100 RIFLES (1969)
JERRY GOLDSMITH
INSERT REVIEW HERE.
ACE ELI AND RODGER OF THE SKIES (1973)
JERRY GOLDSMITH
INSERT REVIEW HERE.
ALONG CAME A SPIDER (2001)
JERRY GOLDSMITH
INSERT REVIEW HERE.
ANGIE (1994)
JERRY GOLDSMITH
INSERT REVIEW HERE.
BABY: SECRET OF THE LOST LEGEND (1985)
JERRY GOLDSMITH
INSERT REVIEW HERE.
BAD GIRLS (1994)
JERRY GOLDSMITH
INSERT REVIEW HERE.
BASIC INSTINCT (1992) 
JERRY GOLDSMITH
One of the best thrillers of the 90s, and the film which made Sharon Stone a star. It's amazing what a swivel chair and short skirt can do for your career. Stone plays Catherine Tramell, a sexually liberated novelist who is accused of stabbing rock star Johnny Boz to death with an ice pick during a kinky sex session. Assigned to the case are Detective Nick Curran (Michael Douglas) and his lover, police psychiatrist Beth Garner (Jeanne Tripplehorn). However, Nick's intense investigations lead to him embarking on a steamy affair with Catherine, despite - or perhaps because of - the danger he places upon himself. Vilified as a vehicle for Hollywood sleaze at the time of its release, Basic Instinct can be viewed as a highpoint in the careers of Stone, director Paul Verhoeven, and screenwriter Joe Eszterhas, all of whom have enjoyed long and fruitful stints in the business off the back of this film. Unusually for a movie of this genre, it inspired composer Jerry Goldsmith to write one of his best scores of the decade; a score which he himself has described as "one of most difficult assignments". Goldsmith's "Main Title" is a wonderful creation, an icily seductive theme for strings, performed with bucket-loads of vibrato and accentuated by electronics to create an eerie, strangely sexy atmosphere. Further recapitulations, in "Pillow Talk" and the concluding "An Unending Story" expand its potency. The rest of the score dances between soft, moody string lines and dramatic action and chase music (notably in the penultimate cue, "Roxy Loses"). As a musical depiction of eroticism and fear, and the never-ending relationship of the two, Basic Instinct is surely one of the most successful scores ever to grace this oft-derided genre. Surprisingly, but wholly deservedly, Basic Instinct provided Goldsmith with his sixteenth Oscar nomination.
TRACK LISTING: 1. Main Title - Theme from Basic Instinct (2:15), 2. Crossed Legs (4:50), 3. Night Life (6:03), 4. Kitchen Help (3:59), 5. Pillow Talk (5:00), 6. Morning After (2:29), 7. The Games Are Over (5:36), 8. Catherine's Sorrow (2:41), 9. Roxy Loses (3:17), 10. An Unending Story (7:56). [Varèse Sarabande, 44:06].
THE BALLAD OF CABLE HOGUE (1970)
JERRY GOLDSMITH
INSERT REVIEW HERE.
BANDOLERO! (1968)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE BLUE MAX (1966)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE BOYS FROM BRAZIL (1978)
JERRY GOLDSMITH
INSERT REVIEW HERE.
BREAKHEART PASS (1975)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE BURBS (1989)
JERRY GOLDSMITH
INSERT REVIEW HERE.
CABOBLANCO (1980)
JERRY GOLDSMITH
INSERT REVIEW HERE.
CAPRICORN ONE (1978)
JERRY GOLDSMITH
An intriguing "what-if" science fiction story directed by Peter Hyams, which suggests that the Apollo 11 moon landings were actually faked on a sound stage, Capricorn One take the hypothesis a little further by having NASA astronauts James Brolin, Sam Waterston and O.J. Simpson fake a landing on Mars in a similar fashion. However, when their spacecraft is destroyed upon re-entry into Earth's atmosphere, the world mourns for the loss of their men - despite them being safe and well in an aircraft hanger in the Nevada desert. Realising their chicanery may about to be revealed, the Government authorities decide to ensure that their secrets remain secret - even though it means getting rid of the astronauts for real. Meanwhile, journalist Elliot Gould is getting suspicious, and begins digging deeper into the case. Written in the middle of a purple patch during the late 70s, Jerry Goldsmith's score for Capricorn One is anchored by a stunning staccato march, replete with off-kilter bass rhythms, metallic percussion hits, and a load of fat, low-end brass, which eventually swells into a skewed patriotic orchestral theme for the astronauts duped by the Government. The power of the ostinato underpins the majority of the score, working its way into several action cues, notably "Break Out" and "The Long Climb". All this is tempered by some quieter interludes, notably the engaging and child-like "Bedtime Story", and the attractive but oh-so-70s love theme for Brolin's desperate wife Kay (Brenda Vaccaro).
