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SCORE! Top 20 Film Scores of 2012 (pt. 2)

Happy New Year! It’s 2013 but we’re not quite done looking back at 2012, with our year-end Top 20 Film Score Countdown. We’re moving now into even more emotional territory – exploring sounds which will surely stir your soul!

15.) ÉsimésacMichel Corriveau

Ésimésac

I don’t know much about this French film by Director (and Starship Enterprise captain) Luc Picard, and the un-subtitled trailer doesn’t help matters much either. What I do know is that it seems to be a visually stunning fable about a magical village. And that the soundtrack, which I found on emusic entirely by chance, kicks a whole lot of ass. Lyrical, beautiful, it’s simply a well crafted piece of music the whole way through, with intertwining melodies full of guitars, piano, the whole shebang. Emminently listenable without having even seen the film, it’s an emotional journey which conjures all sorts of fantastic feelings. Let’s hope the visuals live up to the music!

Here’s the opening track, “Sur ses épaules”:

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Here’s track 3, “Marie”:

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14.) Der AusflugBeat Solèr

Der Ausflug

More music from a film I haven’t seen or even know much about, with another (this time German) un-subtitled #” target=”_blank”>trailer to pique our interest. This tale of a family’s disastrous trip into the woods by Mathieu Seiler is a low-budget affair, making the soundtrack even more important – since ambiance and mood can heighten production value and make any film look great. Enter Beat Solér, who’s crafted a dark and ominous fairy tale score full of gongs, dissonant piano trills, ethereal vocals and steady low end strings – but plenty of beautiful passages too, which we know from Prokofiev‘s Peter and the Wolf is a perfect way to build tension: when the melody is sweet you can just sense something terrible lurking beneath. Not the scariest score of the year (Christopher Young’s Sinister score is scary to the point of being nearly un-listenable) but very good, especially if you enjoy synthy low-key Goblin fare from the 70’s.

Here’s track 1, “Der Ausflug Main Theme”:

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Here’s track 8, “Enter the Forest”:

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13.) End of WatchDavid Sardy

End of Watch

The score to David Ayer‘s End of Watch opens with Public Enemy‘s awesome “harder than you think,” a hard anthem to follow, but composer Sardy is up to the task, with a score full of muscular riffs breaking down into fragile piano before exploding again, emulating the start-stop suspenseful nature of this fantastic film. Percussion melds with electronics to create a ticking time bomb of adrenaline you’d expect from a Muse or Tool album, and even at just over 20 minutes of original material (complete with Joshua Homme‘s accompanying vocals on the last track) it leaves you emotionally exhausted. Lots of 2012 scores did this “warped industrial” sound well – from Paul Leonard Morgan‘s Dredd to tomandandy‘s Resident Evil: Retribution – but there’s a quality which elevates David Sardy’s score and earns it a place on our list.

Here’s track 2, “I Am the Police”:

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Here’s track 6, “Heroes”:

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12.) Get the GringoAntonio Pinto

Get the Gringo

This time it’s obscure 60’s rock band Ten Years After‘s “50,000 Beneath My Brain” that sets the tone, and composer Antonio Pinto who follows up with a fantastic score to Adrian Grunberg‘s Get the Gringo. If you enjoy Joe Strummer‘s score to Alex Cox‘s Walker, Ry Cooder‘s spare guitar on Wim WendersParis, Texas and Neil Young‘s atmospheric Dead Man score for Jim Jarmusch you’ll love this low-key affair, peppered with a variety of guitars, tempo shifts, percussive nuances and the occasional echoey reverb. But if you’re like the many haters on Amazon who expected this to be a compilation of tunes more like track 2, Los Fabulosos Cadillacs‘ “Padre Nuestro,” you’ll want to move along.

Here’s track 4, “Driver Sets Fire”:

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Here’s track 12, “Sunny Day in Mexico”:

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11.) HaywireDavid Holmes

Haywire

For the score to his controversial and star-studded flick starting MMA fighter-turned actress Gina Carano, Steven Soderbergh enlisted David Holmes, a name familiar to anyone around in the late 90’s (his Let’s Get Killed was on record store end-caps everywhere). Many were turned off by the film’s seemingly in-congruent minimalistic aesthetic and slow pace, but I found it enjoyable, in large part due to the music. Bass-heavy and incredibly funky, it’s propelled by a driving beat and filled with little nuances – like bass clarinet, warped electronics, and voices buried deep in the background. It’s an ironic and self-aware piece of music, nodding heavily towards its influences – from lifting the Western genre’s rattlesnake-percussion to borrowing Italian crime score elements (the work of Riz Ortolani springs to mind) and of course quoting funky keyboards and guitars from old-school Blaxploitation flicks – all in all it sounds like an updated J.J. Johnson‘s Across 110th Street, full of brass and a robust horn section. Give it a spin and see what you think!

