Strade di Madrid No. 6." Or, as I call it, "the song where Aubrey and Maturin pretend they have guitars."

I consider this movie to be one of the finest book-to-film adaptations ever, and I've always been so happy that it has a splendid soundtrack to match.

You can read my review of this movie here, and a Femnista article I wrote about Aubrey and Maturin's friendship is here.

(The bulk of this review originally appeared here at J and J Productions on June 9, 2015.)

Monday, April 04, 2022

My Ten Favorite Elmer Bernstein Scores

Elmer Bernstein would have been 100 years old today! To celebrate the centenary of my favorite movie composer, I have put together a list of my ten favorite movie scores that he wrote. Yes, most of them are westerns. And, yes, almost half of them are for movies that starred John Wayne. Any wonder that Bernstein is my favorite?

All titles are linked to my review of the movie, if I've reviewed it. I've also provided a link to the main theme from each score on YouTube so you can sample them!

1. The Sons of Katie Elder (1965) This soundtrack has such depth to it. Yes, there are a lot of similarities to some of Bernstein's other scores, but I think this score has a much fuller, richer sound than most western scores of the '60s. Listen to the main theme here. It never fails to make me smile!

2. The Magnificent Seven (1960) Sweeping, driving, boisterous music. I know the main theme is probably the most famous western movie theme of all time, but I'm linking to it anyway -- listen to it here!

3. The Great Escape (1963) Jaunty and energetic, then poignant and bittersweet -- there's a lot of range of emotions conveyed by this soundtrack, which is apt since the movie is so epic. Listen to the main theme here. Random fun thing? If I have an "earworm" stuck in my head, whistling or humming this song usually cures me.

4. The Tin Star (1957) Understated and hopeful music that so perfectly matched the general mood of my book One Bad Apple that I listened to almost nothing else while writing and revising it! Listen to the main theme here. It always makes me think of people moving to a new place where they hope to build a new life.

5. The Commancheros (1961) Bouncy and upbeat and exciting music! I often pull this one out when I need to write an action scene because it gives me lots of energy. Listen to the main title theme here.

6. The Man with the Golden Arm (1955) WAY different sound than all the others I've listed here! This is bold and sassy jazz, brassy and fierce. My goodness, I love the main theme so much! Listen to it here. Over and over and over, if you're like me ;-)

7. Big Jake (1971) This is not one of my favorite John Wayne movies, but I like the soundtrack a lot. It has a winsomeness and a sort of yearning that really draws me. You can hear a lot of that in the main theme -- listen to it here. Lots of forward drive too, which I always like.

8. The Ten Commandments (1956) Sweeping Biblical epics require grand and glorious music, and Bernstein delivered in style! You can hear the main theme here.

9. True Grit (1969) Lots of good action and drive here too. I love Bernstein's way with music that makes me want to get on a horse and ride off on an adventure! Listen to the main theme here.

10. Oscar (1991) This is quirky and funny score, which totally suits the quirky and funny movie it was written for! You can listen to one of my favorite tracks, "Grifting," right here. Also quite a different sound from the others listed here!

Friday, March 25, 2022

Movie Music: Fernando Velasquez's "Hercules" (2014)

I almost didn't go see Hercules (2014) in the theater. I tend to enjoy Dwayne Johnson's movies, but I don't know a lot about the Greek gods and goddesses, and the trailers for this didn't really grab me. But I'm glad I did go see it, because it turned out to be a truly fun movie -- not serious, but not too cheesy, either. In fact, I went to see it twice, and ended up buying the DVD too!

You can read my review of Hercules here, and I wrote a Femnista article about it, which you can read here.

Fernando Velasquez's music fits the movie incredibly well, with lots of gutsy action stuff, bold and epic. Hands-down, my favorite track is "Arrival at Lord Cotys' City." It's full of swagger and bravado, and makes me want to hop in a chariot and do a victory lap around the city.

But I also really like "The Lion's Tooth" because it's a complete change of pace from most of the other tracks. It's soft and tender, a quiet moment in the middle of all the mayhem. I like soundtracks that don't sound all the same all the time -- variety is important! Even a big, brawny action movie needs some quiet time, and I like the soundtrack to reflect that too.

Have you seen Hercules? If so, did you also get the biggest kick of how they made his mythical labors believable? I find it so, so clever.

(This review originally appeared here at J and J Productions on May 21, 2015.)

Tuesday, February 08, 2022

Movie Music: John Williams' "Raiders of the Lost Ark" (1982)

Today is John Williams's 90th birthday! To celebrate, I am here today to discuss one of the coolest soundtracks ever. Ever. It's one of those soundtracks that is delicious to listen to by itself, but when paired with its movie, it's just sublime. I am, of course, talking about John Williams' insta-classic score for Raiders of the Lost Ark (1982).

The first track I'll share with you is "A Thought for Marion/To Nepal." I love how expectant it is, beginning with some soft, sweet ponderings, then a little mystery creeping in. And from there, a jolt of excitement, that wonderfully playful Indy theme popping in for a moment. Then it finishes up with a little Oriental flourish to bring in the idea we're going somewhere Foreign and Exotic. So cool!