TRACK LISTING: 1-10 Music from "Outland", 11. Capricorn One - Main Title (2:47), 12. Bedtime Story (3:01), 13. Docking (2:55), 14. No Water (2:26), 15. The Message (4:33), 16. Break Out (3:13), 17. Kay's Theme (3:17) 18. The Station (3:30), 19. The Snake (3:37), 20. The Long Climb (3:53), 21. The Letter (2:52), 22. The Celebration (3:04). [GNP Crescendo, 39:08].
THE CASSANDRA CROSSING (1976)
JERRY GOLDSMITH
INSERT REVIEW HERE.
CHAIN REACTION (1996)
JERRY GOLDSMITH
A silly thriller starring Keanu Reeves as a brilliant scientist (now there's a stretch!), Chain Reaction was directed by Andrew Davis, the man behind Under Siege and The Fugitive. After a top secret energy experiment is stolen from a covert research lab, and the lead scientist killed, Reeves and his beautiful co-worked Rachel Weisz find themselves accused of both industrial espionage and murder. Before long, and with the help of Reeves's former mentor Morgan Freeman, they find themselves running from the authorities (in the shape of tenacious FBI agent Fred Ward) and attempting to clear their name and find the real culprits before time runs out. Essentially one long chase sequence punctuated by bouts of technobabble, Chain Reaction is both uninvolving and unexciting - just how many shots of Reeves and Weisz running somewhere at top speed does a movie need? It's basically down to the cast, most of whom are in roles which do not suit them. Freeman, as usual, does a lot with very little, but to expect an audience to swallow that Reeves is a graduate of the University of Chicago and an expert in hydrogen energy efficiency is taking suspension of disbelief to whole new levels. As Goldsmith scores go, Chain Reaction is as dull as they come; much like the film, it is loud and energetic on the surface, but with very little going on beneath. Essentially, an endless succession of action licks, Chain Reaction would, for any other composer, be considered an exciting and entertaining diversion, but for Goldsmith it seems tired, uninspired, and interchangeable with a multitude of other, better scores. Lonesome trumpets hint at the intellectual isolation of Reeves in "Meet Eddie", but once the action material kicks in during "Assassins" it never lets up. Cues such as "Ice Chase" and "Open Door" do generate a heady tempo and considerable amounts of testosterone, but on the whole this is generic Goldsmith, and at the bottom end of his list of achievements.
TRACK LISTING: 1. Meet Eddie (4:52), 2. Assassins (5:16), 3. Open Minds (2:46), 4. Ice Chase (5:49), 5. No Solution (2:41), 6. System Down (2:27), 7. Open Door (3:12), 8. Out of the Hole (3:31). [Varése Sarabande, 30:58].
THE CHAIRMAN (1969)
JERRY GOLDSMITH
INSERT REVIEW HERE.
CHINATOWN (1974)
JERRY GOLDSMITH
INSERT REVIEW HERE.
COMA (1978)
JERRY GOLDSMITH
INSERT REVIEW HERE.
