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Film Music Essays
| Contents |
scroll down the page to read any of these anniversary essays:
2005 - FMR 7th Anniversary: Reviewing Film Music
2004 - FMR 6th Anniversary: Reviewers Reflections
2003 - FMR 5th Anniversary: Reviewers Look Back
2002 - FMR 4th Anniversary: Reviewers Remember
2001 - FMR 3rd Anniversary: The Role of the Reviewer and Reviewer Favorites
2000 - FILM MUSIC REVIEW: A Two Year Retrospective, 1998-2000
Volume 1, Number 1 of FILM MUSIC REVIEW was posted on 8 July 1998.
Send your comments or questions to:
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A Guide to Film Music - Songs and Scores (PineTree Press, 2002)
Important!
Supply of this limited edition film music guide is running out.
Make sure to order your copy soon.
This research guide includes the following sections:
*A timeline of film music highlights from 1926 to 2001
*A chapter on suggestions for listening to film music
*A complete list of Academy Award film music from 1934 to 2000
*A complete list of the Sammy Movie Music Awards from 1988 to 2001
*Top 100 Scores of the 20th Century
*Comments on Film Music:
- Exclusive interviews with two composers (Aaron Copland and Virgil Thomson)
- The Composer as Commentator (Bernard Herrmann, David Raksin, Dimitri Tiomkin)
- The Composer as Critic (Elmer Bernstein)
- The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini)
- The Movie Critic and Historian (David Thomson and Tony Thomas)
- An extensive bibliography and discography
Throughout the guide are many illustrations of composer autographs, including:
Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa, Max Steiner , Dimitri Tiomkin, John Williams and others.
There are also songwriter autographs as well, such as:
Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.
The title page of A Guide to Film Music has a rare page from the end credits of E.T., boldly signed by John Williams.
Praise from distinguished film composers!
"Thank you for the copy of your film music book. Congratulations and best wishes for success in your future contributions to the film music literature"-- John Williams, film composer and conductor
"I do feel your book is done in a most interesting way. It affords a quick overview of what has not become a very, very broad field. Congratulations!" -- Elmer Bernstein, film composer and conductor
"Your film music guide should be available to anyone interested in the Golden Age and beyond. I was so happy that KING KONG made your all-time list" -- John Morgan, film composer and score restorer.
Order your copy of this limited edition guide before it sells out.
There is also a revised edition of a guide to the music of George Gershwin which lists his songs used in films between 1923 and 1979 and includes an extensive list of recordings.
To order either A Guide to Film Music or A Guide to George Gershwin, go to:
Music Titles from PineTree Press
Reviewing Film Music
The following essay and review rundown were written for Film Music Review's 7th Anniversary in 2005
Essay: Film Musings
Happy Anniversary!
I know for Roger it has been an interesting and hopefully fruitful endeavor to provide this site for film music lovers. If you have not picked up his book about film music it is worth your time, especially for those looking to have supplemental teaching material.
As I think back over the past year, it seems that we are in the midst of a transition in the art of film scoring. Not since the 1960s and early 1970s has there seemed to be a dearth of really awesome film music. The problem is more one of perspective perhaps. For, if anyone takes a good look at the fifteen year period from 1960-1975 they would notice that we are in a similar time. Then many of the Golden Age composers were entering the twilight stages of their careers: Waxman, Steiner, Herrmann, Rosza, Newman, etc. Yet, they still turned out some wonderful music. There were some transitional figures that seemed to have had their successes but things were beginning to change: North, Mancini, etc.
How is today like that? Well, we have seen the passing of many composers that have been with us now for some time: Goldsmith, Bernstein, Raksin, etc. We are fortunate to have a few like Jarre, Barry, Williams, Horner, etc., still around, but many of these composers are enjoying their twilight time with relaxation and occasional concerts. There are a general handful of composers who have been relatively busy the past decade or so and like it or not, will be the names remembered fondly perhaps in the next generation of film music lovers: Burwell, Elfman, Eidelman, Shore, Beltrami, Yared, Zimmer, Powell, etc. Even some of these are well into the mid-point of their careers. And with such a variety of possibilities before them, they too have fought against temp tracks and the inclusion of popular songs over their own music the way people feared would take over film music after THE GRADUATE.
Yet, there are signs of possibilities for new directions and the return of the classic film scores that many fans have grown to enjoy. Giacchino’s score for THE INCREDIBLES could be the launching point for a great career. Tyler’s music for TIMELINE and a host of other films might be what is needed to move him further up the choice ladder. Increasingly, the rush to create something profitably has compromised many films and their scores. The fear of newness seems to have taken over the films being released this summer which appear to be remakes or retreads of stuff on television or in theaters thirty years ago. It is somewhat comforting to know audiences are not buying it…for the most part.
So, we enter into a time that can be very exciting. A time that sees a variety of young men, and women (of which film music is woefully underrepresented), crafting music that will lead us into the next stage of film music’s development. It remains to be seen if the rise of concert performances of film music will begin to shove the music into classical art house oblivion, or raise up new audiences demanding something more from their entertainment.
The past year has seen several new independent labels continue to do well with their limited releases. It has seen the appearance of more and more video game music on CD, further dividing up the niche markets. And though we have some standalone record stores, they seem to becoming a thing of the past as more and more people simply purchase their music online.
This is a transitional time.
And I think Roger has felt this as well as the design and direction of the website have come under redevelopment and focus. Transitions can be odd and frustrating. But we can sit back and enjoy the diversity of music, and the multiple ways it is being made available, all while rediscovering so many scores that are now being reissued.
Here’s to the next 7 years!
--Steven A. Kennedy, July 2005
Review Rundown
First, thanks to Steve for his
kind remarks about FILM MUSIC REVIEW.
I appreciate his dedication and ontime delivery of soundtrack reviews. He has been a valued associate in this largely unsung e-zine venture.
Because Steve's essay has expressed the film music scene so well, there's no need for me to cover the same territory. I have also written my thoughts in other essays listed for previous years [see below].
As as I look back over the years there's a lot of material still available in the FMR archives.
From the hundreds of reviews still available, I've selected 36 sample reviews posted between 1999 and 2004.
Web readers can sample and consider the comments I've made and agree or disagree.
--Roger Hall, July 2005
Just click on these links and scroll down the page to find the review...
