Thor Joachim Haga
Forumsvar Lagt Inn
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Innlegg
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Thanks, Gerate! We had a member here called “Captain Future” (aka Volker) back in 2018. He seems to have disappeared(?).
But yes, Martin Böttcher is great. I don’t own any soundtracks by him, but I’ve sampled some over the years. Same with Peter Thomas.
I believe he worked on TATORT, as did a lot of composers (including Doldinger). I feel like there’s a treasure trove of unreleased music there to be discovered and/or released.
I forgot to mention Frank Duval’s gorgeous BITTE LASS DIE BLUMEN LEBEN, btw, a composer who also worked on DERRICK.
I’ve heard of him, but don’t think I ever heard any works. Thanks for the link.
I’ve been following (sort of) the work of Gabriel Prokofiev in recent years, although the music has very little to do with his grandfather.
Let’s add some comments to our “Now Playing” images.
This isn’t normally a type of score I gravitate towards anymore (big and bold, orchestral action film music, with some electric guitars thrown in), but once upon a time, i.e. the 90s, this was the best thing ever. And this score is exactly from this period. So although I came to it late, probably some 10 years ago, I appreciate its “joie-de-vivre”, so to speak.
Yeah, I think that’s just part of the general dismantling that happened in the years following 1948, or rather the re-organization into something else.
Great list, Malte!
Well, I normally would count Golden Age until around 1959 and had totally missed that at first.
Well, there’s no 100% answer. But generally, 1948 is used as the cut-off point because the Paramount verdict ended vertical integration, and television challenged feature films. So it’s generally seen as the fall of the classical “Golden Age” Hollywood studio system; they at the very least had to re-think their strategy (with indie films, spectaculars etc.). But I know that the late, great David Bordwell extended the type of films made until about 1960 in his seminal book Classical Hollywood Cinema (1985), even if the studio system was rather different after ’48.
So just a convenient cut-off point for lists and recommendations like these.
Ugh. You’re right. Don’t know what happened there. Scrolling my iTunes collection too quickly, without double-checking dates, I suppose. Anyways, replaced with GULLIVER’S TRAVELS and THE ADVENTURES OF MARCO POLO.
I always think it’s funny that so many film music fans of a certain age taped music off of the TV. I can understand it, as it was often the only way to get that music at the time. But I never did this myself.
I had to go search for your aborted review now, Sigjørn, and yes, found it — THE PHANTOM OF THE OPERA! Didn’t quite do it for me, but it had some highlight tracks.
In addition to GET CARTER, I’m a fan of SOLDIER BLUE, FEAR IS THE KEY, MAN AT THE TOP and MAMA DRACULA.
Didn’t Joep speak about doing something similar, i.e. “blocking” his scores into categories for different styles? We should get Joep over here.
I think ‘must-have’ and ‘favourite’ are more or less interchangeable in this case. Must-haves to YOU. Listings of just classic, important scores would be far more boring.
Of course, the cutoff point at 1948 means that I can’t choose my favourite score by some of these. My favourite Waxman score is PEYTON PLACE, for example, but that came out in 1957 and hence too “new”.
Good to hear there’s some interest in here.
A few weeks ago, I did thread on under-the-radar synth scores on FSM — some pretty good recommendations in that. I pretty much exhausted my own collection in my 3-part list as well:
https://www.filmscoremonthly.com/board/posts.cfm?threadID=159135&forumID=1&archive=0