CONGO (1995)
JERRY GOLDSMITH
One of a series of films based on the novels of Michael Crichton that were rushed into production following the success of Jurassic Park, Congo is the epitome of a good story turned into a bad movie. Directed by Frank Marshall, it stars Dylan Walsh and Laura Linney as the leaders of an exploration team (which includes various scientists, mercenaries and even a talking gorilla!), who venture deep into the jungles of east Africa to find out what happened to a group of researchers who went missing while investigating the possible use of giant diamonds to construct communications lasers. Once inside the inhospitable forests, the team discover the shocking truth about their predecessors: that they have all been murdered by highly-intelligent, highly aggressive apes, who guard the giant diamonds, which are hidden deep within the lost city of Zinj. Before long, the new group are being picked off one by one, and fear that they may never escape from Congo alive. Crichton's original novel was original, intelligent, exciting and scary. The movie is engaging enough, but wholly silly, and is hampered somewhat by the stunt casting of the supporting roles, especially in the form of Tim Curry's queen-like performance as a Romanian Indiana Jones. Jerry Goldsmith, who yet again finds himself attached to such an unworthy project, delivers a score rich with African ambience and vivid action, and which more than outshines the film for which it was written. Goldsmith collaborated with the popular world music artist Lebo M for the main theme, "Spirit of Africa", and the resulting piece makes wonderful use of Goldsmith's attractive orchestral writing and Lebo's haunting voice, making it a splendid companion piece to his work on scores such as Medicine Man. Much of Congo's mid-album bulk is made up of Goldsmith's trademark action writing, with cues such as "Bail Out", "Hippo Attack" and the striking "Amy's Nightmare" making use of some gigantic percussion hits to complement the rushing orchestral performances and lean synth accompaniments.
TRACK LISTING: 1. Spirit of Africa (2:42), 2. Bail Out (2:59), 3. No Customs (1:49), 4. Deep Jungle (2:34), 5. Hippo Attack (2:27), 6. Crash Site (2:00), 7. Gates of Zinj (4:03), 8. Amy's Nightmare (2:12), 9. Kahega (2:19), 10. Amy's Farewell/Spirit of Africa (10:28). [Epic Soundtrax, 33:37].
CRIMINAL LAW (1988)
JERRY GOLDSMITH
A thriller directed by Martin Campbell, Criminal Law stars a pre-fame Gary Oldman as defence attorney Ben Chase, whose client Martin Thiel (Kevin Bacon) stands accused of murder. Successfully arguing his client's innocence and winning the case, Chase is dismayed when a second murder is committed, and all the evidence again points to Thiel. Re-hired for a second time, and ravaged by guilt, Chase takes it upon himself to ensnare Thiel and make his case for the defence unwinnable - while all the time pretending to defend him in court. A rare Goldsmith dud, Criminal Law fails as a score through its almost total lack of anything memorable, and for Goldsmith's inexplicable decision to write the score entirely for electronics. For cue after cue, Goldsmith is content to present sustained synth chords, overlaid with drum effects, a bass flute motif, and occasional tinkling on the keyboard. It is rare for a Goldsmith score to be a total bore, with no redeeming factors whatsoever. With the exception of some brief action snippets (such as "The Body" and "Hostage"), and the end credits cue, Criminal Law is sadly one of those rarities. One can be thankful that the soundtrack album only runs for 29 minutes.
TRACK LISTING: 1. The Victim (2:29), 2. The Body (3:21), 3. Start Remembering (1:30), 4. About Last Night (1:24), 5. The Closet (2:29), 6. The Garden Pavilion (3:15), 7. The Drive (1:13), 8. Avenger (1:13), 9. The Game (1:58), 10. The Clinic (2:12), 11. Poor Ben (4:37), 12. Hostage (0:46), 13. Burnout (1:13), 14. End Title (2:44). [Varèse Sarabande, 29:04].
DAMIEN: OMEN II (1978)
JERRY GOLDSMITH
INSERT REVIEW HERE.
DENNIS THE MENACE (1993)
JERRY GOLDSMITH
INSERT REVIEW HERE.
ESCAPE FROM THE PLANET OF THE APES (1971)
JERRY GOLDSMITH
INSERT REVIEW HERE.
