Soundtrack Reviews and Upcoming Releases

Part 1: Isolated Goodies

Before we get to this week’s newly released / announced soundtrack tally, I should mention a pair of upcoming Blu-ray releases that will feature isolated scores.

Image has released Rod Serling’s original Twilight Zone series many times on DVD – first as a series of non-chronological singles, then in boxed sets, and finally in a beautifully remastered 5-volume series that presented the episodes in their original broadcast order, with oodles of extras, including isolated scores.

Some of the isolated music tracks – which included early work by Jerry Goldsmith, Leonard Rosenman, and several gifted but marginalized composers like Nathan Van Cleave – were already present on the first wave of DVDs, but the Definitive Collection, as the latest sets were branded, seemed to included every possible isolated score that existed in the vaults, including Bernard Herrman’s “Little Girl Lost,” which Varese had to re-record because the stems weren’t available for a CD release.

Universal seems to have followed the trend and will be releasing the classic Boris Karloff series Thriller Aug. 31 with some isolated music materials. Thus far, there’s only been a re-recorded LP of Pete Rugolo’s music on the old Time label, but the new DVD set will feature “isolated music and effects tracks for select episodes from composers Jerry Goldsmith and Morton Stevens,” which is great news from a DVD label that’s shunned that specific special feature for years.

Back when I wrote for the print edition of Music from the Movies, I did a profile of the first volume of Image’s Definitive Collection (see parts One and Two), with some comments by an Image rep on the inclusion of the previously unreleased music stems.

Image recently announced the inevitable: Season 1 will make its debut on Blu-ray Sept. 14, with an SRP of $119.99 CAD. That’s one of the reasons I never bought the mega-set of the Definitive volumes (alongside bad book-styled binding with poor glue). Paramount has already put out the original Star Trek on BR, so it seemed logical TZ was on the way – the only caveat is how long it’ll take for all 5 seasons to be released on BR, and whether Image will package them in a mega-set.

(If the series’ release history tells us anything, most likely it’ll be a while for a mega-set, since they usually come out at a lower price because it’s one way for labels to blow out excess stock, after ardent fans have snapped up the pricier single season editions.)

In any event, Image’s PR sheets state the BR edition of Season 1 will contain the isolated scores, so as an ardent fan of the TZ series and the great chamber-sized scores by some of film music’s unsung heroes, I’m giddy. Varese Sarabande's original 5-LP slate of TZ music from the 1980s was one of the reasons I got into film music, and they were among the first soundtracks I bought while still in high school.

Moving on, Fox hasn’t been doing much with their back catalogue of late, and they’ve been focusing on key franchises and contemporary classics rather than re-starting the film noir and classics lines which film fans loved so much. The downside to that decision is a lot of little-seen and CinemaScope classics will never appear on DVD or BR, and what we've been getting is a regurgitation of films seemingly culled from AFI’s top whatever list – populist classics that will probably sell, albeit after already being released many times on DVD.

When the Alien Quadrilogy debuted in a box that unfurled like the felt wrapper my mother used to pack up the silverware, it was a pricey monster that eventually got knocked down to loss leader status. I waited long after writing up a detailed review of the set (see parts One and Two) and snapped it up for $14, which made a friend wince, seeing how he paid full price a few years earlier.

For the franchise’s inevitable BR release on Oct. 26 (SRP to be determined for Canada), Fox is porting over everything from the Quadrilogy, and taking an idea from the prior Alien boxed set, where Alien had an isolated score track. ALL of the 4 Alien films will have isolated music tracks, and the PR sheet’s wording is a bit murky in describing whether the scores will be the theatrical score edits, or the full realm of used and unused cues.

Jerry Goldsmith, for example, had to write a lot of alternate music for Ridley Scott’s Alien; more than enough to fill Intrada's non-limited, 2-disc CD set. In Aliens, director James Cameron dropped some of James Horner's cues in favour of sound effects. With Alien 3, Elliot Goldenthal had to contend with a film that was never in any final shape, and John Frizzell wrote a big chunk of music for Alien Resurrection. If these scores are included in their full length, the BR’s will provide fans a great chance to see the films as the composers envisioned before sound effects and radical editorial changes were brought into the blender. That, plus the music in uncompressed stereo.

