Intrada Soundtrack Forum

A good friend of mine roomed with me for about 6 months when I was still in Arizona back in 2005 due to some personal problems with his girlfriend and a need to be closer to where we worked because of a suspended driver's license.

Andy is a big movie fan, but was unschooled in older movies I'd show because he was born in 1974 and I was born in 1956, a little bit of a gap there. He fell over himself watching THE SAND PEBBLES, CHINATOWN, THE WILD BUNCH, THE GETAWAY, any number of movies he finally saw staying at my place. He came to really enjoy listening to movie music while he was reading back in his room and commented on any number, Garcia's THE TIME MACHINE comes to mind.

I gave Andy a spare copy of Intrada's BRING ME THE HEAD OF ALFREDO GARCIA purchased in error in duplicate as a token when he moved out in early 2006. Shortly before I moved back to Dallas about a year later, Andy, his brother Stan and I were drinking beer at a sports bar in Gilbert, Arizona one hot fall Sunday and Stan commented on my interest in movie scores. Andy said, "Don't knock it, it grows on you!"

About a month ago he called me on my cell while he was driving home from work listening to ALFREDO GARCIA to rave about how much he liked it!

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WE HAVE COME TO VISIT YOU IN PEACE AND WITH GOOD WILL.

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WE HAVE COME TO VISIT YOU IN PEACE AND WITH GOOD WILL.

I had been holding off on this one, but at the low quantity alert, I ended up ordering The Boys From Brazil last week. It arrived in the mail today, and I just finished listening to this score. Excellent! This is some wonderful, rich, orchestral film music. By turns exciting, terrifying, reflective, and joyous, Goldsmith put a lot into this one. The Nazi motif is addictively menacing, and the jubilant main waltz gets some fine variations. I'm not sure what to make of the elegaic motif (the one featured in "Jungle Holocaust" and in the aftermath of "Print!"). Not having seen the film, just judging from the liner note descriptions, it seems to reflect the ambiguity of the situation that the cloned boys are in. It seems to almost champion them--they've done nothing deserving of their history so far--all the while being wary of the possiblities wrapped up in them, and acknowledging the sadness of the whole mess. Am I totally off base here?

At any rate, this is a wonderful score. If you're a Goldsmith fan (especially his '70s-early '80s orchestral work), and you can put out the money somehow, do yourself a favor and grab this one before it's gone.

I finally cracked open my copy.

Boy, just like LOGAN'S RUN, there is so much more here that is NEW. I can hear parts that remind me of GREAT TRAIN ROBBERY (the lower string writing), COMA and a lot of other things that he wrote for 1978.

Thanks, Intrada.

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DavidinBerkeley

"Ask [the director] where the camera comes from and I'll tell him where the music comes from" (David Raksin)