FSM # 19: Underrated composer/director relationships
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– Zanussi/Kilar
– Wajda/Kilar
– Polanski/KilarLeave it to Kilar to work with some of the most interesting Polish directors. I don’t think I’ve seen a single Zanussi film. Embarassing. But I’ve heard about A WOMAN’S DECISION. For Wajda, I’ve seen PROMISED LAND, which has an uneasy Kilar score. PAN TADEUSZ is also good. For Polanski, it’s easier. THE NINTH GATE is easily my favourite of their work together, followed by DEATH AND A MAIDEN (but that’s mostly Schubert anyway). Should give THE PIANIST another chance one of these days, it didn’t really impress back when it came out.
Christopher Young and Jon Amiel
Interesting choice. I have a soft spot for THE CORE – the film. The music is good too, but rather overbearing on the too-long album. Needs whittling. The best score to come out of an Amiel film was Elfman’s SOMMERSBY anyway.
but more of a composer/producer collaboration is Jerry Goldsmith/Andrew Vajna
Yes, unusual choice with the producer rather than director. FIRST BLOOD is a masterpiece. And MEDICINE MAN, TOTAL RECALL and THE 13TH WARRIOR. They all feature high on my Goldsmith list. Looking him up on Wiki, appears he worked on many films with great scores, also beyond Goldsmith.
Producer Donald Borchers worked 10 times with Jonathan Elias.
CHILDREN OF THE CORN is a classic. Love VAMP. But TWO MOON JUNCTION stands above them all, one of the best erotica scores ever.
Another collaboration that was not named yet was Emir Kusturica and Goran Bregovic.
It’s a classic collaboration, but it gets a little TOO intense with the folk music and the Romani stylings for my taste.
Mauro Bolognini leads the way with 15 films, which I’d say is probably an underrated relationship, given that the ones that immediately spring to mind are Leone (6) and Tornatore (13). If you think about it a bit more, you may alight on Pasolini (8), Corbucci (7) and Argento (5)
All great! My favourite Morricone for each is: Leone – ONCE UPON A TIME IN THE WEST, Pasolini – TEOREMA (but hefty dissonance, my favourite Pasolini is IL VANGELO SECONDO MATTEO, and that’s Bacalov), Corbucci – IL GRANDE SILENZIO, Argento – THE BIRD WITH THE CRYSTAL PLUMMAGE (but again, dissonance goes over my head, I veer more towards Goblin for this particular director).
After Leone, however, my favourite might just be Elio Petri, with seven films in common with Ennio. Definitely underrated, in my opinion.
There’s something “stark” about the Petri works that I’ve always had trouble getting into, but THE WORKING CLASS GOES TO HEAVEN has some good stuff. I even heard bits from this in one of the Morricone concerts I attended.
From relatively highbrow Italian films to the ridiculous, Gerald Thomas and Eric Rogers worked together on 22 Carry On films (if you include “Don’t Lose Your Head” and “Follow That Camel”; otherwise 20).
I know the CARRY ON films are huge in Britain. Never seen a single one or heard their scores. What is it about these that makes them such a big deal over there, I wonder?
Emir Kusturica and Goran Bregovic.
It’s a classic collaboration, but it gets a little TOO intense with the folk music and the Romani stylings for my taste.
Indeed, while I like these brass bands somewhat it is ab it too much. My favorite is clearly ARIZONA DREAM.
I know the CARRY ON films are huge in Britain. Never seen a single one or heard their scores.
I saw several of these as they were often broadcasted – when we had only three channels 🙂 – and they are part of my childhood. However I some years ago looked at one again and I cannot stand the type of humor anymore. It’s not Monty Pynthon after all 😉
Should give THE PIANIST another chance one of these days, it didn’t really impress back when it came out.
The movie or the music? If you’re referring to Kilar’s score: there isn’t much. I don’t think there are even five minutes of original score in the movie. Of all the movie’s I’ve seen, this is clearly the one where Kilar’s score had by far the least impact, it’s perhaps the most negligible score of Kilar’s career. It’s ridiculous that he was awarded with so many prizes for that particular score, but if anything, it goes to show how these awards are given. It’s not the music that matters, it’s the right movie that it’s attached to that matters.
Of course THE PIANIST is a good movie with lots of great music… just not Kilar’s.
As big Miklós Rózsa fan I also find the collaboration between Rózsa and Billy Wilder worth mentioning.
Certainly is. It’s somewhat of a “brood fest”, these scores, but something to get lost in. DOUBLE INDEMNITY remains my favourite.
Probably not underrated by any means but David Lean and Maurice Jarre is another collaboration.
About as classic as director/composer collaborations gets. Not a HUGE fan of the scores, to be honest, although I have both DR. ZHIVAGO and LAWRENCE OF ARABIA in my collection (and I remember loving A PASSAGE TO INDIA as a youngster).
I am not familiar with it but Jarre also worked a lot with George Franju in the 50s and 60s.
I’m aware of LES YEUX SANS VISAGE (1960), but like you unaware of most everything else they did together.
And Jarre worked quite intensively with Peter Weir.
This, however, is rather interesting. DEAD POETS SOCIETY remains my favourite, but there are interesting bits in THE YEAR OF LIVING DANGEROUSLY, WITNESS, THE MOSQUITO COAST and FEARLESS as well. Jarre sr. wasn’t always good with synths (not like his son), but it was fairly decent in these. The barn-building scene in WITNESS, in particular, which would be a good candidate in the montage thread.
And that was reactions to every one of your suggestions so far! It’s rewarding to comment on people’s choices, so it’s not just a thread full of anonymous lists. I recommend it! 🙂
Since I’m listening to Vangelis at the moment, I want to recommend the Vangelis/Frédéric Rossif collaboration. So many of these gorgeous documentary scores remain unreleased, and I’m salivating at the thought of a Vangelis/Rossif box…
Sometimes I think it’s a shame that we can’t just hang around together and listen to music face to face.
That would be nice. I have the ‘next-best thing’ on my to-do list: I have plans to ressurect the Zoom chats, at least for a limited time, but first, I need to get on top of some health issues. And then I need to find someone with a Premium Zoom account we can borrow. I can’t afford one myself, and it’s really the only proper alternative.
Jarre sr. wasn’t always good with synths (not like his son), but it was fairly decent in these.
True although I like even GORILLAS IN THE MIST 😉 For me the a favorite usage of his with sythns and orchestra is AGACUK – SHADOW OF THE WOLVE.
Jarre sr. wasn’t always good with synths (not like his son), but it was fairly decent in these.
What an old school though! With taping LPs on MCs maybe even 😉
True although I like even GORILLAS IN THE MIST
Ugh. I had that CD once, and couldn’t get rid of it fast enough.
I have the ‘next-best thing’ on my to-do list: I have plans to ressurect the Zoom chats, at least for a limited time, but first, I need to get on top of some health issues. And then I need to find someone with a Premium Zoom account we can borrow. I can’t afford one myself, and it’s really the only proper alternative.
Great idea!
Sorry, I don’t have a Premium Zoom account.
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