EXECUTIVE DECISION (1996)
JERRY GOLDSMITH
A by-the-numbers action flick directed by Stuart Baird, Executive Decision was notable for killing off its 'special guest star' Steven Seagal during the opening sequence. Several years later, and still suffering from guilt over the incident, intelligence expert David Gant (Kurt Russell) is called out of his self-imposed retirement when hijackers take control of a jumbo jet bound for Washington DC. Assigned to lead a team of soldiers (whose number include John Leguizamo and Joe Morton), Gant must board the hijacked jet using a risky plane-to-plane mid-air transfer, and defeat the terrorists - a mission made even more difficult due to the fact that it is a carbon copy of the mission which killed his partner (Seagal). Jerry Goldsmith's score for Executive Decision is serviceable if unmemorable, filled to the brim with his usual paraphernalia of horn trills, prominent percussion, and a relentless pace to keep the action moving. Both "The Map" and "The Ramora" are two standout cues at opposite end of the album, by turns muscular and patriotic, while "The Sleeper" breaks the mid-album lull by integrating some energetic and exciting action music into the mix. By Goldsmith standards, this is by-the-numbers stuff. He's written music like this, for films like many times before, and often with greater success.
TRACK LISTING: 1. The Map (1:30), 2. All Aboard (5:40), 3. Drill Team (5:38), 4. Do It (2:33), 5. Pick It Up (3:31), 6. Starting Over (2:55), 7. The Sleeper (3:28), 8. The Ramora (2:19), 9. Hold It (1:58). [Varèse Sarabande. 29:33]
EXPLORERS (1985)
JERRY GOLDSMITH
INSERT REVIEW HERE.
EXTREME PREJUDICE (1987)
JERRY GOLDSMITH
INSERT REVIEW HERE.
FIRST KNIGHT (1995)
JERRY GOLDSMITH
A vibrant action fantasy based on the mythology of Camelot and King Arthur, and directed by David Zucker, First stars Sean Connery as Arthur, Julia Ormond as Guinevere and Richard Gere as Sir Lancelot. When Guinevere's homeland, Lyonesse, is attacked by the forces of Sir Malagant (Ben Cross), a former knight of the round table, King Arthur proposes to marry Guinevere in exchange for protecting her home. Reluctantly agreeing, Guinevere is abducted by Malagant before she can wed; she is rescued by Lancelot, a dashing and bold knight, who returns her to Camelot and receives the king's thanks. However, Lancelot and Guinevere share a powerful attraction to each other, and as Malagant plans to attack Camelot, the two must decide which is stronger: their service to the king, or their love for each other. Despite flying in the face of every Arthurian legend in history, First Knight is actually a rousing and enjoyable story, bolstered by strong lead performances, thunderous battle sequences, and a truly marvellous piece score by Jerry. Goldsmith. Goldsmith was obviously greatly inspired by the heroism and romance inherent in the Camelot story, and responded by writing a score which more heroic and romantic than one can imagine. The romantic triangle between Arthur, Guinevere and Lancelot is encompassed by a single theme, heard in a full statement during the lovely "Promise Me", during which strings and woodwinds perform a lovely duet. However, First Knight's strength lies in its action music - cues such as "Raid on Leonesse", "Night Battle" and "Arthur's Farewell" are quite immense in their scope, rivalling the power of such acclaimed scores as The Wind and the Lion and Lionheart, but this time adding to the overall effect by working a soaring choral element into the mix. The choral work finally culminates in the majestic "Camelot Lives", in which both the vocal and orchestral elements rise as one to honour King Arthur, and which surely ranks as one of the single most beautiful Goldsmith cues of the 1990s. Sadly, Epic's release of the score leaves something to be desired: it presents only 40 minutes of music (and completely ignores the rousing trumpet motif for Lancelot, heard in the film but not on record), and is hopelessly mislabelled. I recommend you seek out the full score promo if you can find it.
TRACK LISTING: 1. Arthur's Fanfare (0:45), 2. Promise Me (4:05), 3. Camelot (2:20), 4. Raid on Leonesse (4:26), 5. A New Life (4:53), 6. To Leonesse (3:27), 7. Night Battle (5:40), 8. Village Ruins (3:21), 9. Arthur's Farewell (5:26), 10. Camelot Lives (5:37).[Epic Soundtrax, 39:58].
THE FLIM FLAM MAN (1967)
JERRY GOLDSMITH
INSERT REVIEW HERE.
FOREVER YOUNG (1992)
JERRY GOLDSMITH
INSERT REVIEW HERE.
