Bill Wrobel's DVD - Film Score Rundowns

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Violas play as violins I but an octave lower register. VC/CB play small octave notes. So the tonalities are G min (G/Bb/D) to A maj (A/C#/E) back to G minor in Bar 36. Harp I plays descending “6” sextuplet value 16 th note figures, as well as the celeste (celestial effect!). Flutes play Line 2 G/Bb/Line 3 D down to Line 2 D/G/Bb 8ths up to E/A/Line 3 C# to C#/E/A 8ths, and so forth. Oboes play Lines 2 & 3 D to C# quarter notes to D half note in Bar 36. Etc. I like this star-field cue, much as I liked Goldsmith’s similar observatory cues in Omen III: Final Conflict. I would give this cue a four *** star rating out of five. I would give Goldsmith’s “Trial Run” cue from Final Conflict a glorious five ***** star rating, however! Young’s next relatively quiet cue, “Sil Escapes-Pt. I” is also nice to hear. For an ugly movie I am glad Young decided to offset that with calming music now & then! The initial tempo marking here is “Mysterious & Delicate” in 4/4 time. The vibe and triangle softly sound. The harp plays largely 16 th note figures espr e delicato. Violins I play Line 3 F whole note tied to Bar 2. In Bar 3 violins II play trem at tip Line 1 F down to C 8ths figure 3 X to F quarter note. Non-transposed clarinet I plays this as well. Violas play this small octave Ab down to F 8ths, while non-transposed clarinet II plays the same. Etc. “Sil Escapes-Pt.2” is faster and action-packed as the little girl escapes. It’s very synth and piano “3” 8 th note triplet driven or propelled (running). It’s very functional for this scene but it’s not a “pleasant” cue to hear a lot, but it is dynamic. “Sil Gets Off Train” [2M1] is nice and reflective or “reserved” in 4/4 time. I like it. Some violins start off on Line 4 C tied or sustained whole notes. The other strings in Bar 3 start to play a serene short phrase. The piano and celeste play largely 16 th note figures. “Dan the Psychic” [3M1] starting dvd 00:16:25 is effective with the high strings conveying the empathy quality but with VC/CB on small octave C# repeated quarter notes. The timp is rolled on enharmonic Great octave Db tied whole notes. The bassoon plays tied small octave C# whole notes for the first two bars. The vibes soon sound. Good cue. I did not research much of the score so I’ll let this go as enough for the review. Considering this is a yucky movie to watch (unless you are a diehard sci-fi-horror fan), I am surprised Young gave this a very good musical treatment. It’s a risk doing scores for movies of this caliber (I wouldn’t want it in my resume!) but I guess a composer has to make a living! The Core is a far more digestible or pleasant movie that Young composed for. Arnold, Young, Howard are good contemporary composers, great musical craftsmen. I like John Morgan’s music too, especially in his earlier career when he worked alone (without <strong>Bill</strong> Stromberg as a project partner). But it appears that in the latter phase of his career he decided not to make composing alone as his primary focus of identity. Too bad. I would’ve loved having him compose, say, Star Trek VI directed by Meyer. Morgan has far more of the “old school” sentiment than Howard/Arnold/Young. His influences are decidedly Herrmann/Steiner (who happen to be my favorite film composers!). Unfortunately Morgan largely got involved with “B” (bomb!) low-rate production movies (Aftermath, Empire of the Dark, etc) and never seemed to get an established “in” into the Hollywood system. Producers probably don’t want to involve themselves with an “unknown.” Fred-not-Max Steiner (also another very good composer) also never really got “in” the Hollywood feature film business except in relatively minor ways (helping Goldsmith do some cues for Star Trek:TMP, helping Alfred Newman for Greatest Story 258
Ever Told, etc). Again, too bad. I think he’s a terrific composer. I believe he’s still alive somewhere in New Mexico, but I never hear about him and his activities (I Googled with no success). -Meet the Parents (2001) *** 1/2 http://www.amazon.com/Meet-Parents-Ben- Stiller/dp/B00003CXO1/ref=sr_1_1?s=dvd&ie=UTF8&qid=1292904731&sr=1-1 This is a very funny movie! I remember my wife and I visited Zip Dobyns at her home in Jamul, and then we went to nearby San Diego somewhere to watch the movie at a nice theater. We really enjoyed ourselves. -Helen of Troy (1955) **** [music ****] http://www.amazon.com/Helen-Troy-Rossana- Podest%C3%A0/dp/B0001AVZNA/ref=sr_1_2?s=dvd&ie=UTF8&qid=1292904802&sr =1-2 I already wrote an in-depth 83-page paper on the movie and score: http://www.filmscorerundowns.net/steiner/helenoftroy.pdf I can confirm that it definitely was Geoffrey Toone’s voice that dubbed Sernus’ voice in the movie. Years after I had written my paper I had purchased a Season Two episode of Cheyenne (starring Clint Walker) titled “Big Ghost Basin.” Toone was in that episode and his is the same voice that came out of the mouth of Sernus in Helen of Troy! It’s a terrific voice but I am curious to hear the actual voice of Sernus to see why Warner felt it had to be dubbed over. Another distinctive voice in that Cheyenne episode is Slim Pickens—even more distinctive, in fact. He has a small role with Cheyenne towards the final act of the episode, and he’s great! -Happy Holidays with Bing & Frank (1957) http://www.amazon.com/Happy-Holidays-Bing-Frank- Crosby/dp/B00009QGEG/ref=sr_1_1?ie=UTF8&s=dvd&qid=1292906250&sr=1-1 -2001: A Space Odyssey (1968) **** http://www.amazon.com/2001-Space-Odyssey-Keir- Dullea/dp/B00005ASUM/ref=sr_1_4?s=dvd&ie=UTF8&qid=1292906403&sr=1-4 This is classic sci-fi but, for me, not necessarily a “masterpiece” en total— although Kubrick’s direction is superb, and certain sequences would be masterpiece status (the confrontation with HAL, for instance). -The Violent Men (1954) *** [music ****] http://www.amazon.com/Violent-Men-Glenn- Ford/dp/B0007MAO02/ref=sr_1_1?s=dvd&ie=UTF8&qid=1292906932&sr=1-1 259
