FSM # 20: Final scores – best and worst?
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What are some of the FILM composer’s best and worst final scores before their death?
Obviously, you can go out on a ‘dud’ of a movie that nonetheless has a good, or okay, score. Goldsmith’s LOONEY TUNES would be such an example — a fairly middle-of-the-road score for a forgotten movie. Vice versa, it’s hard to beat Bernard Herrmann’s TAXI DRIVER — wherein both film and score are considered classics.
Michael Kamen’s BACK TO GAYA and James Horner’s THE MAGNIFICENT SEVEN were both disappointments to me, both films and scores. But things like Ron Goodwin’s VALHALLA, Korngold’s ESCAPE ME NEVER and Rozsa’s DEAD MEN DON’T WEAR PLAID are pretty good. I have like a million of other examples of both good and bad final scores, but I want to hear from you first.
Not much knowledge about this.
What was Max Steiner’s final score?
What was Alfred Newman’s final score?
Henry Mancini?
I have no idea.Yes, it sometimes requires a bit of “homework” (looking them up online etc.), if the final scores aren’t famous. It’s also possible to add an extra part to this query – not only what their final score was like, but also what YOU consider their last great score was. Again, it might require some googling in some cases. 🙂
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).
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. Many Golden Age sentiments in it that makes it sound like it was composed in the 50s, and somewhat at odds with the time period in which it was produced. Even the jazzy love theme. But here’s probably a case where I also consider his final score the last great score.
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).
Another example which I mentioned in the first post: James Horner’s final score was THE MAGNIFICENT SEVEN (2016), released posthumously, but I never liked that much. I consider his last great score to be WOLF TOTEM (2015).
To Horner’s credit, at scoring a remake of The Magnificent Seven you can only lose. But I also wasn’t impressed by that score.
Absolutely great last scores in my book are also Dead Men Don’t Wear Plaid, Taxi Driver and, probably my favourite, Bernstein’s Far From Heaven.
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.
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.
Michael Kamen’s BACK TO GAYA and James Horner’s THE MAGNIFICENT SEVEN were both disappointments to me, both films and scores.
Yeah, the MAGNIFICENT SEVEN was total disaster on all accounts and even taking the lead over that TV series remake of it. ACtually on the first two original movies are really great.
But things like Ron Goodwin’s VALHALLA, Korngold’s ESCAPE ME NEVER and Rozsa’s DEAD MEN DON’T WEAR PLAID are pretty good.
Agree on those. Korngold wrotte so few score that there is no real bad one. Although I prefer ROBIN HOOD or SEA HAWK.
I think Goldsmith’s last three scores are all terrific, including Looney Tunes Back in Action, which is wonderful, full of life and very catchy, fun music.
Would be hard to beat Bernard Herrmann, who went out with a bang with Taxi Driver.
Leonard Rosenman’s final score is Jurij, which is a very beautiful score. Never saw the movie, but the score is wonderful, definitely a high point. For those who think Rosenman was always harsh and atonal, this one is more akin to the East of Eden type of Rosenman.Although I prefer ROBIN HOOD or SEA HAWK.
Same here. Robin Hood is one of the few Korngold scores, that work well as a musical work on its own. Sea Hawk is like many other Golden Age scores an annoyingly stressful enterprise full of beautiful highlights.
It’s good that Herrmann managed to finish Taxis Driver. Obsession would have been quite a lukewarm finale.
Anyway, there are some living composers who in my view have their best time behind them and I don’t expect them to finish their career on a high note. Howard Shore will not be able to top his LOTR scores. Alan Silvestri does what he does, it’s never really bad but also mostly not what I would call outstanding.
But I am sure with the right canvas James Newton Howard could still be creating something grand.
Same here. Robin Hood is one of the few Korngold scores, that work well as a musical work on its own. Sea Hawk is like many other Golden Age scores an annoyingly stressful enterprise full of beautiful highlights.
As much as I love the Morgan-Stromberg complete recordings the older Kojan ones are still great, too. I am still puzzled that CAPTION BLOOD never got a proper re-recording despite those suites.
No, it was his second-to-last, I think. The last was Tornatore’s LA CORRISPONDENZA (2016), which is an excellent score with some surprising Pink Floyd/Dire Straits vibes on occasion. Fine score. But I think his last truly GREAT score was FATELESS (2005), which – incidentally – is also my favourite Morricone score.
Thanks for the info.
By the way, I wish we had a like-button here in the forum to be able to easily show appreciation for certain posts. Maybe such a feature would also boost the member activity.
I think a ‘like’ button was discussed earlier, in the “Forum Feedback” thread or somewhere else (please check that thread now, btw, as Malte has a query for all of you).
Georges Delerue’s final score was the family drama RICH IN LOVE (1992), I think. A rather unassuming film by his frequent collaborator Bruce Beresford, but the score was a perfect distillation of the composer’s bittersweet stylings, and a fitting adieu. Still, I think his last truly GREAT score was BLACK ROBE, which came out the year before. One of my favourite Delerue scores, if not THE favourite.
By the way, I wish we had a like-button here in the forum to be able to easily show appreciation for certain posts. Maybe such a feature would also boost the member activity.
I had quickly looked a while ago without real luck: https://celluloidtunes.no/forums/topic/forum-feedback/#post-4637
I can do again when I get the time as I see that it makes sense not to always reply with “I agree” or something like that only…Still, I think his last truly GREAT score was BLACK ROBE, which came out the year before. One of my favourite Delerue scores, if not THE favourite.
We had it before I think but I love it as well.
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