loading
reading
writing
saving
searching
Flint! (Derek not Dibble)
QR Code Link to This Post
https://youtu.be/rFsGnE-1bIc
https://youtube.com/playlist?list=OLAK5uy_kiUVATaKbEz99ESp3_gtxvGYjE_WVem-M
Jerry Goldsmith
"In Like Flint" / "Our Man Flint" (Soundtracks)
····
It takes months and months to make a superb movie. It takes just as long to make a lousy one. And long before you're finished, no one knows which one you're making. That's why Hollywood is famous for fortune tellers of all kinds, from reading tea leaves to inhaling them.
But there is one point where it all looks great. That's the day you hear Jerry Gold-
smith's score for the first time. With that music behind it, the girls look beautiful again, the jokes sound funny and there is a sound as of cash registers in the distance. Thus we go bravely onward.
As an example of just how bravely, I note that we don't have a title song. It's not just
that we couldn't think of a rhyme for FLINT- it's just-well, when you see the girl carrying on behind the titles you see why words failed us. ("Our Man Flint." Side A, Band 1.) No sooner does FLINT rescue GILA from the Preparation Room (where beautiful girls are programmed for amorous service) than he has to take her to the Reward Room. What's in the Reward Room? As GILA tells FLINT-("Never mind, you'll love it." Side A, Band 2.)
What would you do if you and five gorgeous girls were caught in an exploding volcano while the whole U.S. Fleet stood by, unable to help? Right. Just what Flint does. ("It's gotta be a world's record." Side A, Band 3.)
OUR MAN FLINT is a singular picture, except where it comes to girls. There it is
extremely plural. Flint himself has a staff of four, each with her own domestic function. ("Man does not live by bread alone." Side A, Band 4.)
Which makes him just the man to get the keys to the enemy safe from the beautiful,
enigmatic Miss GILA, who will only part with them at an undercover price. ("You are
prepared to take some risks, Mr. Flint?" Side A, Band 5.)
Among those risks is a perfumed Roman night with a girl who smilingly admits she's
tried to kill him twice before. FLINT knows he's being seduced, but what the hell - as long as he gets the information... ("Tell me more about that volcano." Side A, Band 6.)
But even if OUR MAN FLINT is not exactly chaste, he is certainly chased. From the
giant drill gouging into the center of the earth, up moving belts to dizzy mile-high steel scaffolding where they corner him at last. ("You're a foolish man, Mr. Flint." Side B, Band 1).
Since Flint is so good at getting into tight spots, he finally outsmarts himself. This
time the cage is a ten-ton walk-in safe. He's got the secrets, they've got him. ("In Like Flint." Side B, Band 2.)
But back to the Reward Room. Actually it is many rooms-a kind of uninhibited
fantasy land for imaginative adults. Care for the pleasures of Imperial Rome? ("Doing as the Romans did." Side B, Band 3.)
Or maybe you dig that stand-up action? ("Galaxy a Go-Go or Leave it to Flint."
Side B, Band 4.)
Or maybe it's a languorous tropical setting-palm trees, gentle music and smiling.
exotic girls. Even FLINT is dazzled by it all. ("All I have to do is take a bite of your apple?" Side B, Band 5.)
And, of course, the finale-the big blast. While the U.S. Navy and the assembled.
powers of the world stand by and the Commander in Chief prepares to surrender, guess who saves the day in the nick of time? ("Stall dammit, stall... Flint's alive." Side B. Band 6.)
Musicologists please note the use of weird electronic sounds, produced by torturing a Thomas Organ and a Solovox. Aficionados will no doubt recognize Shelly Manne on drums, Ronnie Lang on alto sax, and Bob Bain and Al Hendrickson on guitar.
-- SAUL DAVID, Producer
(album notes)
--------
Jerrald King Goldsmith (February 10, 1929 – July 21, 2004) was an American composer, conductor and orchestrator with a career in film and television scoring that spanned nearly 50 years and over 200 productions, between 1954 and 2003. He was considered one of film music's most innovative and influential composers. He was nominated for eighteen Academy Awards (winning in 1977 for The Omen), six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, and four British Academy Film Awards.
He composed scores for five films in the Star Trek franchise and three in the Rambo franchise, as well as for films including Logan's Run, Planet of the Apes, Tora! Tora! Tora!, Patton, Papillon, Chinatown, The Omen, Alien, Poltergeist, The Secret of NIMH, Medicine Man, Gremlins, Hoosiers, Total Recall, Basic Instinct, Air Force One, L.A. Confidential, Mulan, Rudy and The Mummy. He also composed the current fanfare for the Universal Pictures logo, which debuted in The Lost World: Jurassic Park.
He frequently collaborated with directors including Paul Verhoeven, Franklin J. Schaffner, Richard Fleischer, Fred Schepisi, Michael Crichton, Jack Smight, Gordon Douglas, J. Lee Thompson, Paul Wendkos, John Frankenheimer, and Joe Dante.
Goldsmith was born on February 10, 1929, in Los Angeles, California. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer. His grandparents were Jewish immigrants from Europe. He started playing piano at age six, but only "got serious" by the time he was eleven. At age thirteen, he studied piano privately with concert pianist and educator Jakob Gimpel (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.
At age sixteen, Goldsmith saw the 1945 film Spellbound and was inspired by Miklós Rózsa's unconventional score to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College. There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.
In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin. There he began writing scores for such radio shows as CBS Radio Workshop, Frontier Gentleman, and Romance. ... -- Wikipedia
----------/
Great Instrumental Music