Intrada Soundtrack Forum

When the LP of LINK was released in 1986 I was already a veteran Goldsmith collector who tried to see every film he scored (at least twice -- once for the picture, later once again to study the dramatic context after I got familiar with the album). If a new record came out and happened to hit stores before I saw the movie, all the better; because then I could notice more about Goldsmith's approach on the first viewing! But heard away from the film, the LINK score seemed to me like a disaster. I played the whole album but don't think it even held my interest for its duration. And since the only review I read (partially) of the film was a solid pan, I decided I'd catch it at a cheaper, second-run theatre. That didn't happen: LINK ran just a week in Chicago (at a single theatre, I believe), then vanished.

HOWEVER -- sometime after its video release I dutifully rented LINK for Jerry's sake (and it really did feel like a duty). Well, even on VHS that first viewing of LINK was one of those revelations which restore the faith of lovers of both movies and scoring! The film is much more creepily effective AND original than limited public opinion seems to hold; but an informed reaction to Goldsmith's music was startling. Rather than the disaster I had first thought, watching the picture finally made me recognize the score as a masterpiece! (Heck, even the album's cue titles reflect that genius I still miss.)

While LINK is a score I'll never play very often, I still admire it -- just as I added it to my DVD library for being worth watching (apart from standing as a Goldsmith showcase). It became one of my prime examples about judging scores before you've seen their films.

ISLANDS IN THE STREAM gets mentioned now, but for a different initial reaction. I saw and loved the movie in its local opening weekend in 1977. But it left me additionally sad because the theatre was almost empty (making me expect the film would remain undeservedly obscure), as well as because the music disappointed me. I had immediately loved the opening, sea-inspired, rise-and-fall of the woodwinds, in the main title and throughout the score. But despite such impressive cues as "The Boys Arrive," "Pillow Fight," "Is Ten Too Old" (which has to be the wrong title), and the unreleased Cuban Coast Guard escape cue, initially I found Goldsmith's main theme uncharacteristically bland. Luckily, I got opportunities to change my mind.

ISLANDS didn't last long in first release. Happily, though, it started popping up pretty often in second-run theatres as a co-feature to other, often more-popular movies over the next few months. Whenever I saw it was playing somewhere again I'd go see it one more time, whether by myself or dragging someone else along. And practically each time I sat through the film again, there was some different point where I would think to myself, "Wow -- I didn't even notice that cue before!" Eventually I realized that this film so "pulled me in" dramatically, that I needed maybe six theatrical viewings before I could divert the emotional focus to pay serious attention to that score. (When the main film critic of Variety reviewed the picture, he reported that "Jerry Goldsmith's score is effective while being spare." So mine wasn't a unique reaction!)

The ISLANDS main melody is far more restrained than what I was used to about Goldsmith when I was 23; but its approach serves the movie exactly, and brilliantly. I had to grow to appreciate it. Years before I recognized the film as one of my official 10 favorite movies, its music already had become one of my top favorite film scores. It never received an official release, so I was doubly thrilled when Intrada issued their re-recording in 1986 -- first to have an album at last, but also to learn from the liner notes that the composer at that time considered it his own favorite score.

From being slightly dismissive of the ISLANDS score on first viewing, it rose to become one of three LP jackets (along with THE SAND PEBBLES and UNDER FIRE) which I brought and presented for autographs, when I traveled for what turned out to be my sole occasion to meet Goldsmith in person, at a 1989 concert in Michigan.

I had the sense not to tell him what I had felt about ISLANDS originally. But I feel I've made up for it since, with enthusiasm and my sharing this film with people over the years.

Two of my abosolute favorite Goldsmith scores are ones I did not like on their first spin, so because of that I give each score three chances. Over time mind you, but still get it. A number over the passed year have failed their third chance. Up on the chopping block next is Trevor Jones' "Thriteen Days".

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Great stuff on "Link" and "Islands in the Stream", Steven Lloyd!

I loved the score to "Basic Instinct" the first time I heard it. Yet I hadn't seen the film. Amazingly, once I had seen it my fond feelings for the score somehow increased. I was stunned by how Catherine's theme was so intricately wed with her character. When you hear those clarinets it's like it's her voice transcribed in music. "Crossed Legs" still gives me chills; so subtle, but so expertly executed. Same goes for "She's Really Sick" and "Morning After". The action sequence where Michael Douglass chases Roxy gets my blood pumping not only for Verhoeven's succinct direction, but also for Goldsmith's incredible mounting rhythms. This is a score that knocked me over on first listen...and then wouldn't allow me to get back up again after hearing it many times and after viewing the film.

Horner's Aliens.

When I saw the film in '86, I was appalled at the blatant, uncredited lift from the "Gayane Ballet Suite," and like Pauline Kael, I thought (and still do, for the most part) that the entire enterprise was one giant, soulless mechanism, with the composer's anvil chorus egging it all on.

I've since read that Horner wasn't that keen on the militaristic compositions nearly mandated by Cameron, but I now realize it was the proper choice. And the Gayane crib doesn't bother me as much anymore, either. Hell, if composers can quote "Dies Irae" ad nauseum to this very day, then certainly Horner can be allowed his moment with Khachaturian. And damn it all if it doesn't work in the end. "Futile Escape" is now one of my favorite comfort cues. Go figure.

Ricochet. I wasn't too fond of Alan Silvestri's work when I saw the movie at first, but after buying the album it really grew on me... more enjoyable than Death Becomes Her, for a start!

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Alien 3 by Goldenthal...boy did I hate the movie when I saw it 1992.
(mostly for the depressing ending) I didn´t find Goldenthals music very exciting either, but years later come to love it and it is up there with Aliens (and Alien). The emotions played out during the burial scene and the ending almost brings tears to my eyes now. The Chase themes thru the tunnels are fantastic...

Alien by Goldsmith worked fine in the movie , but my LP didnt get played alot at all, but I bought Intradas CD of it anyway and gave it another shot, and now I love it as much as Aliens and Alien 3. Goldsmith did something here that I didn´t understand back then but now fully embrace and love.

Then we have Kilars Bram Stokers Dracula and Doyles Mary Shellys Frankenstein that both are bombastic moviescores that works as good and effective as a score should do in a movie.These also grew on me during the years and belongs up there with the Alien triology now. I really hope Elfman will do the same with Wolfman when it arrive 2009. (Morricone did fine with Wolf. but it is rather dull to listen to on cd, sorry to say)

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