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Bill Wrobel’s DVD Collection, Rev
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need to spend time on since I had a
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night. Karnes and the skipper and u
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There is a nice effect in Bar 18 (0
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play this an octave higher register
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have a sweet theme for a major fema
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Bb/Line 1 D staccato notes, while h
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Runs. -Reel 6/2 (#40465), Agitato i
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music by Thomas Newman, well, it’
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the full score was not in that box
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4) F tenuto half note to E to F ten
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By the way, the instrumentation for
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Check out this website for the movi
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especially in stressful and even mi
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to F up to Line 3 C 8ths down to (B
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music for the first time. The writt
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quarter note. After an 8 th rest in
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The next cue is “Tiger” (locate
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The opening of the Main Title by Jo
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http://www.amazon.com/Quatermass-Pi
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Reel 2 a) CHIMNEY SWEEP (Kennedy) P
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(followed by two quarter rests). Af
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-Northwest Frontier (1959) ** [musi
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at the end of Reel 1 is a.) Marsell
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I purchased this dvd from Warner Ar
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Steiner) starting at 00:10:51. Next
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I never did pull the written music,
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Nice, sharp print of the dvd, fine
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8. Trade Winds (Cliff Friend-Charli
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[Super Bowl Sunday, February 06, 20
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next four bars. After an 8 th rest
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half notes and 8 th notes (followed
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tied to 8 th notes (followed by an
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note held fermata. End of cue. The
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says, “My hero.” Dvd location i
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http://www.amazon.com/Dive-Bomber-E
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I am still watching the movie on my
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techniques in 1950 (the year I was
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As for the music, I really like the
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inforzando-marked ( > ) 8ths notes
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This is a curious movie, rather enj
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notes to (Bar 1) middle C rinforzan
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-Skipping to Reel 6/5. 18 pages, 70
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Korngold’s Prince & the Pauper fo
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[6] “Uncle” 2 pages. 4/4 time,
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Line 1 D [written E] half note to D
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inforzando whole note held fermata.
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cave] -Reel 5/1 Molto agitato in C
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except as a combined overall effect
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-Reel 1/3 [Old Man’s Hut] -Reel 2
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quarter rest in Bar 1, CB pluck p p
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thru 10 to (Bar 11) Bb notes to (Ba
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short wavy gliss line to Eb 8 th ti
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34. La Cucaracha - arr. Heindorf
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did not overly impress me beyond th
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I don’t know why the orchestrator
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The “Opening” cue (not sure now
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notes tied to whole notes in Bar 7.