Also announced is a new 3-disc set of Apocalypse Now for Oct. 19, which is moving from Paramount to Lionsgate (USA) / Maple (Canada). That’s a nice feather in the cap for the two labels, since Paramount’s been deleting a massive amount of back catalogue titles over the past two years. Apparently the new BR set will feature the theatrical and redux versions in the former’s original theatrical aspect ratio of 2.35:1 – reportedly a first for home video – plus the great doc Hearts of Darkness, where director Francis Ford Coppola almost lost his sanity making his epic. An isolated score track would be nice… but that doesn’t seem to be in the package, although the set will contain a featurettes on the synth score.

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Part 2: What in Hell is Wrong With You?

Lastly, this Tuesday John Carpenter’s Escape from New York makes its debut on BR via MGM / Fox in a new 1080p transfer, but if this set is an indication of where MGM’s corporate brain is right now, film fans will be in for a lot of disappointing catalogue releases.

Disc 1 features the film; Disc 2 has the film in Standard DVD, plus a theatrical trailer.

That’s it.

The 2-disc set MGM released in 2003 (when still solvent and sane) contained a deleted opening scene (a 10-min. bank robbery sequence); making-of featurettes on the film and comic book, photo gallery, and A COMMENTARY TRACK WITH DIRECTOR JOHN CARPENTER AND KURT RUSSELL, plus ANOTHER COMMENTARY TRACK WITH PRODUCER DEBRA HILL AND PRODUCTION DESIGNER JOE ALVES.

Around 2003, MGM exploited the old Avco-Embassy catalogue by bringing out excellent special editions of The Howling (1981), The Fog (1980), and Escape from New York, but of late they’ve done little of note for exploitation or classic titles. Older classics like Robert Aldrich’s Kiss Me Deadly and John Huston’s The Misfits, for example, are now out of print, and may stay that way for a while until the company’s financial issues are settled.

Most likely MGM is focusing on keeping a bare bones release schedule, with best-selling classics getting the BR treatment. The decision to port over zero extras from the SD-DVD is pure laziness, or some daft effort to double-dip the consumer. If MGM wants money, they should put out definitive editions filled with extant value added features, instead of going half-assed.

The Digital Bit’s Bill Hunt has had two large rants about what the labels are doing wrong with BR, and he’s certainly dead-on with the bizarre decision to hold back on extras in favour of bare bones editions that leave room in the future for a double-dip.

If you want the format to gain the broadest acceptance among consumers, make it the best product you can.

MGM couldn’t fit the previously released extras on a 50 GB BR disc?

Rubbish. MGM: go to the corner, and firmly plant that dunce cap onto your head until you wake up and realize you’re neither helping the market, the format, nor the company by being creatively numb and cheap.

Universal is equally contemptuous of their back catalogue. Joe Dante’s Matinee (1993) recently made it to DVD in an anamorphic transfer, but it’s a bare bones release that features none of the modest extras used on the old laserdisc. The label’s apathy is wholly confounding, because Dante had been making overtures to Universal for years, offering to loan production ephemera and participate in a special edition. At DVD Savant, Glenn Erickson interviewed Dante about the label’s ignorance, and it’s a saddening read, since the film will likely never get a special edition in North America.

Although... maybe in Britain? Carpenter recorded audio commentary tracks for They Live and Howard Hawks’ The Thing. Heck, even MGM Europe had the keen desire to create special editions around 2004 of Sergio Leone westerns before they were eventually ported over to Region 1 land, as well as war classics like 1969’s Battle of Britain and 1977’s A Bridge Too Far).

It reads like collector whining, but ask yourself this: If you just dropped $2000 on a new 1080p entertainment system, wouldn't you be irked that for $20, you get a bare bones release of a movie in a BR / DVD combo, but for $10 more, you get the special edition, albeit on DVD? The price point is retarded, and it's an example of inept planning within MGM's home video division, which seems to have been incipient since 2005. Certainly one reason MGM is a mess and Warner Bros. and Sony remain dominant forces in the home video market is where the latter two know how to exploit their catalogue titles with value added features, and logical pricing. Warner's A Star is Born (1954) is loaded on DVD, but if you spend a bit more, you get better resolution and the full package of special features.

That's just logical, so you have to wonder: What the hell is wrong with MGM?