Here’s track 9, The Drive Rossbourgh”:

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Here’s track 10, “Looking for Clues”:

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And so concludes part 2 of our celebration of the sounds of 2012. Check out part 1 here and tune in for part 3 on Friday – and check out last years’ countdown as well as the ridiculously ambitious and highly subjective countdown that started it all – our Top 150 scores of all time!
 
And be sure to leave us a comment telling us your favorite score of the year!
 
Ooh-ooh! Almost forgot! We also posted a list of our 100 favorite albums of 2012 here!
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January 2, 2013   No Comments

SCORE! The 150 greatest OST’s – pt. 15 (of 15)

Here it is! Finally, we have arrived at the top ten – and nothing will ever be the same again. Namely I will never take on a mega-post which takes months to complete. I mean, what was I thinking? 150 greatest soundtracks!? Wouldn’t 50 have been enough? Sheesh. Anyway, enjoy the creme de la creme- and drop me a line telling me what you would have changed!

10.) The Nuclear Observatory of Mr. Nanof (1985) – Piero Milesi

This rarely seen film directed by Paolo Rosa doesn’t even have an IMDB page, but the subject matter seems timely in lieu of the Oscar buzz around Bansky’s magnificent documentary, Exit Through the Gift Shop. Rosa’s film documents an enormous piece of graffiti outside a mental hospital, engraved by mental patient Oreste Fernando Nannetti, who refers to himself as NANOF11, an “Astronautic Mineral Engineer of the Mental System.” Piero Milesi’s music is minimalistic, with lush electronic sounds repeating themselves in an almost fugue-like manner. But rather than becoming monotonous, the end result is melodic, meditative and beautiful, with synthesized themes unfurling in sublime variations on a theme. Released on the legendary Cuneiform label in 1992, this is a highly recommended score for fans of Philip Glass and Brian Eno. Check out track 2, “Tom Thumb”:

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and track 4, “Scene of the Madmen”:

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and track 7, “Graffiti”:

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09.) The Taking of Pelham One Two Three (1974) – David Shire

Joseph Sargent directs the original starring Walter Matthau and Robert Shaw, not to be confused with the 2009 remake starring John Travolta and Denzel Washington. The story of a hijacked subway train is a classic of gritty 70’s cinema, aided by an incredible soundtrack which fuses crazy percussion, lush bass, and a full brass orchestra complete with blaring tubas to create a suspenseful backdrop. Shire also scored The Conversation, Return to Oz, and Short Circuit. Check out the awesome main title:

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and track 4, “Blue and Green Talk”:

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and track 10, “Mini-Manhunt”:

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08.) The Assassination of Jesse James (2007) – Nick Cave & Warren Ellis

Andrew Dominik directs from his own adaptation of Ron Hansen’s novel in a movie which stars Brad Pitt, Casey Affleck and Sam Shepard. It’s the tale of Robert Ford, a 19 yr. old who’s idolized Jesse James since childhood, but who upon meeting him and joining his gang grows resentful of the man, ultimately betraying him for fame and fortune. Warren Ellis of the instrumental post-rock band Dirty Three and Nick Cave of the Bad Seeds and The Birthday Party had collaborated on the fine soundtrack for The Proposition in 2005 and went on to score The Road in 2009 but this moody score with its rumbling piano, chiming bells and sad violins is the best of the bunch. Check out track 1, “Rather Lovely Thing”:

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and track 2, “Moving On”:

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and track 3, “Song For Jesse”:

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07.) Kafka (1991) – Cliff Martinez

Steven Soderbergh‘s underrated quasi-biopic stars Jeremy Irons, Theresa Russell, Ian Holm, Sir Alec Guinness and Joel Grey, and borrows heavily from The Castle and The Trial to tell the story of Kafka, a lowly insurance worker who finds himself entering into an underworld of conspiracies and terrorism when a co-worker is murdered, which ultimately brings him face to face with a shadowy organization that controls society. It’s a very enjoyable film along the lines of John Frankenheimer’s Seconds, Terry Gilliam’s Brazil, Lars Von Trier’s Zentropa and David Cronenberg’s Naked Lunch, but with a style and feel all it’s own, thanks in large part to Cliff Martinez’s use of the Cimbalom, a Hungarian zither-like instrument which evokes a unique, dreamlike atmosphere. Martinez has worked on several of Soderbergh’s films (Sex, Lies, and Videotape, King of the Hill, The Underneath, Traffic, Solaris), but this soundtrack is his best. Check out track 1, “Eddie’s Dead / Main Title”:

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and track 6, “Goodnight Mr. Bizzlebek”:

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and track 15, “Son Of Balloon”:

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06.) Amelie (2001) – Yann Tiersen

Jean-Pierre Jeunet‘s crowd pleasing love story for the ADD generation stars Audrey Tautou as the titular character, a wide eyed girl who lives in a fantasy world ruled by love, and La Haine director Mathieu Kassovitz as the clumsy good-natured boy she ultimately falls for – after first dedicating herself to bringing the love of others to fruition. She’s basically an elf from the Brother Grimm’s The Elves and the Cobbler, only instead of shoes she delivers fulfillment to those lucky enough to know her. It’s beautifully shot, chock-full of colorful ideas, and populated by fantastic actors with memorable faces, but it’s also overly dependent on narration, hindered by flimsy characterization, and so sweet it’s downright cloying. Whatever your take on the movie, one thing’s for sure – it’s got a magnificent soundtrack, full of swelling accordions and harpsichords and punctuated by toy pianos, all courtesy of Yann Tiersen, who also gave us the superb soundtrack to Good Bye Lenin! Here’s track 4, “Comptine Dun Autre Ete La”:

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and track 5, “La Noyee”:

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and track 16, “La Redecouverte”:

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05.) Miller’s Crossing (1990) – Carter Burwell

Joel & Ethan Coen’s masterpiece stars Gabriel Byrne, Albert Finney, Jon Polito and John Turturro and perfectly captures the essence of pre-WWII gangster movies while building on the inherent themes of morality and loyalty and ratcheting the entire genre up a couple of notches. Byrne’s Tom Regan is the anti-hero to end all anti-heroes, who plays two rival gangs against one another and drives the twists (or dames) as crazy as he does the gangland bosses. The central question – whether or not he has a heart – is in the mind of every character he encounters, who all want something from him and will stop at nothing to get it. The characters are multidimensional, the humor jet-black, and the moments of violence are shocking, erupting out of human frailty, anger, jealousy and betrayal. It all adds up to an “intimate” epic, heightened by the soundtrack, which features a lilting, almost fragile clarinet swept along by strings like a hat carried on the wind – which is one of the central images, as memorable as any single image in any movie. Burwell also scored Fargo, The Hudsucker Proxy, Gods and Monsters, Being John Malkovich, and recently Where the Wild Things Are, A Serious Man, and the as-of-yet unreleased No Country for Old Men. Here is the opening track:

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and track 3, “A Man and His Hat”:

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and track 11, “Nightmare In The Trophy Room”:

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04.) Mental Cruelty [Seelische Grausamkeit] (1961) – George Gruntz

Hannes Schmidhauser directs this movie which I have not seen, but which I have listened to repeatedly since acquiring the CD. Led by Swiss pianist George Gruntz, it features Kenny “Clook” Clarke’s incredible drumming and Barney Wilen’s cool tenor saxophone. Sometimes pensive, sometimes light and breezy, it’s full of tangos, waltzes, and rock n’ roll, all held together by a melodic motif woven into each short track (only 4 of the 18 tracks are over 3 minutes long). It’s an amazing jazz score that ranks alongside the works of Mingus, Davis, Coltrane and Ellington- which is saying something. Amazingly, only 100 LPs were printed at the time of its initial release (which fetched upwards of $1000 on ebay), but thanks to Atavistic’s Unheard Music Series it was reissued in 2003, giving Gruntz – who also composed the unreleased soundtrack to the film Steppenwolf – some long overdue exposure. Check out the main theme:

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and track 10, “Romance II”:

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and track 13, “Latin Stroll On Theme”:

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and track 15, “Spanish Castles”:

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03.) Invitation to a Suicide (2004) – John Zorn

Written & Directed by Loren Marsh, this dark comedy tells the tale of a young man living in Brooklyn’s Greenpoint (also known as Little Poland) who gets in trouble with the mob and is given a day to raise $10,000 or have his father killed, who in a fit of ingenuity decides to sell tickets to his own suicide to save his father’s life. The incredibly talented Zorn is one of the leading figures in modern jazz, emerging out of the 1980’s downtown scene which fused punk to free-jazz, and he’s always been heavily influenced by film – just check out 1986’s The Big Gundown, which re-imagines Ennio Morricone in an aggressive, up-tempo style complete with trademark freakout alto saxophone. Since 1990 Zorn’s been releasing soundtracks composed for indie and underground movies on Tzadik, his own private label, making him one of the most prolific composers in film. This score is one of his finest, full of bass harmonicas, dueling accordions, classical guitars, cellos, vibraphones and the occasional moog. Other soundtracks of note in his Filmworks series are volume XIV: Hiding and Seeking, Filmworks XIX: The Rain Horse and Filmworks X: In the Mirror of Maya Deren. Here’s track 1, “Invitation to a Suicide”:

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and track 4, “East Greenpoint Rundown”:

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and track 16, “Final Retribution”:

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and track 17, “Aftermath”:

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02.) Pat Garrett & Billy the Kid (1973) – Bob Dylan

Sam Peckinpah directs from Rudy Wurlitzer’s script (don’t forget to read Quake!), in a film starring James Coburn and Kris Kristofferson that tells of the the death of the Old West and the emergence of the New West, one ruled by cattle ranchers and businessmen. It’s the story of Pat Garrett, an ex-outlaw who has become sheriff and is charged with assembling a posse to kill his old friend Billy the Kid, public enemy number one where the authorities are concerned. Firmly couched in the gray area between law and outlaw, morality and criminality, loyalty and betrayal, freedom and death, it’s a showcase for the talents of Bob Dylan (both off-screen and on). His magnificent soundtrack lends the proceedings a palpable sense of profound abandonment, as if the world were moving on and burying poor Billy in the past he helped make legendary. Full of guitar, wordless choruses that “ooh” and “aah,” and some fantastic original songs with goose-bump inducing lyrics: “There’s guns across the river ’bout to pound you / There’s a lawman on your trail like to surround you / Bounty hunters are dancing all around you / Billy they don’t like you to be so free.” That’s target=”_blank”>Pancho and Lefty quality imagery! All in all it’s a masterpiece of mood, highlighted by Knockin’ on Heaven’s Door, a song which despite having been covered by everyone from Eric Clapton (decent) to Guns N’ Roses (meh) to Babyface (huh?) to Avril Lavigne (ugh) still retains it’s ability to mesmerize, and an album that proves Dylan’s storytelling genius extended far beyond pop music, and could turn a minor film in Peckinpah’s oeuvre into a must-see. Here’s track 5, “River Theme”:

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and track 7, “Knockin’ on Heaven’s Door”:

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and track 9, “Billy 4″:

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and – drumroll please – the number one soundtrack of all time is:

01.) La Planete Sauvage [Fantastic Planet] (1973) – Alain Gorageur

René Laloux‘s animated classic won the special jury prize at the 1973 Cannes Film Festival and was distributed in the U.S. by legendary producer Roger Corman. It’s the tale of the Draags, giant blue aliens who view their tiny, human Oms as slave-like pets. When a domesticated Om escapes with the tools to educate the wild forest-dwelling Oms, war and revolution threaten to destroy Draag society. Populated with bizarre mating rituals, alien plant life and strange psychedelic landscapes, watching The Fantastic Planet is a consciousness-expanding experience, not unlike the one you get listening to Pink Floyd’s Dark Side of the Moon while watching The Wizard of Oz. Essentially a morality tale of our Human inclination to view the “other” as inferior and threatening, it’s required viewing for people interested in out-there cinema, intelligent science fiction, or hallucinogenics in general. Composer Alain Goraguer was a jazz musician who arranged and produced for Serge Gainsbourg and France Gall before turning to film (The Dead Times, The Snails, Paris Secret), but none of his other works presage this eerie, one-of-a-kind album. With Fanstastic Planet he fuses bass-heavy blaxploitation-worthy beats with a prog-rock array of mellotrons, synthesizers, clavinets and wah-wah pedals to create something too funky to be Avant-Garde yet too complex and oftentimes cacophonous to be anything else. It’s an aural masterpiece which can still be felt in the work of bands like Portishead and Air and hip-hop visionaries J Dilla, MF Doom and Madlib. It’s hypnotic, psychedelic, electronic, angelic, and it’s number one on my list – so that’s saying something too I guess. I hope you enjoy it – here’s track 2, “Deshominisation I”:

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and track 4, “Le Bracelet”:

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and track 12, “Conseil Des Draags”:

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and track 15, “Mira Et Ten”:

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Click to see part 1 (OST’s #141-150) , part 2 (131-140),  part 3 (121-130), part 4 (111-120), part 5 (101-110), part 6 (91-100), part 7 (81-90), part 8 (71-80), part 9 (61-70), part 10 (51-60), part 11 (41-50), part 12 (31-40), part 13 (21-30), part 14 (11-20) and part 15 (1-10).