1999:
PATTON (Jerry Goldsmith) and FLIGHT OF THE PHOENIX (Frank DeVol)
SONG OF BERNADETTE (Alfred Newman)
THE RED VIOLIN (John Corigliano)
ANATOMY OF A MURDER (Duke Ellington)
STAR TREK: THE MOTION PICTURE
(Jerry Goldsmith)
2000:
THE EGYPTIAN (Bernard Herrmann and Alfred Newman)
SALLY HEMMINGS: AN AMERICAN SCANDAL (Joel McNeely)
CROUCHING TIGER, HIDDEN DRAGON (Tan Dun)
ON THE BEACH (Christopher Gordon)
ALL ABOUT EVE and LEAVE HER TO HEAVEN (Alfred Newman)
2001:
BENEATH THE 12-MILE REEF (Bernard Herrmann)
THE SON OF KONG and THE MOST DANGEROUS GAME (Max Steiner)
A.I.: ARTIFICIAL INTELLIGENCE (John Williams)
BAND OF BROTHERS (Michael Kamen)
THE LION IN WINTER and MARY QUEEN OF SCOTS (John Barry)
2002:
MINORITY REPORT (John Williams)
FAR FROM HEAVEN (Elmer Bernstein)
CATCH ME IF YOU CAN (John Williams)
SUNSET BOULEVARD (Franz Waxman)
GODS AND GENERALS (John Frizzell and Randy Edelman)
THE DAY THE EARTH STOOD STILL (Bernard Herrmann)
THE ADVENTURES OF ROBIN HOOD (Erich Wolfgang Korngold)
2004:
THE VILLAGE (James Newton Howard)
BAD EDUCATION (Alberto Iglesias)
Reviewers
Reflections
The following two essays were written for the 6th Anniversary of Film Music Review on 8 July 2004
Some Reflections on Current Film Music
Here it is, halfway through 2004 and it seems like we are waiting for something great to come along. There have been a few guilty pleasures for film score lovers that a younger generation may clamor for "complete" releases of when they nostalgically look back on their youth, but the times are changing. The music industry is in complete disarray it would seem. There is so much clamor for the "next big hit" or star that the need to develop artists and music has become no different than any other marketed consumer product.
Stand-alone music stores are fast becoming a thing of the past. At least, the idea of larger national chains seems to be struggling. In the metropolitan area I reside in, we saw the loss of all but one Wherehouse Music store due to that company’s bankruptcy procedures. At least for now it appears our sole Tower store is safe, though they also have been in financial trouble. Interestingly, there are a rare few places that learned how to run a business that develops customers who have actual income versus a parent’s allowance. That might seem a bit crass, but a walk through most malls will reveal the desperate state of merchandising that depends upon the teen market spending parent’s money.
Independent niche labels continue to release a variety of music for film music lovers. So many of these releases come across our desks and every time I begin by asking, "Who would want this?" Usually, I am glad to have had the opportunity to hear the music that would have otherwise been overlooked in my browsing time. Of course, these labels really need exposure since most "brand name stores" simply do not carry this music. But a word to some of you producers out there, please do more than copy and paste pictures into a single sheet CD cover. I know it’s expensive to produce these booklets, but fans deserve better. Varese continues its "club releases"….or at least they did in February with the Goldsmith extravaganza. I suspect it was a grand piece of work, but half of the music I already owned so I passed it by. Vintage scores continue to reappear and if you frequent a good music store you will likely come across them by chance most of the time. Mail order releases continue to be the primary market with places like Film Score Monthly and Screen Archives taking the lead.
Commercial score releases, not counting Varese’s, continue to be sporadic. In some ways it seems like a throwback to the song LPs of the late 60s and early 70s. The idea of a hit movie song would be fine if songs were: 1) actually used in the film; or 2) written for the film. In the few films I saw early in the year, a list of songs went by on the screen that were not even in the picture. An additional trend on CD packaging this year are huge warning labels against copying anything from the CD. Some pressings are even being cut that prevent copying the music at all to a CD-R or mp3 format. It amuses me to no end that the music industry is using this as a scapegoat to lost sales. If they spent half as much money on development of their catalogue and less on trying to market to the Top 100 Billboard list, they would do better over the long run.
Perhaps this is the theme that continues to run through my thinking so far this year. If I look carefully at how we are developing in our consumer lifestyles, it would seem that we are not interested in any long-term values. Recent attacks on the food industry in films like SUPER SIZE ME are perhaps indications that there are more people out there who ask the "Why" questions about how we live out our days. If you can make food without all the sugar, fat, and pumped up junk then make it all that way. The same goes for movies and their music. All the testing in the world will never determine a hit or miss. If that were the case films like HOT CHICKS would never see the light of day. THE PASSION OF THE CHRIST started off a firestorm of controversy because it was one person’s viewpoint, and personal investment. Remember when most movies were made that way? And now FARENHEIT 911 is receiving the same publicity because one man has a particular vision and has invested himself in committing it to film. Is it possible we have come so far from experiencing artists with personal visions and ideas? Maybe we should get a focus group to find out.
--Steven A. Kennedy
Reflections on Film Music Review
As the editor of this review e-zine since its inception in 1998, when there were only 10 reviews, until today when there are over 500 reviews, this has been a labor of love and also of frustration.
First, the love...
My film music collecting goes back to the 1950s. In those days, it was a chore to find soundtracks for all the films released. Not like today, where almost everything (good or bad) gets a soundtrack or a songtrack with a few score tracks thrown in. My early film composer favorites were Bernard Herrmann, Henry Mancini, and Dimitri Tiomkin. Then I gradually added more: Al Newman, Miklos Rozsa, Franz Waxman and many others. Because I believe so strongly in this Golden Age of film music from the '30s to the '50s, I've tried to include as many soundtracks from that era as possible on FMR. But also the new scores as well.
Now, the frustration...
One of the things that disturbs me is the "gimme" collectors who after they get a favorite soundtrack in a remastered or expanded CD, say what else they want next. In effect they seem never to be satisfied, like little children with a new toy. Naturally all collectors have a certain obsession about obtaining that "Holy Grail" soundtrack or two or...more. I have mine too. But a willingness to appreciate the hard work of the many record labels like BYU/FMU, FSM, Varese Sarabande and others which turn out wonderful soundtracks seems lacking sometimes.