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Part 3: New Soundtrack Reviews

Just uploaded are five CD reviews, with more to follow shortly: Franco Micalizzi’s Le Amazzoni / Battle of the Amazons (DigitMovies), Angelo Francesco Lavagnino’s score for the 1955 travelogue / documentary Continente Perduto / The Lost Continent (Alhambra), Mark Mancina’s complete Speed 2: Cruise Control (La-La Land), Theodore Shapiro’s Diary of a Wimpy Kid (La-La Land), and La-La Land’s Mike Judge double-billing of John Frizzell’s Office Space, and Shapiro’s Idiocracy.

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Part 4: Soundtracks – New and Imminent

Beat Records (Italy)

Lesbo (Alessandro Alessandroni, Francesco De Masi) --- late July; ltd. 500 copies

Milano: Il clan dei Calabresi / The Last Desperate Hours (Gianni Marchetti) --- late July; ltd. 500 copies

Via della prostituzione, La / Emanuelle and the White Slave Trade (Nico Fidenco) --- late July; ltd. 1000 copies

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Film Score Monthly / FSM (USA)

Butterfield 8: Bronislau Kaper at MGM, Vol. 1 (1954-1962) --- Ltd. 1200 copies

Dragon Seed (Herbert Stothhart) --- Ltd. 1000 copies

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GDM (Italy)

Anastasia mio fratello / My Brother Anastasia (Piero Piccioni) --- early Sept.

Drammi Gotici / Gothic Dramas (Ennio Morricone) --- early Sept.

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Intrada (USA)

Maxie (Georges Delerue) --- Ltd. 1200 copies

Mean Season, The (Lalo Schifrin) --- Ltd. 1200 copies

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Kritzerland (USA)

Promises, Promises (Burt Bacharach / Hal David) --- mid. Aug.

Romantic Comedy (Marvin Hamlisch) --- early Aug. / Ltd. 1000 copies

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Lakeshore (USA)

Countdown to Zero (Peter Golub) --- Aug. 17

Dinner for Schmucks (Theodore Shapiro) --- Aug. 3

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La-La Land Records (USA)

Batman (Danny Elfman) --- 2CDs / Ltd. 5000 copies

Diary of a Wimpy Kid (Theodore Shapiro)

Krull (James Horner) --- 2CDS / Ltd. 3000 copies

Predators (John Debney)

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MovieScore Media (Sweden)

Deadline (Carlos José Alvarez)

Legend of Silkboy, The (Alan Mayrand)

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Legend (Italy)

Fraulein Doktor (Ennio Morricone) --- mid-Aug. / Ltd. 1500 copies

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Music Market (Italy)

Super Bud Spencer & Terence Hill, Vol. 1 (various) --- early Aug.

Super Bud Spencer & Terence Hill, Vol. 2 (various) --- early Aug.

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Perseverance (USA)

Kickboxer (Paul Herzog) --- early Aug.

No Retreat, No Surrender (Frank Harris) --- early Aug.

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Silva Screen (UK / USA)

Expendibles, The (Brian Tyler) --- late Aug.

Terminator 2: Judgement Day (Brad Fiedel) --- mid-Aug.

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Tadlow (UK)

Lawrence of Arabia (Maurice Jarre) – early Sept. / 2-CD re-recording

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Toho (Japan)

Mothra (Yuji Koseki) --- early Aug. / 2-CDs

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Mark R. Hasan, Editor

KQEK.com

Soap Music II

Back in March, La-La Land Records released a 2-disc set featuring music from Days of Our Lives [DOOL], the venerable daytime soap that’s been on air since 1965. The set features music composed by D. Brent Nelson and Ken Corday, and I’ve just uploaded a great interview with Nelson, who speaks quite eloquently about writing for a medium that is largely ignored by the general public (and cynical critics) because the music is regarded as canned, or just not very good.

As my review of the album clarified, the DOOL cues are really, really good, and represent the kind of quality writing that goes into a daytime series. The music is atmospheric, kinetic, soothing, and very affective in the way the composers conjure moments of solemnity in some of the softer character themes.

In addition to the Q&A, Nelson has also provided us with a quintet of unreleased cues that readers can listen to. Just look for the musical note symbol in the right margin, and you’ll be treated to some tunage.

Music for soaps – even in prime time – has a bit of an image problem in that everyone knows the main theme, but can barely recall original music specifically composed for the show.