And don’t forget to comment! I want to hear about soundtracks I may have missed, and get your thoughts on the ones I got wrong! And don’t forget to tune in for the honorable mentions – scores which just barely missed the mark.

November 30, 2010   4 Comments

SCORE! The 150 greatest OST’s – pt. 14 (of 15)

Almost done! We’re into classic territory now, as we head towards the top 20 soundtracks of all time. Enjoy – and don’t forget to comment!

20.) Paris, Texas (1984) – Ry Cooder

Wim Wenders directs the classic existential love story, starring Harry Dean Stanton, Nastassja Kinski and Dean Stockwell and adapted by L.M. Kit Carson from Sam Shepard’s play. The story of a man who wanders out of the desert with no recollection of who he is is a meditation on how our lives affect the lives of others – especially our loved ones. The soundtrack is awesome, by prolific guitarist and producer Ry Cooder, who has played with everyone from Captain Beefheart to Taj Mahal and who not long ago introduced the world to the Buena Vista Social Club. His soundtracks include The Long Riders, Johnny Handsome and even Trespass. This time out he uses some incredibly poignant slide guitar to create a Brian Eno-like soundscape. Here’s track 1, “Paris Texas”:

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and track 2, “Brothers”:

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and track 4, “Cancion Mixteca”:

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19.) Nausicaä of the Valley of the Wind (1984) – Joe Hisaishi

Master storyteller Hayao Miyazaki has taken us to some amazing worlds over the years, none more magnificent than this future where man’s destructive nature has fundamentally altered the Earth, creating forests whose toxic spores and giant insects have forced mankind into hiding. But in the Valley of Wind there lives a princess named Nausicaä who’s empathy for all living things might be our only salvation – if she can survive the wars of man which threaten her kingdom. One of the spiritual heirs to Avatar (along with Miyazaki’s later Princess Mononoke), this is a wonderfully hypnotic visual feast of a film, aided largely by Hisaishi’s score, filled with eerie electronics and sweeping romanticism. Beside creating most of the Ghibli scores, including My Neighbor Totoro, Princess Mononoke and Spirited Away, Hisaishi has also scored several “Beat” Takeshi Kitano films (Kikujiro, Brother, Fireworks) – now that’s what you call a diverse body of work.

Here’s an excerpt from track 1:

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and track 2:

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and track 5, “Kushana No Shinryaku”:

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18.) Punch-Drunk Love (2002) – Jon Brion

Paul Thomas Anderson directs this romantic comedy about awkwardness starring Adam Sandler, Emily Watson and Philip Seymour Hoffman, wherein a down on his luck small-business owner gets a harmonium and embarks on a romantic journey with a mysterious woman. Brion also did Eternal Sunshine of the Spotless Mind, Magnolia, and I ♥ Huckabees. This soundtrack, thanks to quirky compositions and glitchy electronics, outclasses the others and makes the cut. Here’s track 2, “Tabla”:

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and track 3, “Punch Drunk Melody”:

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and track 7, “Punchy Tack Piano”:

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and track 8, “He Needs Me,” a song featuring the vocals of actress Shelley Duvall, ported over from Harry Nilsson’s Popeye and given new life:

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17.) Fearless Vampire Killers (1967) – Krzysztof Komeda

Roman Polanski‘s vampire comedy hearkens back to a simpler time, when vampire movies were few and far between, and a good deal of them were actually watchable. Starring Polanski, Jack MacGowran, Alfie Bass and Polanski’s future wife (and future Manson victim) Sharon Tate, it’s the story of a zany professor searching a remote Transylvanian village for vampires. Komeda, an iconic figure in Polish Jazz, has composed works ranging from Classical to the Avant Garde, and his soundtracks for Polanski’s Cul de Sac and Rosemary’s Baby are also noteworthy, though this is the score that features his most impressive work. Check out the main title:

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and track 2, “Sarah In Bath”:

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and track 10, “To The Cellar”:

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and track 11, “Skiing”:

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16.) Walker (1987) – Joe Strummer