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-Hollow Man (2000) ** 1/2 [music **
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“I’m A Genius” [R1/4] 20 bars
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(Bar 2) small octave Bb whole note
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“No Code” [Reel 5/2] 135 bars,
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the A min (A/C/E). Etc. After two q
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octave F half notes twice (repeated
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quarter notes to D-D 32 nd notes to
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V section (dvd 00:41:49). The Pas d
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-Darby’s Rangers (1957) *** [musi
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http://www.amazon.com/Dragnet-1967-
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-Green Berets (1968) ** [music ***]
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audience that hates a movie be nice
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Vietminh guerrillas in Indo-China,
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plays the pattern as well with the
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est). After an 8 th rest, Pos play
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ar. Clarinets play Line 1 E [writte
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“Camp Foch” (based on a French
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“Mahidi’s Death” Reel 14/A. D
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personally liked the section after
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there’s really not much “there
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The alto flute (on mike) plays p es
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2) Bb down to E down to Line 2 Bb u
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notes. The harp plays Contra-octave
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unless the director and others invo
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-Advise & Consent (1962) ** � [mu
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-Laura Croft: Tomb Raider (2001) **
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Another very good Jack Webb product
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format. Couple it with one of the b
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Communication (memo) from R. J. Obr
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(Bar 3) F# whole note tied to next
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whole note tied to quarter note nex
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9 Scott “ “ “ 00:25 10 Funera
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There are several graphic scenes th
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“messing” with the audience, cr
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This is a delightful, energetic, ap
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Hollander’s cue “Heaven” from
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Bar 14 strings I believe play a ser
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sheep, and then more horses were sc
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although it is no classic. There’
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Kubrick and ultimately Spielberg wa
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Pope. “David Studies Monica” [1
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Violins I in 4/4 time sound p Line
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-A Talk With Hitchcock (1964) *** h
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interesting with the operation scen
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[The Fight] Reel 5/1, Agitato in C
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Page 209 and 210: Good DePalma movie (but not great)
Page 211 and 212: Incidentally, you can see Young bei
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Page 215 and 216: http://www.amazon.com/Return-Vampir
Page 217 and 218: After a half rest in Bar 3, violas
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Page 221 and 222: I actually studied the full score a
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Page 225 and 226: [Vienna Inn Scene] Cue # 7058 (also
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Page 231 and 232: http://www.amazon.com/Seventh-Seal-
Page 233 and 234: “Main Title” Reel 1/1, 10 pages
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Page 239 and 240: In Bar 16 (dvd 00:05:15) we come to
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Page 255 and 256: Skipping slightly to Bar 195 (dvd 1
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Page 261 and 262: This is a decent sci-fi movie but a
Page 263 and 264: Included in this set are the first
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Page 289 and 290: -The Wrong Man (1956) *** [music **
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Page 293 and 294: -Spaceballs (1987) *** 7/8 [music *
Page 295 and 296: -“Driving Home” Reel �. Andan
Page 297 and 298: -Reel 6/1 Revised “When Johnny Co
Page 299 and 300: http://books.google.com/books?id=sr
Page 301 and 302: appetizer, no desert). If you’ve
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The movie never appealed to me but
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the busy-body lady tells people tha
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numbers in Calamity Jane, however!
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I reviewed this dvd on Talking Herr
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yarn) starring the excellent Johnny
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ehearsal of the fight that somehow
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classic!). I loved the actors such
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Back to Poledouris, I would recomme
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“rolling stream ostinati” that
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I discussed my September and Octobe
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The gong is struck in Bar 5.The cym
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Bb/F quarter notes to C/Eb quarter
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[cont.] Vacation Trip] Reel 7/1, 6
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Reel 12 material starts with “Sem
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http://www.lovingtheclassics.com/Je
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-Snows of Kilimanjaro (1952) ** 1/2
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eturning in Bar 4 on middle Cb [wri
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3 & 5. Violins I play Line 3 F# who
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note tied to next two bars. Bottom
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Eb dotted half note tied to quarter
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Line 2 Bb dotted half note to A qua
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he got loose. Of course if the writ
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from her store! Ironically, conside
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Shakespeare, however, and most of t
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note to (Bar 3) F# [written G#] who
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00:59:52) is quite nice, especially
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cinematography and Lean’s expert
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http://www.amazon.com/Naked-City-Yo
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note tied to “3” triplet value
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In Bar 1 the timp is rolled on C wh
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This is not a good conspiracy movie
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-“The Doomsday Machine” -‘Met
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Season Three, “Love’s Old Sweet
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as the bus rising along the desert
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There are five discs here starting
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-The Naked Jungle (1954) *** [music
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his best works. Let’s put it this
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http://www.amazon.com/Drums-Deep-So
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I did like the bluish star field lo
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effect of I believe the stopped hor
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Richard Boone as the good doctor pr
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http://www.amazon.com/Adventures-Bu
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Page Cook (his real name was Charle
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Shortly in Bar 6 the piccolo plays
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phrasing of Line 1 F legato down to
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http://www.amazon.com/French-Connec
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-The Raid (1954) *** � [music ***
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