My daytime soaps from eons ago consisted of General Hospital (just as Demi Moore was leaving the show), and Coronation Street. (Yes, technically it’s an evening show, but it the first thing on TV when I used the set as a makeshift alarm clock before doing a deadly dull Sunday shift, back when I was working at a book store 10 years ago).

Nighttime efforts included the usual standards: Dallas, Knots Landing, Dynasty, The Colbys, and something called Emerald Point N.A.S. that no one remembers, except maybe three other people on planet Earth. (Check out the cast, because it was quite good.) Like Dynasty and Colbys, Emerald Point was scored by Bill Conti, and while I remember most of the themes from those shows (I’m pretty sure Emerald Point used a march that had some cast members in mock-salutes for their credit rolls), there’s no memory of the scores.

Wait, that’s incorrect. There are some memories of Dallas having a year where the music was oddly eerie, and its spinoff series, Knots, had a roughly 2-year period where everything was simply amazing: story, characters, bitches, double-crossing bastards, and eerie music. During that prime period, Alec Baldwin played a psycho priest before he broke into the big screen, Nicolette Sheridan provided a fine dose of self-centered bitchiness in spite of being under the shadow of Donna Mills and her sharply drawn mascara, and Peter Reckell took time away from DOOL to enjoy a great stint playing a scoundrel from ’88-89, annoying the heck out of Sheridan’s character.

Some of the DOOL actors also flirted for a while to prime time, though perhaps the most high profile is Deidre Hall, who played a mom to Shannen Dougherty in Our House (1986-1988), with Wilford Brimley playing grandpa (and telling the world eating Quaker Oats is ‘the right thing to do’).

While a second CD set of more DOOL music is deserved (and I would imagine fans would certainly be clamoring for more), I’d also argue owners of the aforementioned series should take advantage of the avid fan bases out there and reward them with carefully produced collections of themes, be they suites from unique episodes, or an assembly that mimics a feature-length journey for core characters.

The Network label in the U.K. has been going through the ITV catalogue for a while now, and is not only releasing long unavailable series, but boxed sets of music from shows like Danger Man, S Department, The Saint, Randall and Hopkins (Deceased), and The Prisoner.

I’ll have a review of the 3-disc Prisoner set in mid-August, but these releases represent the hard work of album producers, engineers, sequencers, and fans determined to free good music from the vaults.

One would think by 2010, most of the good stuff has come out on disc, but these new releases make it obvious there’s a lot more out there to enjoy.

Mark R. Hasan, Editor
KQEK.com

A Star is Born, Part Two (B) (1976)

Some would say watching a film or genre with a predisposed distaste for a genre or star makes it impossible to acknowledge a film’s good parts, which may be so if the film is so derivative, that it’s just offends every fibre in the body.

I hate Grease (1978), for example, and will never watch Mama Mia! (2008) because they represent the kind of giddy pop musicals I just don’t fancy. I loved Grease as a kid, but outgrew the music, and I think I’d rather have an elephant sit on my head than attend Paramount’s sing-along Grease tour that’s going global now. I liked ABBA as a kid but also grew up and have no regrets in never wanting to hear their music again.

The reason ABBA is evil is because the music is ingeniously crafted around hooks, either in lyrics, melodies, or specific sounds that even if heard for a few seconds, trigger the memory monster in one’s brain, and start the whole song in a loop.

If you’ve heard ABBA a few times as a kid, those songs NEVER LEAVE YOUR BRAIN, which is why Mama Mia! is dangerous. It exploits the stealth triggers in the brains of affected adults (me, and maybe you), and makes them writhe in pain from the experience of re-hearing insipid music that was long ago banished as imported pop from the land of blue and yellow.

The musical is evil in its new incarnation because it validates a sub-genre of musicals crafted from songs that have no thematic relations. Yes, if among 50 songs there are probably 20 dealing specifically with stages of falling in and out of love, making it possible to thread together a create a narrative, but it’s fluff that feels like a marketing ploy to buy the CD.

The 2008 film based on the musical is specifically an affront because it forces James Bond (Pierce Brosnan) to sing.

007 is licensed to kill, not croon ABBA.

I’m sure Brosnan had fun making the film, but as I said, I’ll go for the still-crushing elephant instead of watching 007 (fine, an ex-007) become sappy-happy.

The reason I would watch a musical is because it may be one of the few that I like (and there are a handful, believe it or not), or it’s an investigation in seeing whether a story can work in a different genre.