What does all this have to do with FMR? Well, I'm somewhat frustrated by the lack of feedback and support. Putting together an e-zine takes a lot of time and it seems many film music collectors don't appreciate that fact. They are quick to criticize but slow to appreciate the work that goes into an e-zine like FMR. Then they wonder about the film music sites which have been discontinued or are seldom updated. Ever wonder why?
I believe the answer is lack of feedback and support.
If you enjoy reading a film music website, then tell them. I would imagine that almost anyone who spends a lot of time writing and posting reviews would welcome some comments, as long as they are not personal attacks.
Speaking for FMR, I have tried to provide a broad variety of reviews, both new and old film scores and also musicals. Some film music collectors don't seem interested in musicals. That's their loss. For me, musicals from the past are an essential part of film music history and I refuse to ignore them.
One of the biggest problems for web film music sites is getting the financial support they need to continue. For FMR this has been a constant struggle. Naturally anyone who orders a book or CD through FMR is helping to keep the e-zine going. Please consider supporting FMR if you wish it to continue past the end of this year.
Let me end this gloomy essay with my special thanks to all those who have taken time to write or purchase something. Your support is greatly appreciated!
A special thanks goes out to contributing writer Steve Kennedy for his dedication in turning in reviews--always on time too--for FMR. He continues to be a trusted associate.
Thanks for reading this essay of film music love and loss...
I wish you continued good listening and finding more soundtrack treasures!
--Roger Hall
If you have a question or a comment, write to -
Reviewers Look
Back
The following two essays were written for the 5th Anniversary of Film Music Review in 2003
Some Thoughts on Film Music, a Couple of Rants...and Favorites of the Past Five Years
Five years does not seem like a long time in the grand scheme of things. It was about five years ago when I began to seek out writing criticism on-line and in print, starting with FILM SCORE MONTHLY, and later by invitation with Roger here on FILM MUSIC REVIEW. It was, and still is, a labor of love. Perhaps a sign of our times, the wealth of music available has never been better. But, there are days when I wonder if we are approaching a glut of re-releases and an over-saturated market. That said, I thought I would rant a bit about the state of things, or about some ideas of my own about them, and then pop in a few top five favorites from the past five years of my own.
One of the main reasons I headed into the film world for musical inspiration was that the classical world seemed to be tiring out. Many releases were simply warhorses or reissues of recordings made at the height of classical music’s semi-heyday in the early stereo era. The introduction of Naxos’ budget label, especially the American Classics line, was about the only new classical music I sought out when I headed to my local music store. In fact, most of the recommendations Roger and I gave as heads up in classical music to one another came from Naxos.
In the meantime, the availability of the internet has allowed many smaller labels to have greater visibility for their film score catalogues. Screen Archives, Percepto, and Intrada are just a few that seem to have survived the initial boon. Film Score Monthly has been very successful with their series of releases that accelerated a couple of years ago and they were followed by the return of the Varese Film Masters club. It would seem like a glut if the variety of music was not so great. There really has been a resurgence of releases for many early scores made available in amazing sound. With a little searching one can even find some great imports.
Still, most of the independent on-line music stores are gone. The likes of the mega-web stores have done to them what their local stand-alone business has done to many communities. Gone are lots of mom and pop CD stores, though there are some great stalwarts that have managed to carve a niche for themselves mostly in the used CD market. But I think the reason some of these stores have succeeded is because they refused to cater to the teen market. The two years before the downfall of my area’s only standalone CD chain store saw the removal of all classical music, the reduction of all the jazz music, and the delegation of most of these styles to a relatively unlit corner. The rest of the space was filled with row upon row of "Pop" and "Tejano" music. Used CDs took up the rest of the space along with videos and DVDs. With music blaring the latest Hip-Hop, obscenity-laced lyric, it was not long before most adults likely went elsewhere. The stores are now vacant, and a part of me says deservedly so. The local Barnes and Noble and Borders seem to have rarely added to the CDs they had delivered when their store first opened. One afternoon while in my local B&N, I encouraged the music store clerk to play a score disc that I had just given a five star review instead of the treacle that was on the speakers. Evidently, though, the "Bestsellers" are pre-chosen corporately and nothing could be done. So a part of me continues to wish on these faceless places some common sense that would help them move good music and quality product instead of buying into some marketing campaign. So now apart from the large bookstores, people in my area who are not enamored of their local Sam Goody mall outlet have to drive downtown in the metro area to one of the two Virgin Megastores, or the lone Tower records—this is in a region of over a million people! I want to put in a plug for the Crow’s Nest store in Chicago near DePaul which I stumbled upon this summer. While I am not sure how chain-oriented this store was, I was very impressed by their staff, amazingly diverse selections and competitive pricing. If you are in Chicago, stop off and go bargain hunting!
On to the art of film music as we head into the mid-point of the first decade of this century…The "great" names of those many of us grew up with like John Williams, Jerry Goldsmith, and John Barry are really at the twilight of their careers. Even Danny Elfman and Randy Newman are now 25-year plus veterans of the scoring world. As I glance back at who interested me musically I find that only a few names stand out beyond these few folks. After viewing FRIDA I was reminded of the summer I went in search of the ALIEN3 score because it just sounded like here was a composer that really could become a personal favorite. Elliott Goldenthal is one of my more contemporary favorites and his music has such a distinct sound that it is no wonder his projects and score releases often revisit and include earlier work. His music for TITUS is awesome and though FRIDA was not groundbreaking, the score did work well in the film. I also recall having high hopes for Cliff Eidelman after his STAR TREK VI score. He keeps busy but has seemed typecast in low budget, low radar dramas. I give thanks to Robert Townson at Varese for giving him opportunities to further his conducting career and for a recording of THE TEMPEST on their Shakespeare collection. Marco Beltrami caught my ear with MIMIC and immediately got typecast in B-Horror movies masquerading as A-list pictures. But this year he may break out with TERMINATOR 3. James Newton Howard has been around a long time too but it has been with his scores for THE SIXTH SENSE, UNBREAKABLE, and SIGNS where he has seemed to finally get a bit of a resurgence. As I think of the generation of newer composers whose work I watched but thought were cheap replacements for Goldsmith and Williams in the 80s, I find that many of them are becoming favorites in their own right. Perhaps it is part of the overall acceptance of the music being written for films these days that makes me cast around for a soundworld that at least will engage me. Of all those composers whose work I used to snobbishly think of as derivative, Alan Silvestri’s music has grown on me the most. While I thought BACK TO THE FUTURE was a fun score, it has taken me a while to warm up to this great composer. I became more of a Silvestri fan with his delightful MOUSEHUNT score and the chillingly Herrmannesque WHAT LIES BENEATH. THE MUMMY RETURNS, though missing some of the great action cues on the CD, was also deserving of more praise then perhaps I was willing to bestow. Yet, it was and is a favorite disc of mine to hear now and then.
