Action Music (in movies) in the past VS the present
Morpheus: "You glossed over John Williams..."
I mentioned John Williams in passing as the exception.
In today's movies, for the most part (with the exception of animated films) composers (who aren't John Williams) rely on percussion tracks and slabs of tutti (everybody playing) stabs and swirls of NON-TUNEFUL --sound--for sound's sake.
He's the one composer almost everybody on Earth knows :)
A different kind of action in this psychological thriller, aka fantasy-horror film:
BLACK NARCISSUS, with Deborah Carr and Kathleen Byron.
The mad scene, at film's end, had been fitted to the earlier-composed, shadowy music, which swells with blood-curdling, operatic intensity toward the climax. The clips on Youtube of one of filmdom's scariest scenes, has had, sad to say, its lush and evocative original score replaced with today's pop music. Why can't excellence be left alone? You simply must rent and view the movie. A devout nun and a deranged psychopath: two sides of the same coin.
Horror, psychodrama, and windiness all peak during the meticulously engineered ‘composed film’ sequence that punctuates Black Narcissus (1:31:50-1:35:35). The stalking begins most explicitly with a shock cut (another popular horror convention) to an extreme closeup of Sister Ruth’s abject eyes (1:32:01) that interrupts a serene but brooding Gothic segment where Sister Clodagh’s silhouette gazes out to the mountainside at dawn, her ‘peripatetic’ lantern placed by her feet. (1:30:55-1:32:00). The tension stirred by the thick shadows, slow-moving camera, howling wind, and lilting harp makes this shock cut all the more eerie and compelling. Following this startling cinematic gesture, the floodgates are opened for what is arguably the film’s ‘crowning jewel’, where “Sister Ruth’s climactic stalking features the subjective camera’s restlessly prowling and startling close-ups of red-rimmed eyes, recognizable aesthetic strategies of the horror movie” (189) and more specifically, the ‘slasher’ subgenre that would develop decades later.
JOHN WILLIAMS ROCKS!!!!
seriously terry, you glossed him. You cant just mention him in passing. He is a once in a lifetime talent.
I don't know if these count as past or present, but I've enjoyed:
Maurice Jarre - Building the Barn - Witness
Trevor Jones - Main Title - The Last of the Mohicans
Bob Cobert - Main Title - The Winds of War
John Williams - Imperial March - The Empire Strikes Back
Miklos Rozsa - The Final Mission - Memphis Belle
Jerry Goldsmith - The Parachutes - Air Force One
More movie music I enjoyed. (Again, not sure if it qualifies as past or present)
Bruce Rowland - End Title - The Man from Snowy River
Bernard Herrmann - Prelude and Rooftop - Vertigo
Jerry Goldsmith - The Trees - Medicine Man
Basil Poledouris - Klendathu Drop - Starship Troopers (Even crummy movies sometimes have good scores..)
Bill Conti - Yeager's Triumph - The Right Stuff