[Malte Müller]

Have to think a bit as I don’t remember exact last scores right now.

Goldsmith’s LOONEY TUNES would be such an example — a fairly middle-of-the-road score for a forgotten movie.

TIMELINE was the second to last I think and is a much better work. Although doesn’t match earlier great works by him for me.

So to use your examples, Max Steiner’s final film score appears to be THOSE CALLOWAYS (1965), which I’ve never seen or heard. I was never a big Steiner fan to begin with, so hard to say what I consider his last great score. I simply haven’t heard enough. Maybe THE CAINE MUTINY (1954).

Steiner’s music is good suited for suites. The Gerhardt disc is a great example. Favorite scores for me a KING KONG, TREASURE OF THE SIERRA MADRE or SHE for example. I think I haven’t heard THOSE CALLOWAYS.

Henry Mancini’s final film score is THE SON OF PINK PANTHER (1993), which I haven’t heard. But I really like his second-to-last, TOM & JERRY: THE MOVIE (1992).

I would call it competent and elegant routine totally fitting the PINK PANTHER score (my favorites PANTHERS are the first and REVENGE).

Alfred Newman’s final film score was famously AIRPORT (1970). I like the score as an album, but it was quite odd in the film.

I love the main title which in contrast doesn’t sound to Golden Age like.

I also googled John Barry’s last score, Enigma, which left me quite cold at that time. Barry’s last score that really knocked me off my feet was Dances With Wolves anyway.

Same for me, although even that was a kind of “best of” later Barry.