My other diatribe observation has to do with downloaded music. The "industry" would have us believe that this hurts the artist. While this cannot be healthy, I think it hurts the marketing departments of major labels that are greedy for quick profits more. So much energy is put out trying to convince people that something is good when if they could hear it for themselves they would know it for the crap or gem that it is. The movement to record one or two songs for a monthly fee from a library of music is perhaps the only way for the industry to recoup some of the marketing lies. Twice in the past few months I have unwittingly out loud said, "Who pays $19 for a CD?" Well, the answer is kids spending their parent’s money. The economic downturn is already hitting malls hard that gave up on working on their customer base by pandering to the millennial market. So to music company marketers I say, learn to build your base and they will come.
It would not be right to rant for a while without spending some time directing you to some of my "top" favorites of the past five years as well. Looking back at 1998, I heartily would send everyone out to reconsider Cmiral’s RONIN score, the one score that raised the level of this newcomer, though it is so far cult status only. DARK CITY was an overlooked sci-fi masterpiece and Trevor Jones’ score is simply awesome. PLEASANTVILLE is my favorite "nice" score that I return to frequently and it is among Randy Newman’s finest creations. I fell in love with SHAKESPEARE IN LOVE and its score way before anyone thought it had a chance to be Oscar bait. Though Warbeck has not been able to capitalize on the success of this score as much as he may have hoped, it still makes for a great listen. SAVING PRIVATE RYAN should move to the top of classic film scores from the 1990s on the basis of "Hymn to the Fallen" alone. You did not need to be a Williams fan to love this score, though some of the musical soundscapes would be revisited later in THE PATRIOT.
If you missed THE RED VIOLIN, rent it and be enthralled. Corigliano’s score is everything one should expect in great music. While Don Davis is still someone I am watching to break out, his score for THE MATRIX was truly ground breaking for those outside the loop of minimalist music. It worked so well in this film that it appears little new was written for THE MATIRX RELOADED which was a disappointment to me. James Newton Howard’s THE SIXTH SENSE is one of my favorite creepy scores and accompanied me everywhere far after my first listen. Portman’s THE CIDER HOUSE RULES is so gorgeous that you just have to let yourself be taken in by the craft involved in its conception. And where would we be without another STAR WARS score? THE PHANTOM MENACE had more melodic ideas and themes that one could shake a stick at along with at least three bona fide standalone compositions that reminded us all who the real living master of the genre is today.
I am not a Hong Kong film fan, but the poetry and beauty of CROUCHING TIGER, HIDDEN DRAGON almost made me a convert. Tan Dun’s score is so eminently enjoyable on its own that it transcends the film it was written for very well. I had my CHICKEN RUN cd in my car almost non-stop the summer of 2000. It remains one of my most played animated feature CDs and a film I just love to watch for its quirky humor. Those kazoos just crack me up. It is simple and ingenious all at the same time. Howard’s UNBREAKABLE grew on me after I gave it a chance to be different than his score for THE SIXTH SENSE. I suggest you also give it the same chance. One of the benefits of being a reviewer is you sometimes get music to review that you would never have heard of before. Such was the case for Angel Illaremendi’s excellent score for the film YOYES. It is a gorgeous score that is as far from the other scores I have recommended from this year and three years later I still get e-mails from thankful fans who have found the CD for this score. Finally, Warbeck’s QUILLS gave me hope that he had more to say. This unusual film received a score that is not an easy listen overall, but it is a standout from all the typical music being written for film. In fact, looking back, 2000 stands out as being my most eclectic musical list!
2001 was a busy year for me as a reviewer but a score that came to my attention in 2002 was Terrance Blanchard’s THE CAVEMAN’s VALENTINE. A great score for a pretty good detective movie. Two year’s later anyone who has heard this score points to it as one of the highlights of Blanchard’s career. NOWHERE TO AFRICA is being released this year in limited theaters, but this German film comes from 2001 and its score by Nick Reiser easily superseded many other scores from that year for me. See it out now that it has finally been released. Howard Shore’s work for THE LORD OF THE RINGS was superb. When all is said and done, it will stand alongside Williams’ STAR WARS scores as some of the finest film music of our time. Williams’ own A.I. is one of his best scores and I think was the beginning of a long line of newer film scores that remind us that he has still much to offer music lovers. By sheer chance I got to hear Christopher Young’s THE SHIPPING NEWS and fell in love with it. It has the right blend of Celtic sounds with orchestral music that is wonderful to hear on its own merits. This was one of those scores that should have been nominated for an Oscar.
Looking back on the previous year, I find my list to be equally unusual. I continue to enjoy Shore’s work for THE LORD OF THE RINGS and felt it to be an excellent continuation of his previous work. Elmer Bernstein reminded us all that he is one of our musical treasures by revisiting his 1950s dramatic writing in the superb score for FAR FROM HEAVEN. John Williams took a starker color turn for Spielberg’s MINORITY REPORT which seemed to pull in more of his concert style than any previous score had been doing. And finally, Philip Glass finished off the long standing "Qatsi" series with NAQOYQATSI. It is a fascinating piece of music that is well-served by the CD.
So what about 2003? This site needs support from its readers a lot. We all are a little strapped for cash it seems but the site depends on readership to make it work and on connecting through one of the many book sites. I have not been able to say it elsewhere, but Roger’s film music book is worth placing by your listening chair. It is well-researched and full of great information for any film music buff. It is a sign of the times that we run the risk of ticking off the very hands that supply us reviewers with CDs for review. Unlike some places that just review what is sent to them, Roger and I love film music and make the effort to share with you our views even on the CDs we buy ourselves…including the ones that we feel were disappointing. I know there are sites that have been warned to not give a bad review of something which seems very odd. Afterall, the whole point of musical criticism is to give you one point of view. I came to Roger’s site and bookmarked it long ago because he and I seemed to see eye-to-eye when it came to what was great music and what was dreck. Though we have had a few differences on "great" versus merely "good" I still look forward to seeing what he has been listening to and what is out there that I missed. I also owe Roger thanks for his lists of "100 Best" scores because that was one of many guideposts I used to shore up my own appreciation of film music.