FREUD (1962)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE GENERAL WITH THE COCKEYED ID (1961)
JERRY GOLDSMITH
INSERT REVIEW HERE.
A GIRL NAMED SOONER (1975)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE GREAT TRAIN ROBBERY (1979)
JERRY GOLDSMITH
INSERT REVIEW HERE.
GREMLINS (1984)
JERRY GOLDSMITH
INSERT REVIEW HERE.
GREMLINS 2: THE NEW BATCH (1990)
JERRY GOLDSMITH
INSERT REVIEW HERE.
HAWKINS ON MURDER (1973)
JERRY GOLDSMITH
INSERT REVIEW HERE.
HIGH VELOCITY (1977)
JERRY GOLDSMITH
INSERT REVIEW HERE.
HOOSIERS (1986)
JERRY GOLDSMITH
INSERT REVIEW HERE.
HOUR OF THE GUN (1967)
JERRY GOLDSMITH
INSERT REVIEW HERE.
I.Q. (1994)
JERRY GOLDSMITH
INSERT REVIEW HERE.
IN HARM'S WAY (1965)
JERRY GOLDSMITH
INSERT REVIEW HERE.
IN LIKE FLINT (1967)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE ILLUSTRATED MAN (1969)
JERRY GOLDSMITH
INSERT REVIEW HERE.
INCHON (1982)
JERRY GOLDSMITH
INSERT REVIEW HERE.
INNERSPACE (1987)
JERRY GOLDSMITH
INSERT REVIEW HERE.
ISLANDS IN THE STREAM (1977)
JERRY GOLDSMITH
INSERT REVIEW HERE.
JUSTINE (1969)
JERRY GOLDSMITH
INSERT REVIEW HERE.
KING SOLOMON'S MINES (1985)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE LAST CASTLE (2001)
JERRY GOLDSMITH
One of the few films in which Robert Redford has been involved as an actor only, The Last Castle saw him starring as General Eugene Irwin, a highly decorated commander in the US Army who, following a breach of rules, is court-martialled and sentenced to spend time in a military prison. Stripped of rank and privilege, Irwin finds himself at the mercy of the prison's commanding officer, Colonel Winter (James Gandolfini), who cultivates an image of benign friendliness, but in actual fact runs the prison as his own personal totalitarian regime. Aggrieved at the treatment of his fellow inmates by the authorities, Irwin gradually begins to undermine Winter's authority, gathering the men around himself, and intending to expose the brutality and injustice of the system. Directed by long-time Goldsmith admirer Rod Lurie, The Last Castle is an enjoyable, if a little implausible crossbreed of a prison movie with an action thriller, with some good supporting performances by Mark Ruffalo and Paul Calderon, Gandolfini as a scenery-chewing anti-hero, and Redford as the stoic, unflappable, morally upright hero of the piece. It's a step down from Lurie's previous film, The Contender, but tapped into a rich vein of American patriotism and achieved what it set out to do. Jerry Goldsmith's score is a combination of large scale action and patriotic nobility, and is carried by the elegiac trumpet solos of Malcolm McNab, which occur with pleasing regularity throughout the score. There is a great deal of Goldsmith's familiar syncopated action licks as well, in cues such as "The Rock Pile" and "Taking Command", but the brutal truth is that this score is nothing we have not heard before, and can almost be categorised as a natural extension of 1990s action scores such as U.S. Marshals and Along Came a Spider, albeit with slightly more memorable thematic content. The finale cue, "Theme from The Last Castle", is subtitled "11 September 2001", and stands as Goldsmith's personal tribute to the victims of the World Trade Center attacks on that day, and which occurred while Goldsmith was writing the score. Interestingly, orchestrator Mark McKenzie also contributed a great deal of "additional music" to the final cut, written to alleviate the time demands on Goldsmith, who was beginning to fall into ill health at the time.
TRACK LISTING. 1. The Castle (1:32), 2. Irwin Arrives (2:18), 3. The Rock Pile (5:03), 4. Get Behind the Mule performed by John Hammond (5:54), 5. Let's Go Ladies (2:40), 6. Full Alert (2:54), 7. Military Justice (2:22), 8. The Count Down (2:20), 9. Hold Them (1:52), 10. Taking Command (3:36), 11. The Flag (5:54), 12. September 11, 2001 (2:46), 13. Chiselled in Stone performed by Dean Hall (3:48) [Decca, 42:59].
