One of Jerry Goldsmith’s greatest sci-fi/fantasy scores comes to CD in complete form: Twilight Zone: The Movie, the 1983 anthology film inspired by the classic Rod Serling TV series. No composer was better suited to score the big-screen Twilight Zone adaptation than Jerry Goldsmith. By the early 1980s Goldsmith was a master in every genre of film, from intimate dramas to large-scale adventures, but he was particularly noted for his landmark scores for science fiction: Planet of the Apes, Star Trek: The Motion Picture, Alien and more—including Poltergeist (1982), for Twilight Zone: The Movie producer and co-director Steven Spielberg, and the original Twilight Zone series, for which Goldsmith scored classic episodes like “The Invaders”.
For fans of Jerry Goldsmith's score for Ridley Scott 1978 movie Alien, this two-disc Intrada set is the ultimate fantasy. Everything is here and then some. Disc 1 contains Goldsmith's entire score as he originally intended it with every cue in place, including those that were later cut from the film plus his recomposed versions of cues the director made him change (Goldsmith's original main theme, for example, appears without its signature heroic trumpet melody because the director thought it wasn't creepy enough). Disc 2 includes the original soundtrack as issued on LP plus six other bonus tracks of demonstration takes and even the brief except from Eine kleine Nachtmusik used in the film. The stereo sound here is fabulous, the performances definitive, and the liner notes exhaustive. And the score, like the film, is a classic of its genre. With its mixture of the ecstatic chromaticism of Scriabin, the skittering strings of Penderecki, the harmonic waves of Ligeti, and the atmospheric percussion of Herrmann, Goldsmith's score became a template for all subsequent science fiction/horror movies.
To lead off our final set of CD Club releases for 2004 comes this Deluxe Edition of one of the great historical epic film scores of the 1960s. Twentieth Century-Fox undertook a truly monumental production in order to bring Irving Stone’s epic historical biography to the screen. Starring Charlton Heston and Rex Harrison, and directed by Carol Reed (The Third Man, 1949), the film did an outstanding job of bringing the pageantry of the Renaissance to life while telling the tale of the celebrated ceiling.
FSM returns to the treasures of the Warner Bros. archives (The Omega Man, The Towering Inferno) with a masterpiece by Jerry Goldsmith: The Illustrated Man. The film stars Rod Steiger and Claire Bloom in an adaptation of several short stories by Ray Bradbury, affording Goldsmith the crowning achievement of his work in the anthology format (CBS Radio Workshop, The Twilight Zone), as well as one of his most memorable and original works in the science fiction, fantasy and horror genres.
1979's The Great Train Robbery has long been one of Jerry Goldsmith's most unusual projects, both in terms of his overall output and in particular as one of his collaborations with filmmaker Michael Crichton. With the exception of The Great Train Robbery and The Thirteenth Warrior, all of the Goldsmith/Crichton collaborations (Pursuit, Coma, Runaway, Congo and Timeline) have fallen into the techno-thriller genre, and stylistically, the buoyant comic energy of The Great Train Robbery lies far afield of the darker-edged work that in general defined Goldsmith's career. For the film, Crichton adapted his own historical novel and cast Sean Connery as dashing Victorian criminal Edward Pierce. Goldsmith's score establishes the movie as a lighthearted romp from its opening downbeat and thereafter cheerfully varies between churning, steam locomotive drive and breezy elegance; the jaunty main title tune is unpredictable and boasts one of the best bridges Goldsmith ever wrote.
Jerry Goldsmith has always scored well with ethnic settings and a chance to play to the grand vista's of the African wilderness was an opportunity not to be missed. Congo, the movie, was an attempt to cash in on Crichton mania after the massive success of Jurassic Park. But Congo, the book was not a major success and a movie version had been talked about before back in the early eighties under the direction of Crichton himself and with Goldsmith scoring. This was aborted and some would say Congo still hadn't improved enough to warrant a major summer movie event in 1995. Congo wasn't that well received by critics but it didn't stop it from going on to make some good international box office though. Goldsmith begins with a celebratory opening for the plains of Africa introducing an enthusiastic African vocal from group Lebo M. Goldsmith has always done well with instrumental support to vocal arrangements and this is no exception.