But I digress. As we are half way into 2003, I find I still have not hear five scores that I would make it to my best of the year Top 5 spots. So far, I have thoroughly enjoyed A MIGHTY WIND (best movie I have seen this year!) and the recent Beltrami score for TERMINATOR 3: RISE OF THE MACHINES. I have reserved five of my ten spaces for "Best of the Year" scores, but one of those scores is from a 2001 film, and the other may not make if things get better by year’s end. The few theater outings I have been to have not been encouraging for what is to come. Though it seems like by November something great shows up. As far as older scores go, both SOMETHING WILD (Copland) and THE DAY THE EARTH STOOD STILL (Herrmann) are well worth seeking out on Varese. Silva has been kind of quiet with its re-recordings of late, but that have released an awesome compilation featuring the film music of Debbie Wiseman that is worth seeking out. So as we head out into the summer, we can give thanks for all those smaller independent labels that are bringing some of our favorite music to our ears for the same price as the latest Hollywood tripe. Support them as much as you can!
I give thanks for those who have stopped by to indulge my thoughts on this site as well, and as always give thanks to Roger who makes it all possible!
--Steven A. Kennedy
FILM MUSIC REVIEW : For Collectors or Comic Book Kids?
It's hard to believe this is the fifth anniversary of FILM MUSIC REVIEW. When I began this e-zine back in 1998, I thought it would last maybe a year or two. Now here it is five years later and FMR is still here. How much longer will it last? That's an unanswered question right now. Hopefully it will live on with continued support from readers like you.
In that first issue on 8 July 1998, there were only 10 reviews. Now there are over 400 detailed reviews of soundtracks, compilations, songtracks, DVDs and videos. I'm very grateful to Steve Kennedy for his assistance in writing so many of the reviews and providing Best & Worst summaries over the past few years.
Now on to my thoughts on the topic...
Here's the question - who is the intended audience for FMR - the film music collectors or the comic book kids? That's a good question. Let's me look at it from a personal standpoint.
I've been buying film soundtracks since the early 1960s, so I guess I qualify as an old time collector. When I started FILM MUSIC REVIEW in 1998, I wanted to concentrate on the vintage releases from the so-called Golden Age and Silver Age (from the 1930s to 1980s). I believe those decades are when most of the best filmmusic was written and for the best films as well. From the early 1990s onwards, with some notable exceptions like SCHINDLER'S LIST, L.A. CONFIDENTIAL, FAR FROM HEAVEN and others, there has been a continual downward slide to sell to the lowest common denominator.
The overheated hype began with action films based on special effects and popular comic book heroes. In other words, it all began with STAR WARS and SUPERMAN, both with memorable scores by John Williams. Then there was STAR TREK (score by Jerry Goldsmith) and BATMAN (score by Danny Elfman). That's the good stuff. But more recently came the glut of summertime movies based on comic book characters, such as X-MEN, SPIDERMAN, and HULK. I believe that none of them has a truly memorable score. In fact, I think most recent action films have lousy scores with nothing much to say. It isn't just comic book kids who see these movies. There are also adults who like to swim in those murky waters of sound sludge. I would prefer to soak in the beautiful clear waters of such vintage classics as HAWAII and PLYMOUTH ADVENTURE. But there are also more recent listening joys too, especially those created by John Williams, and by Elmer Bernstein, Jerry Goldsmith, James Horner and a few others.
So, to repeat the question I wrote at the beginning of this essay - who is the intended audience for FILM MUSIC REVIEW - collectors or comic book kids?
The answer ...it's designed for both. Actually FMR is for anyone who enjoys film music, whether it's from the past or the present. It doesn't matter if you're an old collector like me, or a young comic book kid just beginning the film music experience.
Remember, it's the love of quality film music that really matters most.
I hope you'll keep reading and supporting FILM MUSIC REVIEW.
--Roger Hall
Reviewers
Remember
The following two essays were written for the 4th
Anniversary of Film Music Review in 2002
The Soundtrack Collector's Market - Good or
Bad?
Let me begin by stating the obvious - there are just too many bad films and scores being released today.
Yet there are also talented young composers, like Christopher Gordon and Mark McKenzie, who get lost in the celebrity film music market.
When I first started collecting soundtracks in the late 1950s, there weren't very many recordings available and the LP quality could range from pretty good to very poor. But the scores and films were so much better then. Just look at the scores from forty years ago. In 1962 there were such memorable scores as: Bernstein's TO KILL A MOCKINGBIRD, Goldsmith's FREUD, Jarre's LAWRENCE OF ARABIA, and Waxman's TARAS BULBA. All of these scores were in films well worth watching, even if they weren't all classics.
Today we get mostly bad movies thrown at us in movie theaters, along with those obnoxious and LOUD trailers. Some of these bummers are released on soundtracks with a bit of score and a bunch of old and new songs. One example of this trend was HAMLET. That doesn't mean that all songtracks are bad. Some are thoughtfully assembled, like the excellent Rhino reissues of MGM films. One of these is the great film musical ANNIE GET YOUR GUN.
It's too bad that some of the worst soundtracks get the most hype, such as the dreadful SOUTH PARK. I know that it's a minority view, but I believe SP is just juvenile junk.
This is happening at a time when many original Golden Age soundtrack masters are turning into glop. Soundtrack lovers should be more concerned about preservation of older scores by Alex North, Dimitri Tiomkin, and others.
Thankfully there are efforts being made to re-record the Golden Age scores of such composers as: Hugo Friedhofer, Bernard Herrmann, Alfred Newman, Frank Skinner, Max Steiner, Roy Webb and Victor Young. All these composers have received first rate recordings by the team of restorer John Morgan and conductor William T. Stromberg.
Then there are the dedicated CD producers: James D'Arc, Didier C. Deutsch, Ray Faiola, Doug Fake, George Feltenstein, James Fitzpatrick, Michael Matessino, Kathleen Mayne & David Schecter, Nick Redman, Ford A. Thaxton, Rick Victor and others. They deserve our gratitude for bringing us such gems as CREATURE FROM THE BLACK LAGOON, KING KONG, SUPERMAN, STAR TREK (20th Anniversary Collector's Edition), and THE TWILIGHT ZONE (40th Anniversary 4-CD set) - to name just a few.