THE LAST RUN (1971)
JERRY GOLDSMITH
INSERT REVIEW HERE.
LILIES OF THE FIELD (1963)
JERRY GOLDSMITH
INSERT REVIEW HERE.
LINK (1986)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE LIST OF ADRIAN MESSENGER (1963)
JERRY GOLDSMITH
INSERT REVIEW HERE.
LOGAN'S RUN (1976)
JERRY GOLDSMITH
INSERT REVIEW HERE.
LONELY ARE THE BRAVE (1962)
JERRY GOLDSMITH
INSERT REVIEW HERE.
LONELY GUY (1984)
JERRY GOLDSMITH
INSERT REVIEW HERE.
LOVE FIELD (1992)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MACARTHUR (1977)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MAGIC (1978)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MALICE (1993)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE MAN FROM UNCLE (1964)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MATINEE (1993)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE MEPHISTO WALTZ (1971)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MOM AND DAD SAVE THE WORLD (1992)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MORITURI (1965)
JERRY GOLDSMITH
INSERT REVIEW HERE.
MR. BASEBALL (1992)
JERRY GOLDSMITH
INSERT REVIEW HERE.
NICK QUARRY (1968)
JERRY GOLDSMITH
INSERT REVIEW HERE.
NIGHT CROSSING (1981)
JERRY GOLDSMITH
INSERT REVIEW HERE.
NOT WITHOUT MY DAUGHTER (1991)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE OMEN (1976)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE OTHER (1972)
JERRY GOLDSMITH
INSERT REVIEW HERE.
OUR MAN FLINT (1965)
JERRY GOLDSMITH
INSERT REVIEW HERE.
OUTLAND (1981)
JERRY GOLDSMITH
INSERT REVIEW HERE.
PAPILLON (1973)
JERRY GOLDSMITH
INSERT REVIEW HERE.
A PATCH OF BLUE (1965)
JERRY GOLDSMITH
INSERT REVIEW HERE.
PLANET OF THE APES (1968)
JERRY GOLDSMITH
INSERT REVIEW HERE.
PLAYERS (1979)
JERRY GOLDSMITH
INSERT REVIEW HERE.
POLTERGEIST II: THE OTHER SIDE (1986)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE PRIZE (1963)
JERRY GOLDSMITH
INSERT REVIEW HERE.
PSYCHO II (1983)
JERRY GOLDSMITH
INSERT REVIEW HERE.
QB VII (1974)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RAGGEDY MAN (1981)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RAMBO: FIRST BLOOD PART II (1985)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RAMBO III (1988)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RANSOM (1975)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE REINCARNATION OF PETER PROUD (1975)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RENT-A-COP (1988)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RIO CONCHOS (1964)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RIO LOBO (1970)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE RIVER WILD (1994)
JERRY GOLDSMITH
INSERT REVIEW HERE.
ROOM 222 (1969)
JERRY GOLDSMITH
INSERT REVIEW HERE.
RUNAWAY (1984)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE RUSSIA HOUSE (1990)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE SAND PEBBLES (1966)
JERRY GOLDSMITH
INSERT REVIEW HERE.
SEBASTIAN (1968)
JERRY GOLDSMITH
INSERT REVIEW HERE.
SIX DEGREES OF SEPARATION (1993)
JERRY GOLDSMITH
INSERT REVIEW HERE.
SLEEPING WITH THE ENEMY (1991)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE SPIRAL ROAD (1962)
JERRY GOLDSMITH
INSERT REVIEW HERE.
STAGECOACH (1966)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE STRIPPER (1963)
JERRY GOLDSMITH
INSERT REVIEW HERE.
