Despite first hearing about the music when Michael Ware and some others were discussing the production here a long while ago, it wasn't until last night that I finally got to hear it, while watching Tobe Hooper's film.

While the picture has its ups and downs [Hooper's follow-up to POLTERGEIST barely compares to that film], Mancini's score--much like Goldsmith's for THE MOTION PICTURE--was superior icing on the cake. It was the production's most valuable asset. Additionally, part of what makes the work so intriguing is how surprising it is to hear Mancini compose music such as this! Its theme is simply adrenalizing! It's a kind of tune that one could listen to all day long. So musical, so rousing....

The CD only contains Mancini's music, though: none of Michael Kamen's additional music for the film is on there.

To give those of you out there in "the listening audience" a clue if you haven't got one--hearing this score was, musically, the equivalent to seeing Bruce Willis star in DIE HARD after several seasons as a goofball on MOONLIGHTING.

I just ordered the disc from Varese. I can't wait to receive it. Intrada also has it available in its catalog, but not for the nice price that Varese does.

My advice: skip the film [the score works as underscore fine, just take my word for it] and simply buy the disc. Even if one isn't the biggest fan of "Other" music, the melodic theme alone is worth the $15.48 you'll shell out for the album. [After all, how many of you--like I--just signed off $25 for "Soarin' Over California?"]

it's arranged in almost a symphonic way; in movements. I guess a more recent example of this idea is Chris Young's Bless the Child CD.

By the way, does anyone know WHY IN THE HELL Mancini even scored this trashy movie? [It's not that I'm disappointed he did...although I bet that more than a few of his refined, "Moon River" fans would want to know if he'd been sniffing glue....]

the answer is:
to pay the bills.

it is a testament to Mancini's musicianship that he could work on such a crap film like this and produce one of the great film scores of the last 20 years.

The guy's gotta be one of the few film composers who's also a pop icon! [It seems to me as though only JW and Randy Newman can even begin to compare to Mancini from the standpoint of popular notoriety.]

It's hard to imagine that it was simply a job to help him get by.... That said, maybe there were things about Mancini of which I was unaware. After all, up until last Friday, LIFEFORCE was one of them.

I remember reading an interview with Mancini many years ago (I think in Starlog magazine) where he expressed how pleased he had been with the way the score turned out but also his great disappointment at the way the film was so heavily re-edited in postproduction that his music was severely affected, especially the opening space/discovery sequence, which Mancini described as being "wonderful, almost like a ballet" before it got chopped up by the producers (you can hear the music the way Mancini intended on the CD).

It's hard to know quite what inspired him to write such a majestic score since the movie is quite dementedly awful. Having said that, I do find it falls into the "so-bad-it's-good" category - the wooden performance by Peter Firth (trying to look authoritative in a groovy polo neck jumper) is hilarious,
as is Frank Finlay's earnestly suave doctor.

I also find the pre-CGI effects very refreshing if not always convincing, and there's some truly crazy plot diversions (including a surreal episode in a Caligari-esque mental asylyum run by none other than Jean-Luc Picard himself, Patrick Stewart!)

A very ludicrous and very entertaining movie, with a most fabulous score by the great Hank (and I'm glad the CD is not spoiled by the inclusion of any of the unnecessary "additional cues" by Michael "Hack" Kamen)

I LOVE THIS MOVIE!

M.

quote:

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Originally posted by Bulldog:

By the way, does anyone know WHY IN THE HELL Mancini even scored this trashy movie?

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He mentioned in an interview with Yann Merluzeau that the deleted prolgue was what prompted him to take the assignment (although paying the bills sounds like a good reason too).

No matter how popular the film composer, no matter how effective his score, the film with which he is associated has to be prominent in order for his work to be noticed.

LIFEFORCE is the greatest example [of which I know, anyway] testifying to this matter of fact .

Here we have THE single-most popular and well-known film composer of all time writing music that everyone who has responded in this thread [so far] enjoys. Yet, the film was poorly-received, and, thus, very few people--including avid film score aficionados--know of the picture itself, much less its musical identity.

All of the "average" people for whom I have played "The LIFEFORCE Theme" have loved it. Each has had no idea what it is. Several have asked, "Is that gladiator music?" All of them have been astonished to learn what it in fact is, not to mention their surprise in finding out who produced it.

So, there we have it; no matter how prolific a composer is, no matter how popular his musical style of expression, a film with which he is associated has to have a substantial presence for his score to be noticed--and, subsequently, appreciated.

What does this all mean? For one, maybe that a certain pony-tailed hero of ours would be much more revered if more people were familiar with, oh, say, NIGHT CROSSING, for instance....

quote:

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Originally posted by Bulldog:
What does this all mean? For one, maybe that a certain pony-tailed hero of ours would be much more revered if more people were familiar with, oh, say, NIGHT CROSSING, for instance....

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I don't have Lifeforce (yet), but I do own Night Crossing.

What a fantastic gem this is! Intrada's 'limited edition' disc gives us an hour of the score with a fantastic recording and performance from the National Philharmonic.

There are three major themes in the score: a theme for the East Germans, a happy waltz introduced on accordion, and 'working/flying' music. The beautiful flying music is reminiscent of The Blue Max.

While the whole score is very well done, my favorite part of it is the "East German Theme." I like it so much because of the cool rhythms Jerry concocted with the 11/8 meter. The intense performance is what really sells it. It sounds so sinister that I put it right up there with Williams' Imperial March.

Pick it up immediately! It's $22 well spent.

Perfect sound, more music. A great cd!

and loads of naked pics on the inserts. its embarrassing!

Thank God I just ordered a cdr burner last night, and will be getting a printer soon, so I can get back in the game and snag one of these puppies!

Mancini Rules!!!! hehe

NP: Entrapment(Young) This is what 'The World is Not Enough' should have been....I'd die a happy man if Chris scored a Bond film.