Some of the best record labels for these expanded releases and re-recordings are:
BMG/RCA; Columbia/Legacy; Film Score Monthly; Intrada; Marco Polo; Monstrous Movie Music; Prometheus; Rhino; Silva Screen; Varese Sarabande.
A few composers have started up their own labels, such as Lalo Shifrin's Aleph Records and Elmer Bernstein's Amber Records. This is a good thing and should be encouraged.
Expanded releases, re-recordings , and composer record labels. That's the good news in the soundtrack market today.
Now for the bad news...
It's sad that so many soundtracks are being released with only a bit of the score. Later the score is sometimes released separately. Why not release them both at the same time? The worst trend today is to release an expanded CD just after the shorter one was issued. This is the case with the expanded version of STAR WARS: THE PHANTOM MENACE. Why not release the full score the first time? You guessed it - double dipping profits! Is it worth having both versions? Not unless you're an obsessive SW fan. On rare occasions, the shorter and expanded versions are both worth having. That's true with a score like JAWS. But it's not so with the vast majority of scores.
Unfortunately, at a time when popular scores get several releases, there are some scores that never even get released. That happened with Mark Isham's FLY AWAY HOME, which I chose for the 1996 Sammy Award. Why hasn't this lovely score received an official release? You can surely name a score or two (maybe dozens more?) which you've waited patiently to see released. And you're still waiting. Well, you might never see them released. It depends on the bottom line - and that means money. Some record labels are very tight fisted with their budgets for soundtracks, spending it instead on the high profile songtracks.
Then there is the appalling lack of customer support for such excellent scores as Christopher Gordon's ON THE BEACH and Joel McNeely's SALLY HEMINGS. Both of these fine scores are examples of the excellent work done by lesser known composers. They deserve far more support from collectors.
Most of the attention these days is given over to the Big 3 Boys: Jerry Goldsmith, James Horner, and John Williams. All three are pros at what they do and have been recognized for their outstanding work. Horner of course gets the most hits for his borrowings, even though he has composed many good scores. But Goldsmith and Williams also have been known to recycle and had their off scores too. There are also fan favorites like Danny Elfman, James Newton Howard, and Hans Zimmer. Unfortunately, it still seems too much like a celebrity driven soundtrack market, usually based on how well known the composer is known rather than how good the score may be.
That's what wrong with the market today. How can you help to make it right?
First of all, you could be more selective in what you purchase. If you complain about a certain soundtrack and then go ahead and purchase it anyway, is this helping the problem? No, it isn't. There are many obsessive Goldsmith, Horner or Williams fan who must have everything that's released, whether good, bad or in between.
Another way is to write to the record companies and producers and express your opinions. But be courteous! Nobody likes to hear from someone bitching about a soundtrack which has only a few minutes of music missing. Letter writing campaigns can work. Such campaigns helped to get the expanded SUPERMAN and STAR TREK soundtracks released, and the unnecessary dialogue removed from Ryko MGM and UA reissues. That's the positive way to go.
Above all, we should be grateful for all the soundtrack riches we already have...
and also speak out for what we still don't have.
I still remember the first soundtrack I ever bought - Mancini's classic TV soundtrack to PETER GUNN. I still have the LP album, with a young man named "Johnny Williams" on piano!
Now after over 40 years, I still enjoy listening to a soundtrack album, especially if it's a good one by one of my favorite composers.
So is the soundtrack market good or bad? On the whole, I'd say it's pretty bad right now. There are too many greedy record labels who release almost any kind of soundtrack and charge full prices for those which last little more than 30 minutes.
Yet there are always worthwhile scores (both new and old) which can be discovered in any given year, including those by lesser known composers.
It's just harder to find them these days.
--Roger Hall
The Year in Review - So Far
We are about half way through 2002 and so far the best is evidently yet to come. Glancing back to last July, I notice that there are really only a handful of new scores that I still return to at all. So far this year, I have discovered a couple of problems. One is that it is more difficult to find film scores in your average store where compilation songtracks are flooding the market. The other is that there has not been much in the past six months that has made me really interested to even bother looking. Mind you, I have not had a chance to hear David Newman’s score to ICE AGE which received a lot of attention earlier this year. This is one Newman whose day must surely be coming soon.
So taking a quick glance at music released since last July for new films I find myself pointing to several. The one score that still stands out from the latter days of summer is Elliot Goldenthal’s music for FINAL FANTASY-THE SPIRITS WITHIN. It still really is an amazing listen aided by the London Symphony’s performance. A great score for a sub-par film. It should probably come as no surprise that Randy Newman’s music for MONSTERS, INC. received an Oscar nomination for his score and won for the main song. Prior to the Oscar announcements it was on my list of my "picks" but I removed it after hearing Christopher Young’s excellent score for THE SHIPPING NEWS. Both are great scores to listen to in their own right. Newman’s makes the film really soar and bubble with energy. While A.I. is my favorite Williams score from last year, HARRY POTTER AND THE SORCERER’S STONE still was an excellent achievement in its own way. And I am enthusiastic by the number of youngsters who will forever link orchestral music to their young hero….it could have been so horribly different. I really enjoyed, and still return to, Howard Shore’s music for THE FELLOWSHIP OF THE RING. The more I listen to it, the more I marvel at this score. It really needs a full treatment someday, and perhaps we will get it.
Nothing off the beaten path has stood out for me from unknown names at all yet, the more familiar names have managed to have a few surprises for avid fans. James Horner’s score for IRIS is truly wonderful. It is a far better effort than A BEAUTIFUL MIND and I look forward to eventually getting to see how it melds with the film’s images. As we enter the summer, Jerry Goldsmith and Paul Williams reminded us in "If We Could Remember" that the old school has not dropped out of sight entirely. The rest of Goldsmith’s score for THE SUM OF ALL FEARS is a mish mash of his best efforts of the past couple of years. Though this is a fairly fun score to listen to overall. And Williams returned to the STAR WARS universe to present a quite different outing for ATTACK OF THE CLONES. There are less easily identifiable themes and far more integral developments of ideas that left many scratching their heads who expected another theme-filled PHANTOM MENACE. As I write this I am thoroughly enjoying the first Oscar-worthy score of the year, MINORITY REPORT. There is some great action music that recalls the INDIANA JONES scores but it heads into new territory far more often. "Sean’s Theme" will no doubt appear frequently and falls close to Williams’ music for THE ACCIDENTAL TOURIST. There are plenty of great things to come. But my 2002 "best" list has yet to reach five scores as we enter the midway point of the year. By this time last year I was beginning to worry that I would have trouble deleting favorites!
