Happily, it is not the responsibility of this review to address in detail the train wreck that was the 1979 film adaptation of the stage musical Hair. A complete misfire conceived by a screenwriter, Michael Weller, and a director, Czech expatriate Milos Forman, who did not seem to have the slightest familiarity with hippies, the '60s, America, or even Broadway, the movie was miscast with supposedly bankable young film stars of the day (Treat Williams, John Savage, Beverly d'Angelo), and the essentially plotless libretto of the stage version was replaced by a contrived Hollywood script in a textbook example of how not to do an adaptation. But never mind the movie itself…
This soundtrack to the popular 1982 animated film based on the acclaimed children's book by Peter Beagle was scored by songwriter/composer Jimmy Webb ("Wichita Lineman," "MacArthur Park") and features performances from the soft rock duo America. The score itself, an appropriately somber and sentimental blend of fairy tale motifs and dark, Wagnerian cues, reflects the story's achingly beautiful tale of a unicorn who attempts to overthrow a maniacal king determined to rid the world of the magical creatures, while the songs are far more creative, daring, and eloquent than all of the cookie-cutter balladry that would eventually replace their type in future animated films. Like Watership Down, The Hobbit, and even Robert Altman's live action, Harry Nilsson-scored Popeye, this hard to find soundtrack is a gem from another age.
In 1970, Ashton, Gardner & Dyke somehow ended up supplying the soundtrack music to an obscure Western starring football star Joe Namath. Also important to the soundtrack's composition and performance was Deep Purple's Jon Lord, who co-wrote the score with Tony Ashton and shared keyboard parts with Ashton as well. Like many soundtracks, it's a jumble of pieces that might have served adequately as background music to specific scenes…
Jerry Goldsmith has always scored well with ethnic settings and a chance to play to the grand vista's of the African wilderness was an opportunity not to be missed. Congo, the movie, was an attempt to cash in on Crichton mania after the massive success of Jurassic Park. But Congo, the book was not a major success and a movie version had been talked about before back in the early eighties under the direction of Crichton himself and with Goldsmith scoring. This was aborted and some would say Congo still hadn't improved enough to warrant a major summer movie event in 1995. Congo wasn't that well received by critics but it didn't stop it from going on to make some good international box office though. Goldsmith begins with a celebratory opening for the plains of Africa introducing an enthusiastic African vocal from group Lebo M. Goldsmith has always done well with instrumental support to vocal arrangements and this is no exception.
is a 1975 musical film starring , , , , and . A sequel to the 1968 film , it is a highly fictionalized account of the later life and career of comedienne and her marriage to songwriter and impresario . The screenplay was by and , based on a story by . The primary score was by and . It was directed by .
It has taken eight years and over 130 CDs but FSM finally releases a score by the great Ennio Morricone: Guns for San Sebastian (1968), commonly known as a western but more accurately a historical adventure set in Mexico circa 1750. The film stars Anthony Quinn as an outlaw who is mistaken for a priest and protects a humble village against a violent tribe of Indians; Charles Bronson is the antagonist and Anjanette Comer the love interest. Filmed in Mexico, the international production is a sunburnt, action-packed look at a violent time in colonial Latin American history. The late 1960s were an especially fertile period for Ennio Morricone, whose prolific genius has enhanced hundreds of films for over 40 years. By 1968 Morricone had already scored the groundbreaking Dollars trilogy for Sergio Leone—establishing the revolutionary style for the "spaghetti" westerns—and Guns for San Sebastian preceded their western masterpiece, Once Upon a Time in the West.
This is the excellent soundtrack album to the 1988 movie "Buster" starring Phil Collins in his feature film debut as a famed British thief. Phil also contributed to the film's soundtrack album, and the "Buster" soundtrack does have a lot of great tunes on it, not only the two big #1 hit songs from Phil, "Two Hearts" and "A Groovy Kind Of Love," but also some classic 60's tunes from the likes of Sonny & Cher, The Spencer Davis Group, Dusty Springfield, and Gerry & The Pacemakers. Phil also contributes another pair of great songs, one sung by The Four Tops ("Loco In Acapulco"), and the up-tempo, rhythmic fun of "Big Noise," while Anne Dudley composes the fine orchestral music, which is sprinkled throughout the soundtrack album (including "The Robbery," featuring Phil on drums). I'm disappointed that the movie didn't do particularly well, but Phil did give an excellent performance as Buster, and he also delivered a great little batch of tunes to the soundtrack.
Washington Square is a 1997 American drama film directed by Agnieszka Holland. The screenplay by Carol Doyle is based on the 1880 novel of the same name by Henry James, which was filmed as The Heiress in 1949. The film score of Washington Square was composed by Jan A. P. Kaczmarek.
The soundtrack to Christina Aguilera's silver screen debut Burlesque shines the spotlight on Xtina, who is in full-bore diva mode – a return to the splashy swing of Back to Basics after the robotic R&B of Bionic. Of course, many of her collaborators from Bionic remain on Burlesque: Tricky Stewart is responsible for the glitzy dance, and Sia Furler co-writes the ballads, their contributions slotted between two Cher songs designed to push the narrative forward, two Etta James covers, a slice of heavy camp in the mincing "But I’m a Good Girl", and a Nicole Scherzinger co-written interpolation of Marilyn Manson's "The Beautiful People" that provides a bewildering conclusion to this soundtrack. Some of this stuff is quite good, particularly when Christina swings her hips to Etta's lead, bringing to mind the zest of "Ain’t No Other Man".