My next selection is "The Basket Game," which balances playful and fearful so niftily. We're worried cuz Marion gets chased and then abducted, but there's a lot of comedy going on during the chase scene too, so the whole song feels like juggling, doesn't it?

This might be my favorite moment in the whole movie -- when Indy's in the Map Room and the medallion on top of the staff actually shows him the location of the Ark. "The Map Room: Dawn" perfectly captures Indy's expressions there, going from hopeful to awestruck.

"Washington Ending & Raiders March" starts off all sentimental. Indiana Jones has lost his prize. But he's got Marion still, so that's something. The song doesn't waste too much time on his annoyance -- he gets one minute to grouse, and then here comes the most glorious theme song in action movie history (IMHO).

Really, the Raiders March feels to me like eating a giant Snickers bar while riding on a roller coaster with my best friend -- like being surrounded with joy, in other words. I'm sitting here with a big, goofy grin on my face, bobbing my head along with it as I type, and fully intending to hit "replay" as soon as it ends. How about you?

That's all I've got for you today, but if you want to listen to more, the entire album is available for your listening pleasure on YouTube here.

(This review originally appeared in a slightly different form here at J and J Productions on July 8, 2016.)

Saturday, February 05, 2022

My Ten Favorite John Williams Scores

John Williams is probably the only composer whose music is just as familiar to my kids as to my parents. His career has lasted since the late 1950s through now, which is just staggeringly cool. And his ninetieth birthday is February 8, so I am celebrating him this weekend by talking about how much I like his music.

Now, I'm no music expert. I enjoy music. I love soundtracks. I can't tell you what makes a soundtrack good or bad, only whether or not I enjoy it. And I really enjoy a lot of his soundtracks. Not only has John Williams composed some of the most memorable and recognizable theme songs of all time (Star Wars? Indiana Jones? Harry Potter? All the same guy? WOW.), but his music is simply fun to listen to. And he's written for such a variety of genres that there's a little something for everyone, which is always a bonus.

So, here are my top ten favorite John Williams scores, listed in order by how often I pull them out to listen to them (though there are a couple here I don't own on CD, but must listen to as mp3 files or on YouTube because those are what's available).

Titles are linked to my reviews of the movies themselves, where applicable, but I've also included a link to a YouTube version of a favorite or iconic track for each score.

1. The Patriot (2000). A beautiful blend of haunting melodies and insistent themes that fill me with resolve. Listen to the final track here. It brings a lump to my throat just around the three-minute mark. And then keeps building. Glorious.

2. Sabrina (1995). Floating, gentle, sparkling music that perfectly suits one of my favorite movies of all time. This is one of the first soundtracks I bought with my own money, though I have long since upgraded my cassette tape copy to a CD. Listen to the main theme here.

3. Raiders of the Lost Ark (1981). This soundtrack makes me grin and want to go learn to do parkour or ride a horse or something. Such an upbeat batch of music! You can hear the last track here, which has all the good stuff in it, especially that march ;-) Just so classic!

4. Star Wars: A New Hope (1977). I don't think I could separate these movies from this music. They're all tied up so well in one happy and exciting package. My favorite track is probably "The Throne Room/End Credits" because, like so many I'm sharing here, it makes me grin. Also, I seem to have a thing for the last track on a soundtrack? Anyway, you can listen to it here.

5. Indiana Jones and the Last Crusade (1989). More happy, bouncy, let's-run-around-and-have-a-lot-of-rowdy-fun music :-) With some poignant bits here and there, for balance. My favorite track might be "Scherzo for Motorcycle and Orchestra" which you can listen to here.

6. The Rare Breed (1966). If this soundtrack was available as an album for real, it would be way higher on this list. Probably at number two or three. But it's not. All I have ever found is a suite, which you can listen to here. But I love that suite, and I love the movie, so... that's enough to put it on this list.

7. Return of the Jedi (1983). Even though this is my favorite Star Wars movie, I don't pull the soundtrack out as often as the first one. But I really like the medley of "Leia's News/Light of the Force" because it's sweet and gentle... and one of my favorite parts of the movie, heh. Listen to it here.

8. The Phantom Menace (1999). A rather weird case of me liking the soundtrack better than the movie. Especially "Duel of the Fates," which is just one of the best movie score tracks ever. Listen here. It gives me goosebumps.

9. The Empire Strikes Back (1980). Even though this is my least-favorite of the original trilogy, it might actually edge out Return of the Jedi for number of tracks I really like. But when I listen to a soundtrack, I'm listening as much for the pleasure of remembering bits of the movie that goes with it as I am for the music itself, so that bumps this down a few notches. I really like "Clash of Lightsabers" a lot -- so dark and chilling. You can hear it here.

10. Superman (1978). This is the only soundtrack on this list that I do not own a copy of and must listen to on YouTube. I heartily recommend the main theme because it is such an iconic and delightful fanfare -- listen right here. It's so exuberant!

This has been my contribution to the John Williams Blogathon hosted all weekend by Taking Up Room in celebration of John Williams's 90th birthday!

By the way, if you've enjoyed this, I have been sharing an ongoing series of movie soundtrack reviews over the past few months. You can find a list of all of those on my Movie Music Reviews page. I'll be sharing a review of one of John Williams's scores on his birthday, too!

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