Older scores have fared much better so far this year. Percepto’s release of THE CHANGELING by Ken Wannberg, Rick Wilkes, and Howard Blake revealed to many who took the risk one of 1979’s finest scores. It is available through their website at www.percepto.com. I look forward to their release of a Vic Mizzy thriller score this summer. Rhino released the bubbly SILK STOCKINGS featuring some great music by Cole Porter. Film Score Monthly has been busy with a number of great releases including Herrmann’s JOY IN THE MORNING. Varese’s commercial release of Goldsmith’s scores for the OMEN TRILOGY were very welcome. Their club releases have been interesting but nothing truly has stood out so far this year. Korngold fans really must pick up Andre Previn’s recording of favorite music from four favorites on Deutsche Grammophon. It is one of the better classical releases of the year. And for those of us enamored with John Williams we have been blessed with a gorgeous recording of his CELLO CONCERTO with Yo-Yo Ma on Sony as well as a set of really fine Americana pieces for the AMERICAN JOURNEY Olympic outing.
By Christmas many of our favorite film composers will be overwhelming us. Williams has another HARRY POTTER film to score, and there might even be a last minute drama that could entice him at the last minute. Danny Elfman has MIB2 which may be more of the same. Goldsmith has a new STAR TREK film to score. Then there’s the next LORD OF THE RINGS installment, another Bond movie, and the always interesting Oscar fare that slip in as the year closes.
For now we can give thanks that there are many more "classic" scores being released for us all to enjoy in the meantime.
--Stephen A. Kennedy
Role
of the Reviewer and Reviewer
Favorites
The following essays were written for the 3rd Anniversary of Film Music Review (July 2001)
The Role of the Reviewer
It's hard to believe that three years have gone by since I began FILM MUSIC REVIEW as a simple way of spreading the word about film scores and songs. Over that time, I've written over 200 reviews. Over the years, I've also read many comments on various newsgroups and message boards about soundtracks - some reasonable assessments, others just personal ranting and raving. On these web sites soundtrack reviewers are often criticized and misunderstood.
One of the trends that bothers me the most is how much a reviewer is trashed because he or she offers a much different opinion than your own. Reviewers have been dismissed as morons, especially if you disagree with them. The fact is that reviewers (especially those who have their own film music web sites) offer their own opinions of a CD soundtrack or compilation. You can agree or disagree with them, but it's not fair to dismiss them all as no-nothings.
What then is the role of the reviewer? I'll give my opinion for what it's worth...
As I see it, a reviewer is supposed to write a critical evaluation of a CD after carefully listening to it and relating it (if possible) to the film itself. Oftentimes the CD soundtrack is released before the film itself opens in movie theaters. That makes comparison difficult with the film. But that doesn't matter so much because most CD collectors are more interested in the music than the film by itself.
Here are three questions I consider when reviewing a CD soundtrack or compilation:
(1) How does the music fit the film?
(2) What is the film composer's score intended to accomplish?
(3) Where are the strengths and/or weaknesses on the soundtrack CD (music, sound quality, notes, album design)?
It's not possible to consider each of these questions all the time. For example, I reviewed Christopher Gordon's superb score without having seen the TV film, ON THE BEACH. It was unavailable at that time. But I still evaluated the soundtrack based on what I heard rather than what I heard and watched. I think that's okay because usually the soundtrack is meant to stand on its own anyway. That's why the track ordering if often different from the film, which drives the obsessive collectors mad. Who made the rule that soundtracks have to follow the same sequence as the film? Collectors seem to think they are the only ones who matter. They're not!
Is it better to go along with the crowd or have your own opinion? Naturally, a good reviewer MUST express his or her own opinion based on what is heard on the soundtrack, even if it offends the collector or the film composer. It seems to be a general rule that if you praise a soundtrack you're great, if you don't like one that's very popular like JURASSIC PARK III, then you're an idiot. So praise is good, criticism is not. I strongly disagree with that view.
If you just want to collect everything by such fan favorites as Jerry Goldsmith, James Horner, John Williams, or (name your composer) then reviews will be of little interest for you. Rabid fans are often very close-minded to other viewpoints. On the other hand, if you'd like to read different opinions of a soundtrack before you decide to buy it, then reviews can be very helpful. That's why I've operated this web magazine for three years now. But I don't always go along with the collector crowd. My objective has always to be as fair as possible when reviewing any soundtrack. I never praise something just because of the composer or the hype for the film.
Hopefully, after reading this essay, you'll have a better appreciation of what a reviewer does and if you like what they do, why not send them a message and let them know? I've done it myself. I believe that most reviewers work long and hard without ever getting much credit.
Film composers and CD producers deserve credit - but so do reviewers.
So to all web site and magazine reviewers, I salute you for your dedication to the film music cause!
For all soundtrack collectors, I wish you continued happy listening!
--Roger Hall, 8 July 2001
Reviewer Favorites
Steven A. Kennedy
BEST OF 2000:
1. Tan Dun: Crouching Tiger, Hidden Dragon
2. Harry Gregson-Williams & John Powell: Chicken Run
3. James Newton Howard: Unbreakable & Dinosaur
4. Angel Illarremendi: Yoyes
5. Stephen Warbeck: Quills
Honorable Mention: Elliot Goldenthal: Titus (since it really was released selectively in Dec. 1999)
In 1999, it was difficult to choose only five really great scores. This year it seems hard to find five! However, now that we are fully into the summer, I find that I had ten "favorites" from last year after all and what an eclectic bunch they were. To "fine-tune" I had to just pick the ones that were most often in the CD player.
Earlier this year, I wandered into a local music store where Tan Dun's score was available for auditioning. Even from the sub-par listening conditions it was obvious to me that here was perhaps the great score from the year. The music may be "Asian" filtered through European art music, but it works. Yo-Yo Ma provides an amazing partner here as he did in Williams' "Seven Years in Tibet." This score has subtlety and a range of emotion that makes for an amazing listening experience but works so well in the film as well. It is a masterpiece.
