Andrew

Lazlo, I should send you a copy of this score. What's wrong with you? What Williams scores do you like, I wonder, if you don't like this one.

Shaun

I also dig John Williams's 4 *Lost in Space* scores. (Especially "The Hungry Sea".) Here's the difference between Williams's *Earthquake* and Broughton's *Silverado*: *Earthquake* is good cheeze. *Silverado* is bad cheeze. I get the dry heaves just thinking about *Silverado* and its banal peppy red-blooded chirpiness. I recommend that you include Williams's *The Cowboys* as part of your recovery therapy.

Yes, of course Stephen Hopkins can't direct and Heather Graham can't act. But they sure make a cute couple. (I hope they're still together. And I have no right to say any of this because I haven't seen the movie.)

Here's what Pauline Kael said about *Silverado*: "The orchestral score of *Silverado* is a mistake: it pounds you on the head trying to inflate the emotions that the movie intended to arouse, and so it makes you more aware of the hollowness of what you're experiencing. These movies aren't about anything but pinning index cards to a wall...Lawrence Kasdan is an impersonal craftsman, hip in a post-modern way that's devoid of personality...In this arch, uninvolving atmosphere, every time the director shows his good intentions---as he does in his treatment of the black hero's family, and in his concern for the terror experienced by a little boy---the film gets groggy. (Outraged by the news of some chicanery, the black cowboy uses his deepest chest tones on 'That ain't right. I've had enough of what ain't right.' "

And BTW, Luscious, Kael is not criticizing the score so much as she is the movie. Broughton's music was TOO good -- it made the film seem bad by comparison. Broughton has a tendency to produce scores not worthy of the films they represent, and I admire him for it.

P.S. What is that about Lazlo- "stately virile Americana crap"?

[This message has been edited by Aaron R. Brown (edited 13 February 2000).]

That was over year ago, and they still had it as of an month ago, since who would want to pay full price for an used CD. Definitely not me.

I should see if they still have it, though to be honest I don't really care one way or the other. If anyone wants it, it is at the Music Company, Castro Valley, CA 94546-4626. If you need any other info, please let me know.

Sean Robert Abbey

The film is about a man trying to find the truth. Theories are a way at the truth.

, but that it makes a hero out of one of the most evil men in the history of American jurisprudence, Jim Garrison, who framed an innocent man with bogus evidence

An innocent man? Who later admitted to being with the C.I.A.? This is something he denied under oath. He also denied ever having an alias, though it was clear that he did. He clearly knew David Ferrie, who knew Oswald.

bribed witnesses and resorted to duplicitous prosecutorial techniques that would make anyone concerned about civil liberties cringe.

Jeez, Pro-Shaw/Bertrand? I guess Garrison's public standing won't be tarnished, what with everybody watching Laugh-In (even though it wouldn't premiere until a year later).

Dean Andrews said point blank that there was no "Clay Bertrand", and that he made the name up. Shaw never admitted working for the CIA, he simply provided reports on activities in other foreign countries like many other businessmen did during the 1950s.

In "The Motorcade", I was embarrassed by the loud appearance of a brass STAR WARS-ish motif. Which sorta gave the impression that one of Darth Vader's fighter-ships was about to swoop down on Kennedy's limo. Also in "The Motorcade", I noticed that Williams plagiarized a French-horn phrase from THE RITE OF SPRING. It's the same phrase that he plagiarized in "Sea Attack #1" in JAWS. The piccolo shriek is also straight from THE RITE.

Howard,
JFK was one of those "drop it in where you please" scores, so it's difficult to say that it's a perfectly scored film, but I'm saying that it's a perfectly scored film.

Shaun