STUDS LONIGAN (1960)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE SUM OF ALL FEARS (2002)
JERRY GOLDSMITH
The fourth movie based on the novels by Tom Clancy, The Sum of All Fears brings us Ben Affleck, the third actor to portray CIA intelligence man Jack Ryan, after Alec Baldwin and Harrison Ford. Directed by Phil Alden Robinson, the film is essentially a prequel to the likes of The Hunt for Red October and Patriot Games, in that we follow Ryan in his early days as a CIA analyst, and his first mission under the command of head honcho William Cabot (Morgan Freeman). After the ailing president of Russia dies of natural causes, Ryan is hired to provide intelligence on the man chosen to succeed him. However, when Ryan discovers some disturbing facts about the new President's past, coupled with the discovery that a nuclear weapon has gone missing from a military installation in Siberia, the authorities begin to suspect that the Soviets may be intending to detonate the device on the American mainland. As with all Clancy's techno-thrillers, The Sum of All Fears is polished entertainment with a degree of political intrigue; once again, the quite disturbing "what if" scenario surrounding the use of a nuclear weapon in a heavily populated area raises it's head, resulting in some quite graphic and thought-provoking responses. Affleck, Freeman, and supporting cast members James Cromwell, Live Schreiber and Ciaran Hinds are adequate. It's a step below the brilliance of Harrison Ford's Ryan, but an enjoyable ride nonetheless. In many ways, The Sum of All Fears is yet another standard Goldsmith action score, full of the familiar orchestral bombast and percussive licks regular listeners to his work will have heard a thousand times over. The things that make this score stand out, however, are the vocal performances and, oddly, the main song, which was written by Goldsmith in collaboration with lyricist Paul Williams. The memorable pop song "If We Could Remember" is translated into Latin and performed by soprano Shana Blake Hill in "The Mission", a superb track which features a lovely combination of thematic beauty and vocal power, and an unusual 'fading' effect that corresponds musically to the stylistic touches of the opening titles. In addition, some of the action music, notably "The Bomb" and "Clear the Stadium", is of the pulse-pounding variety, and throbs to tremendous ostinatos and flashy horn calls.
TRACK LISTING: 1. If We Could Remember performed by Yolanda Adams (3:33), 2. The Mission (6:00), 3. The Bomb (2:59), 4. That Went Well (2:48), 5. Clear the Stadium (1:36), 6. If We Get Through This performed by Tabitha Fair (3:40), 7. The Deal (2:38), 8. Changes (2:30), 9. Snap Count (2:16), 10. His Name is Olson (1:55), 11. Nessun Dorma performed by Bruce Sledge (3:02), 12. Deserted Lab (1:55), 13. Real Time (2:54), 14. How Close? (6:09), 15. The Same Air (2:01), 16. If We Could Remember (Reprise) performed by Yolanda Adams (3:33). [Elektra, 49:30].
THE SWARM (1978)
JERRY GOLDSMITH
INSERT REVIEW HERE.
TAKE A HARD RIDE (1975)
JERRY GOLDSMITH
INSERT REVIEW HERE.
TORA! TORA! TORA! (1970)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE TRAVELING EXECUTIONER (1970)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE TROUBLE WITH ANGELS (1966)
JERRY GOLDSMITH
INSERT REVIEW HERE.
TWILIGHT'S LAST GLEAMING (1977)
JERRY GOLDSMITH
INSERT REVIEW HERE.
TWILIGHT ZONE: THE MOVIE (1983)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE VANISHING (1993)
JERRY GOLDSMITH
INSERT REVIEW HERE.
VON RYAN'S EXPRESS (1965)
JERRY GOLDSMITH
INSERT REVIEW HERE.
WARLOCK (1989)
JERRY GOLDSMITH
INSERT REVIEW HERE.
WILD ROVERS (1971)
JERRY GOLDSMITH
INSERT REVIEW HERE.
THE WIND AND THE LION (1975)
JERRY GOLDSMITH
INSERT REVIEW HERE.
WINTER KILL (1974)
JERRY GOLDSMITH
INSERT REVIEW HERE.
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Movie Music U.K is designed and maintained by Jonathan Broxton (c) 2003-04. All opinions and views expressed on these pages are my own and are in no way intended to reflect those of the University of Sheffield. All photos and album artwork used on Movie Music U.K. are for non-profit making promotional purposes and no copyright infringement is intended.