Curiosity stumps biases, which is why I wanted to see the final evolution of the Star is Born tale in the 1976 Barbra Streisand film that was produced by Jon Peters (his debut as producer, in fact), and Babs as Esther, the crooner who achieves fame not during the glitzy fifties and that decade’s morality, but the cynical seventies when counter-culture figures were rebelling in music, wardrobe, and an extreme intake of substances alcoholic and chemical.

If the ’76 film has anything in common with the ’32 film What Price Hollywood? it’s an overt cynicism for the business of art and commerce. The lewd behaviour among seventies musicians is more out there, the language is less delicate, and the hedonistic characters have an even bigger devil-may care attitude than the rebels within the old studio system, circa 1932 and 1937. 1976 also offers bare boobies, although one suspects if the filmmakers could’ve worked in an orgy scene in 1932, they would’ve.

The 1954 version was, like the ’76 film, shaped as a vehicle for its star, and scenes were shaped to exploit the dramatic and vocal needs of Judy Garland and Streisand, respectively. The music was written to each star’s musical range, although Streisand perhaps made the bigger leap in crossing as much as she could into the rock world of John Norman Howard, even if that transition doesn’t really work.

Is the ’76 a bad movie?

It depends on where one’s coming from, because it is a showcase for Babs; it offers plenty of scenes where Kris Kristofferson is Manly, be he drunk or sober; and there’s that hit Oscar-winning song “Evergreen” which, like ABBA, benefits from strong craftsmanship; it’s a corkscrew tune that will revolve in the brain, whether that’s what you want, or fear the most.

Babs’ film also became one of the top grossing films of that year, and won multiple Golden Globe Awards. (Wait, the Hollywood Foreign Press Association isn’t comprised of real people. Strike that last accolade.)

Whether it’s an interest in seeing this specific fame myth in another genre or perhaps see why the ’76 film was such a hit, I’ve uploaded a lengthy review that’s a bit different from the others. It’s longer and arguably windier, but the Streisand version also comes with baggage that was aired in print by the film’s director.

Prior to the film’s release, Frank Pierson wrote of making the film for New West magazine, and preserved one point of view regarding the film’s weaknesses. Additionally, the DVD from Warner Home Video also features a commentary track by Streisand, so there are two points of view that one can use in assessing the film’s merits, artistic choices, and from my end, its flaws.

Moreover, from an angle of adapting material to a different genre for a wholly different audience – part Babs fans, part youth and adult – it is fascinating to see where Pierson tried to create some continuity with the original Star template to avoid seeing the mish-mash of a script be a just a series of ‘conceptual’ scenes strung together with music.

Ergo, to read the review of the 1976 version, click HERE, and while you may not need to be familiar with the prior versions, it can’t help to have a passing familiarity.

The last chapter in this Star retro will be a blog regarding the music of the films, and how they hold up as dramatic evocations of the famous story.

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Mark R. Hasan, Editor
KQEK.com

No souvlaki for you, laughing boy!

July may be the month from hell, in terms of health assaults that are normally reserved for the chillier months of the year. What’s more bizarre is how things sort of followed one another, as though they’ve all been waiting in the background until the latest has done its act, and the next one can move into the spotlight. From cough to strep throat, then food poisoning to vertigo, and now a return to throat issues either old or newly malevolent, it’s been a lousy July.

(Vertigo is like being drunk without the booze – which some might enjoy – but it’s challenging to even sit and read text on a screen because eye movement makes things feel dizzy and queasy.)

During these 2 weeks of internal biological warfare, there have been a few pleasant surprises, in terms of relief f sorts from folk and medical stuff. Honey may not cure a sore throat, but it provides some satisfaction when it feels as though battery acid’s been burning down the throat. Ginger root, sliced up and cured with boiling water to make a tea, keeps the stomach stable and also soothes the throat.

Orange juice I found too acidic, so I opted to drink lots of Oolong tea, which never created an upset. Black tea also works, but Oolong was much more soothing. A better hybrid of chicken soup is chicken and lentil soup with a rich broth devoid of heavy spices, but plenty of large pieces of chicken, which was enough to subsist form daily during the strep throat idiocy.

Fisherman’s Friend are better lozanges than Hall’s because their release of menthol is slower but equally sharp, and less heavy in sugar. Fuzzy Peach candy (I swear) is also a good emergency throat soother because it’s sweet, slightly tart, and one can use it for a slow dissolve until one gets a hand on a proper lozenge or medicine.