One of the truly sad stories in cinema is the blacklisting of gifted director Alex Cox by Hollywood. The man’s a genius – Repo Man, Sid & Nancy and Highway Patrolman alone corroborate this. And this film, about rogue general William Walker and his mercenary coup d’etat in Nicaragua in the middle of the 19th century is way ahead of its time, thanks to a great script by Rudy Wurlitzer (go read his novel, Quake) and Cox’s directorial vision. Starring Ed Harris, Richard Masur, Peter Boyle, and Marlee Matlin, it’s an aggressively subversive film, littered with anachronisms (modern cars, helicopters, magazines and coca cola bottles) which takes on capitalism with a spirit of Punk anarchism that’s fun to watch. It’s no wonder Joe Strummer, front man of The Clash, was enlisted to compose the score (he also appears as Faucet, and starred in Cox’s Straight to Hell). This soundtrack rocks, and for more on Strummer (who died in 2002) watch the documentary The Future Is Unwritten. Here’s track 1, “Filibustero”:

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and track 8, “The Unknown Immortal”:

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and track 10 – my favorite – “The Brooding Side of Madness”:

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and track 12, “Smash Everything”:

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15.) Kamikaze 1989 (1982) – Edgar Froese

Wolf Gremm directs German New Wave auteur Rainer Werner Fassbinder in this surreal sci-fi film which exists somewhere between Jean-Luc Godard’s Alphaville, Elio Petri’s The 10th Victim and Jared Drake’s recent Visioneers, which tells the tale of a futuristic “Combine” which controls TV and News outlets in the near future. When a bomb threat is made on the Combine, it’s up to super-cop Jansen (Fassbinder) – an overweight, out of shape, wretched excuse for a super-cop – to investigate. With four days to solve the mystery, Jansen looks to the combine’s enemy, Krysmopompas, and becomes embroiled in an absurd mystery that revolves around the Combine’s mysterious 31st floor – hidden somewhere within their Tower’s 30 floors. Froese was a member of electronica trailblazers Tangerine Dream, who made fine soundtracks to Firestarter, Thief, Near Dark and Miracle Mile – but this solo effort is unquestionably superior – so don’t bother questioning it, just seek out the hard to find soundtrack and listen repeatedly. Here’s track 1, “Videophonic”:

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and track 7, the awesome “Blue Panther”:

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and track 11, “Tower Block”:

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14.) Taxi Driver (1976) – Bernard Herrmann

Martin Scorsese directs Paul Schrader‘s classic character study of Travis Bickle, an unhinged insomniac cab driver who calls himself “God’s lonely man” and obsesses over innocence and sin. It features bold direction by a young Scorsese, one of the screen’s finest performances by Robert De Niro and fine acting by all assembled: Jodie Foster, Cybill Shepherd, Harvey Keitel, Peter Boyle (again) and Albert Brooks. It also features an incredible score by Bernard Herrmann, who’s given us some of the most memorable film music of all time: Citizen Kane, The Day the Earth Stood Still, Vertigo, Psycho, Fahrenheit 451 and Sisters, to name but a few. If there were a Mount Rushmore of film composers he’d be up there – and here he’s given us one of his finest works, combining the feel of late night jazz with neurotic military vamps to create a portrait of unpredictable schizophrenia. Case in point, track 1, the main title”

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and track 15, “I Work the Whole City”:

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and track 16, “Betsy in a White Dress”:

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13.) Superfly (1972) – Curtis Mayfield

Gordon Parks Jr., son of Shaft director Gordon Parks, gives us the other seminal blaxploitation film, starring Ron O’Neal, Carl Lee and Sheila Frazier. This time out our protagonist is a big pimpin’ cocaine dealer who has a change of heart and decides to make one last score before running off to start a new life – but of course the Mob has other plans for him. Funk and Soul legend Curtis Mayfield began his career as a member of The Impressions before branching out in the 1970’s with hit after hit and classic album after classic album. This album belongs in every audiophile and cinephile’s collection. In fact it’s nearly perfect – my only complaint is the line, “the oppressed seem to have suffered the most in every continent, coast to coast” at the beginning of No Thing On Me (Cocaine Song). I always cringe at the logic expressed in that line – of course the oppressed suffer – it’s what makes them oppressed. That’s like saying “the malnourished have always been the least well fed, throughout history.” Aside from that, this is a flawless outing. Here’s track 2, “Pusherman”:

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and track 6, “Eddie You Should Know Better”:

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and track 9, “Superfly”:

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12.) The Great Silence [Il Grande Silenzio] (1968) – Ennio Morricone

