Jerry Goldsmith maintains he wrote his best work for director Franklin J. Schaffner. With Planet of the Apes there was so much to be intellectually stimulated by, it's intriguing to consider what he might have put together under another director's mind-set (like the largely conventionally scored four sequels). There's no indication of music in the Ape culture; the film's heroic focal point ...
Manufacturer: Fox Classics
Risk-taking and exhilarating, Alex North's music for Elia Kazan's A Streetcar Named Desire (1951) explores a territory bounded by jazz, modernist currents, and the composer's idiosyncratic poignancy. Anticipating the rhythms of Leonard Bernstein's West Side Story by six years, North's use of jazz was a perfect choice given the unsparing of this Tennessee Williams drama, once ...
Manufacturer: Varese
Manufacturer: Varese Sarabande
Unified in its resolve, aware of its filmic origins, and imaginative in its materials and orchestral thought, Jerry Goldsmith's Oscar-winning score for The Omen is a post-modern classic. Genre enthusiasts will remember the story of a married couple (Gregory Peck, Lee Remick) who adopt a five-year-old boy only to discover that he is the Anti-Christ. Written for mixed chorus and orchestra, ...
Manufacturer: Decca
Not many Goldsmith tunes can claim to have gone on to be popular songs of their day. "And We Were Lovers" (lyrics by Johnny Mercer) from The Sand Pebbles ranks among the few and is a curiosity in as much as the film it was derived from hardly qualifies as romantic fluff. The Yangtze River of the 1920s is a background of turbulent waters to the political and racial intolerance ...
Manufacturer: Varèse-Sarabande