The ultimate goal right now is to get current articles and interviews online before I conk out from queasiness, and the long-term goal is to meet those self-imposed deadlines, which include upgrading the site for mobile gizmos, the launch of Big Head Amusements (a site for some of the satirical nonsense I’ve been working on this summer), and what may seem to be unrelated: to be able to eat once again my favourite foods. I’m not referring to my own cooking, but eating at Mother’s Dumplings, The Hungary Thai, and Asteria’s Greek food.

The BRAT diet (bananas, rice, applesauce and toast) is b o r i n g, and I miss real food.

Next post: a review of the last Star is Born film: the 1976 Barbra Streisand thingy. All 5,000 words of it.

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Mark R. Hasan, Editor
KQEK.com

New & Upcoming Soundtrack releases

Here's the latest tally of soundtrack releases, both due tomorrow, imminent, and coming in August.

Remember: rent money trumps that I-must-have-it-now! feeling.

Beat Records (Italy)
Lesbo (Alessandro Alessandroni, Francesco De Masi) --- late July; ltd. 500 copies
Milano: Il clan dei Calabresi / The Last Desperate Hours (Gianni Marchetti) --- late July; ltd. 500 copies
Via della prostituzione, La / Emanuelle and the White Slave Trade (Nico Fidenco) --- late July; ltd. 1000 copies
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DigitMovies (Italy)
African Story (Francesco De Masi)
Fatevi vivi la polizia non interverra (Pierro Piccioni)
Misteria (Carlo Maria Cordio)
4 giornate di Napoli, Le (Carlo Rustichelli)

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DigitMovies / Emergency (Italy)
Vincere (Carlo Crivelli)

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Dutton Vocalion (UK)
Mancini’s Angels + The Theme Scene (Henry Mancini) --- late July
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Film Score Monthly / FSM (USA)
Butterfield 8: Bronislau Kaper at MGM Vol. 1 (1954-1962) --- ltd. 1200 copies
Outland (Jerry Goldsmith) --- ltd. To 5000 copies; 2 CD set
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GDM (Italy)
Adio Zio Tom (Riz Ortolani) --- early August
Ag ogni costo (Ennio Morricone) --- expanded
Odia il prossimo tuo / Hate Thy Neighbor (Robby Poitevin)
Tranquillo posto di campagna, Un / A Quiet Place in the Country (Ennio Morricone) --- early August
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Intrada (USA)
Black Bird, The (Jerry Fielding) --- ltd. 1500 copies
George Washington (Laurence Rosenthal) --- 2 CD set; ltd. 1000 copies
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Kritzerland (USA)
Juggernaut + The Bed Sitting Room (Ken Thorne) --- late July; ltd. 1000 copies
Romantic Comedy (Marvin Hamlisch) --- early August; 1000 copies
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Lakeshore (USA)
Countdown to Zero (Peter Golub) --- Aug. 17
Dinner for Schmucks (Theodore Shapiro) --- Aug. 3
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La-La Land Records (USA)
Diary of a Wimpy Kid (Theodore Shapiro)
Edge, The (Jerry Goldsmith) --- ltd. 3500 copies
Office Space (John Frizzell) + Idiocracy (Theodore Shapiro) --- ltd. 1200 copies
Speed 2: Cruise Control (Mark Mancina) --- ltd. 3000 copies
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MovieScore Media (Sweden)
Centurion (Ilan Eshkeri)
Garbo: The Spy (Fernando Velazquez)
Lightkeepers, The (Pinar Toprak)
Malice in Wonderland (Christian Henson, Joe Henson)
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Perseverance (USA)
No Retreat, No Surrender (Frank Harris)
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Quartet Records (Spain)
Hornet’s Nest (Ennio Morricone) --- ltd. 1000 copies; reissue of FSM release