"Dinosaur" was for me the first "highlight" listening experience. Howard has really done a marvelous job here and most would say he has managed to mix a little Goldsmith here with a little Williams there. There is melodic interest, some great "Africa" type music, and some superb orchestral writing. The release itself is more than anyone could have expected from this film. While many found "Unbreakable" unbearable, the music was fascinating. Shyamalin's film's have a rhythm and artistic resonance that still makes you think about what you have just experienced, something which rarely happens these days. Howard shows he is exceedingly a top-drawer choice composer and this score, while not as well-represented on CD, still is powerful in the way "The Sixth Sense" was creepy and unsettling.
"Chicken Run" was the best movie I saw last year. While I am often leery of the multi-composer school, I just loved the numerous musical references to past escape, and "escapist," films. It is an infectious listen as well and the kazoos add just the right touch. Pure "chicken-ary," of the most humorous kind.
It was by pure luck that I got to review Angel Illarremendi's beautiful "Yoyes." This relatively unknown (in America) Spanish master's day must soon be due. The simple melodic lines coupled with rich and often unexpected harmonic progressions makes for fascinating listening. The wonderful "Irati" cue is worth the price of the disc alone. Do yourself a favor and order this today!
Stephen Warbeck shows that he is capable of providing interesting and compelling dramatic underscore for the strange "Quills." While it is a listening experience that requires patience and perseverance, this is a great score for a movie whose producers wimped out upon release. This is a far cry from the romance of "Shakespeare in Love" or the musical fiasco that became "Mystery Men" (until Shirley Walker saved what she could!).
HM: Goldenthal's score for "Titus" is simply the finest effort of the year. The film barely made a ripple commercially, which is too bad because it is probably the best treatment this play will ever receive. This score makes for exhaustive listening and is among Goldenthal's best efforts. It deserved an Oscar nomination as a score that truly is "Original" in its employment in the film, and at least some kind of recognition.
MOST PROMISING NEWCOMER: Dan Jones - SHADOW OF THE VAMPIRE
Since one could argue that this is really a late entry like "Titus," I decided to include this wonderfully atmospheric score from Dan Jones. It's his first major film to score and it is marvelously accomplished. Having been able to catch the film on DVD I can say that this is again a rare matching of film with music that you do not get in the every day Hollywood blockbuster.
BEST SCORE SO FAR THIS YEAR (January-June 2001): Terrance Blanchard - THE CAVEMAN'S VALENTINE
I had about as little expectation as one could have when I received this amazing score from jazz artist Terrance Blanchard. But, it made me run to the local used shop to see what else I had missed! This score has much to offer upon repeated listening but it is atypical. That's what makes it stand out. Whether it manages to get the support it needs by Oscar time is a true long shot, but with June gone and little to look forward too we can all still hope.
BEST REISSUES:
1. All About Eve/Leave Her to Heaven (Newman) (FSM)
2. A Guide for the Married Man (Williams) (FSM)
BEST RE-RECORDINGS:
1. Peyton Place (Waxman) (Var. Sar. 6070)
2. Marnie (Herrmann) (Var. Sar. 6094)
BEST COMPILATIONS:
1. A History of Horror (Silva 1111)
2. Space 3 (Silva 1112)
ROGER HALL
To see my choices for last year, go to: BEST AND WORST OF 2000
MOST PROMISING COMPOSER: Christopher Gordon - ON THE BEACH
BEST SCORE SO FAR THIS YEAR (January-June 2001): James Newton Howard - ATLANTIS: The Lost Empire
BEST REISSUES:
1. BENEATH THE 12-MILE REEF (Herrmann) - FSM (Best of the Month, Feb. 2001)
2. CLEOPATRA (North) - Var. Sar. (Best of the Month, April 2001)
BEST RE-RECORDINGS:
1. SON OF KONG & THE MOST DANGEROUS GAME (Steiner) - Marco Polo (Best of the Month, March 2001)
2. OBJECTIVE, BURMA (Waxman) - Marco Polo (December 2000)
BEST COMPILATIONS:
1. CELLULOID COPLAND - Telarc (Best of the Month, January 2001)
2. THE CARDINAL - The Classic Film Music of Jerome Moross - Silva Screen (Best of the Month, February 2001)
FILM MUSIC
REVIEW:
A Two Year Retrospective, 1998-2000
1998 - Beginnings:
I began with a simple film music page with announcements on 26 May 1998.
In that first posting, I gave news about recordings, magazine articles and other items of interest. Also there were my choices for Top Film Composer of 1997, and Best Soundtracks and Themes from 1997.
No reviews were posted until the official beginning of FMR (Vol. 1, No. 1) on 8 July 1998.
In that first issue there were 6 scores and 4 compilations reviewed, with the highest ratings going to Max Steiner's KING KONG (Marco Polo re-recording) and John Williams CLOSE ENCOUNTERS OF THE THIRD KIND (Arista expanded CD).
Some of the comments about FILM MUSIC REVIEW received after its initial issue:
"Clearly you have a long view of this art form - and that is good!" - Bob Bowd
"I was very impressed when viewing your site...I appreciate your taste in film music" - Matthew Gear, The Twelve Mile Reef web site
"Enjoyed your web site - nice job and very informative" - Randall D. Larson, Senior Editor, Soundtrack magazine.
"I want to congratulate you on your new site - for me it's one of the best review sites on the net (or in print) simply because it gets to the 'meat' of the story without all the fluff and nasty personal grudge stuff that seems to be standard at some other sites" - Mark Northam, Publisher, Film Music Magazine.
"Excellent site - straightforward, no nonsense and to the point. Every film music buff should visit it." - David Wishart, CD producer and writer.
1999 - Expansion:
During 1999, there was a gradual growth of FMR, in which I included my choices for Top Composer of 1998, and also the Best Soundtracks, Compilations and Record Labels.
2000 - Summaries:
After two years, the amount of CD reviews has increased tenfold to well over one hundred reviews. As of this date, I have written 130 reviews (88 soundtracks and 42 compilations) and all are still available for reading (see main page of FMR).
Also available are: my annual Sammy Awards between 1988 and 1999; All-Time Favorite Film Score Web Survey; The Best and Worst of 1999; Film Magazine Articles of 1999; and lots more.
As with any web site operating with limited resources, it's not known if this one will be around for more than a few years.
Your support will certainly help!
Please take a look at the list of recommended film music books and use the Bookshelf Search to find any books, CDs, DVDs and videos you may wish to order.
Thanks for your continued interest and support.
--Roger Hall
8 July 2000 (2nd anniversary of FILM MUSIC REVIEW)
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