Admit it. You were wondering when I’d get to Morricone. Well, here he is – providing the score to Sergio Corbucci‘s unique Western, set in the snow and starring Jean-Louis Trintignant as a mute gunslinger named Silence who’s hired to exact revenge on a cruel villain named Loco, played by the one and only Klaus Kinski. Hyper-stylistic, filled with flashbacks, violence, and a bleak ending, it’s a memorable film – and a memorable soundtrack. One of the other faces on that aforementioned Mount Rushmore, Morricone’s body of work is vast, consistently outstanding, and daunting to sift through, with highlights being Navajo Joe, The Good, The Bad and The Ugly, The Big Gundown, The Battle of Algiers, Investigation of a Citizen Above Suspicion, Peur sur la ville [Fear Over the City], Autostop Rosso Sangue [Hitch Hike], The Mission, The Untouchables and Cinema Paradiso. You can really take your pick and find a winner. I did, and it’s The Great Silence. Here’s track 1, “Il Grande Silenzio Restless”:

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and track 2, “Passaggi Nel Tempo”:

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and track 4, “Barbara E Tagliente”:

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11.) La Ragazza Fuori Strada [Cross Country Girl] (1973) – Piero Umiliani

Luigi Scattini directs this Italian melodrama about an Italian journalist who falls in love with a beautiful black girl, and brings her home to his provincial hometown where she faces racism, hypocrisy, derision and cruelty by his family and friends. The soundtrack by Piero Umiliani is definitely the highlight – Umiliani was a jazz musician who played with Gato Barbieri for a time and also gave us the wonderful soundtracks for Il Corpo and Svezia, Inferno e Paradiso [Sweden, Heaven and Hell] – for which he created the famous Mah nà, mah nà song – seen here on target=”_blank”>The Muppet Show. Here’s the opening track, “Volto Di Donna”:

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and track 3, the beautiful “Nostalgia”:

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and track 10, “Cantata Per Maryam”:

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and track 13, “La Prima Uscita”:

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Click to see part 1 (OST’s #141-150) , part 2 (131-140),  part 3 (121-130), part 4 (111-120), part 5 (101-110), part 6 (91-100), part 7 (81-90), part 8 (71-80), part 9 (61-70), part 10 (51-60), part 11 (41-50), part 12 (31-40), part 13 (21-30), part 14 (11-20) and part 15 (1-10).

And tune in next week, as we bring you the finale – the créme de la créme, the thrilling, fantastic, glorious conclusion of our countdown!

November 22, 2010   4 Comments

SCORE! The 150 greatest OST’s – pt. 13 (of 15)

30.) Touch of Evil (1958) – Henry Mancini

Orson Welles directs and stars as the bigoted Hank Quinlan in this visually stunning crime film with style to burn. Charlton Heston is horribly miscast as a Mexican narcotics officer (do they still have those?) and Janet Leigh as his newlywed wife, who become embroiled in the drug trade when an American is killed in a bomb blast at the border. There’s a memorable opening tracking shot, incredible cinematography, and a fantastic sleazy sounding jazz score by Henry Mancini, the man who brought you The Pink Panther, Breakfast at Tiffany’s, Experiment in Terror, Charade, and The Party – all fine outings, but this is his best, perfectly capturing the mood of a 1950′s border town. Here’s the main title:

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and track 9, “The Boss”:

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and track 19, “The Chase”:

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29.) Drag Me to Hell (2009) – Christopher Young

Sam Raimi returns to Evil Dead II form with this roller coaster ride of a movie, starring Alison Lohman and Justin Long in the tale of vengeful spirits haunting a well-meaning naïf. From the opening smash-cut title card (punctuated with an intense musical stinger) to the shocking finale, it’s a perfect example of visceral thrills, with plenty of twists and turns, sublimely fun comic relief, and some fantastic music, courtesy of Christopher Young, who also scored Haunted Summer and Hellraiser. Here’s track 1, “Drag Me to Hell”:

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and track 11, “Brick Dogs Ala Carte”:

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and track 13, “Auto Da Fe”:

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28.) Beautiful Kate (2009) – Tex Perkins and Murray Patterson

Actress Rachel Ward takes the director’s chair, personally adapting the script from Newton Thornburg‘s novel in this sentimental drama about a writer who returns to his remote family home to say goodbye to his dying father, and finds himself haunted by memories which awaken long-buried secrets from the family’s past – revolving around his beautiful twin sister. I haven’t seen it, but the score by Perkins and Patterson is haunting and fantastic and make me want to. Here’s the beautiful main theme:

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and track 2, “Wilpena Pound.”:

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and track 17, “This Little Bird”:

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27.) Cannabis [French Intrigue] (1970) – Serge Gainsbourg

Pierre Koralnik directs the infamously debonair (and deviant) Serge Gainsbourg as a killer working for the Mafia who goes into hiding when an attempt is made on his life and takes refuge at a stranger’s apartment (played by real-life lover Jane Birkin). It’s what you would expect from an art-film-gangster-movie-starring-non-actors-who-are-real-life-lovers. It’s like watching Vincent Cassel and Monica Bellucci but with less acting talent. The music is out of this world, though. Check out track 1, “Cannabis instrumental”:

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and track 11, “Derniere Blessure”:

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and track 13, “Cannabis bis”:

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26.) Requiem for a Dream (2000) – Clint Mansell

Darren Aronofsky‘s notoriously invasive drug opus is based on Hubert Selby Jr.‘s novel and stars Ellen Burstyn, Jared Leto and Jennifer Connelly in a visually stunning yet emotionally disturbing (and often shocking) movie about four friends whose lives are destroyed by heroin use. The emotionally charged soundtrack by Clint Mansell (who also did Moon) is absolutely riveting. Here’s the opening track, “Summer/ Summer Overture”:

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and track 4, “Summer/ Party”:

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and track 26, “Winter/ Southern Hospitality”:

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and track 27, “Winter/ Fear”:

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25.) Solamente Nero [The Bloodstained Shadow] (1978) – Stelvio Cipriani

Antonio Bido directs this formulaic giallo set in Venice, where a rash of murders – all tied to the unsolved strangulation of a young girl years before – baffles detectives. Though there are better movies by Argento and Martino, it’s a nice competent exercise in suspense and horror, backed by Stelvio Cipriani’s (who also did Bay of Blood and Twitch of the Death Nerve) moody score. Here are the opening titles:

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and track 3, “Incubi Ricorrenti 3″:

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and track 6, “Incubi Ricorrenti 6″:

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24.) The Connection (1962) – Freddie Redd

Another movie about heroin addicts! Shirley Clarke‘s film adaptation of Jack Gelber‘s play tells the tale of 8 addicts waiting for their “connection” in a New York apartment who have agreed to let a budding filmmaker film them if he pays for their fix. Things get truly interesting afterward, when the men talk the filmmaker into trying heroin – with disastrous results. Redd was a soulful jazz pianist whose work for the Blue Note label is definitely worth seeking out, and this soundtrack also features alto saxophonist Jackie McLean – whose wailing solos come from a place of experience – read about him in the seminal Four Lives in the Bebop Business. Here’s the opening track, “Who Killed Cock Robin”:

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and track 5, “Theme For Sister Salvation”:

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23.) Sitting Target (1972) – Stanley Myers

Douglas Hickox directs Oliver Reed and Jill St. John in this crime thriller about a vicious convict who busts out of prison to hunt down his wife when he discovers she is pregnant by another man. Stanley Myers’ incredible score perfectly complements the emotionless London in which the story takes place. Here’s the main theme:

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and track 6, “Laundry Park”:

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and track 12, “Squealing Pig”:

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and track 13, “Split Down The Middle”:

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22.) Chi Sei [Beyond the Door] (1974) – Franco Micalizzi

Ovidio G. Assonitis & Robert Barrett direct this unapologetic Exorcist knockoff – complete with similar makeup effects, creepy demonic voice and requisite head spinning scene – about a pregnant woman carrying Satan spawn in modern day San Francisco. The soundtrack is incredibly weird and groovy, courtesy of the man who brought you the Diabolica and Karate Amazones soundtracks. Check out the spooky opening track, complete with eerie narration, “Bargain with the Devil”:

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and track 3, “Dimitry’s Theme”:

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and track 7, “Bargain with the Devil orchestral version”:

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21.) Shaft (1971) - Isaac Hayes

Gordon Parks directs Richard Roundtree in the granddaddy of all blaxploitation flix, the one that cemented the genre’s earning potential and led to dozens of imitators. The film’s crossover success had tons to do with the charisma and attitude of its titular character, but was helped in large part by Isaac Hayes’ score. Shaft was so huge in fact that it made Hayes himself a superstar, and led to a starring role in Truck Turner (which he also scored). Check out the instantly recognizable “Theme from Shaft”:

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and track 2, the groovy “Bumpy’s Lament”:

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and track 3, “Walk From Regio’s”:

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Click to see part 1 (OST’s #141-150) , part 2 (131-140),  part 3 (121-130), part 4 (111-120), part 5 (101-110), part 6 (91-100), part 7 (81-90), part 8 (71-80), part 9 (61-70), part 10 (51-60), part 11 (41-50), part 12 (31-40), part 13 (21-30), part 14 (11-20) and part 15 (1-10).

And tune in next week, as we inch even closer to the thrilling, fantastic conclusion of our countdown!

November 15, 2010   No Comments

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