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Silva Screen (UK / USA)
Get Carter (Roy Budd) --- Aug. 10
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Sumthing Else (USA)
Alan Wake (Petri Alanko) --- July 20; videogame
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Paoline (Italy)
Beatitudini (Alessandro Alessandroni, Ennio Morricone, Egisto Macchi) --- late July
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Screen Archives Entertainment (USA)
Dark Shadows: The Revival Series (Bob Cobert) --- 2 CD set
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Sony (USA)
Iron Man 2 (John Debney) --- July 20
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Varese Sarabande (USA)
Cats & Dogs: The Revenge of Kitty Galore (Christopher Lennertz) --- Aug. 24
Charlie St. Cloud (Rolfe Kent) --- Aug. 17
Spartacus (Alex North) – Aug. 2; 6 CD + 1 DVD set ltd. 5000 copies
Special Relationship, The (Alexandre Desplat) --- Aug. 24
Tudors, The (Trevor Morris --- August 24; 3 CD set
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Zero Day Releasing (USA)
Night of the Living Dead (stock music) --- special edition with stock music cues used in film Tudors, The (Trevor Morris --- August 24; 3 CD set

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Mark R. Hasan, Editor
KQEK.com

A Star is Born, Part Two (A) (1954)

I’ve uploaded the review of the 1954 Judy Garland version of A Star is Born (Warner Home Video) separately because this strep throat thing is now very angry, since it knows its being killed off by stuff. See, the bug likes to throw in distractions like Battery Acid Burning (BAB), incessant coughing, and no way of sleeping for periods longer than an hour or two.

Back to the review.

The Blu-ray review is long, detailed, and offers comparisons of the characters, plot changes and dialogue modifications between (primarily) the 1937 and 1954 versions. I’ve also delved into the extras a fair bit, assessing the promo materials as well as the 1942 Lux Radio drama where Garland actually performed an adaptation of the ’37 film.

For more info on the production of WHV's release, I'd suggest checking out Dick Dinman's Classics Corner On the Air. The site doesn't appear to have direct links to the 3 parts, but as detailed at DVD Savant, Parts 1 and 2 feature a dialogue with author and film historian John Fricke, and Part 3 has WHV's bigwig George Feltenstein. Nice to see the hard work of preservationists getting some acknowledgement, and a venue for them to elaborate on their venerable efforts.

Coming next: a tally of new soundtrack releases this week, followed by a review of the 1976 A Star is Born.

Mark R. Hasan, Editor
KQEK.com

A Star is Born, Part One (1932-1937)

I’m writing this while experiencing the vilest strep throat I’ve ever been stricken with, so hopefully this and the next set of blogs will make sense. (The final edit didn’t reveal a rant about potatoes or lyrics to a song about flying green donkeys, so I think all’s well.)

Okay. The first set of new reviews deal with A Star is Born – the myth as handled by filmmakers in four distinct areas: pre-Code Hollywood, Technicolor commercialism, fifties musical hybrid; and a slight counter-culture variation with actors sporting lots of hair and ‘fros.

1932 brought us What Price Hollywood? (currently - and shamefully - not on DVD), where the lure of stardom and the corrupting elements of Hollywood were unsubtle in what was otherwise a drama about a hard-working independent-minded working actress whose marriage is almost destroyed by her studio boss and the press parasites that want details of bedroom activities with location pictures.

Directed by George Cukor for executive producer David O. Selznick at RKO, the story was revamped into a more pro-Hollywood myth of a young girl’s fame and her husband’s destructive alcoholism. That 1937 film, A Star is Born (Image Entertainment), was part of Selznick’s indie streak for his own production shingle, Selznick International – which often made commercial films in the new 3-strip Technicolor process.

The first version was later upgraded as a musical in 1954 (Warner Home Video) and interestingly, was directed by Cukor, whereas in the 1976 version (also WHV), the story was transposed from Hollywood to the rock world. The latter was a logical decision, since seventies audiences seemed to want stories critical of the establishment rather than revisiting bloated studio productions.

Each of the four Star versions kind of got bigger and more ambitious in scope, but unlike the ’32 film, holding a critical camera lens to a corrupt town and chi-chi lifestyle was heavily tempered in the ’37 and ’54 versions; the ’76 was a partial attempt to show conflicts within the music industry, but those elements were inevitably obliterated by emphasizing romance, music, and watching brilliance flame out.

Each of the Star films benefitted from charismatic actresses: Constance Bennett provided a smart, indie-minded heroine named Mary who wins the moral battle at the end of the ’32 film; for the ’37 version, Gloria Gaynor made her Esther a dreamy but dignified heroine who valiantly weathered her husband’s emotional demise; Judy Garland’s Esther in the ’54 film was more of a street-smart crooner whose overtly emotional personality increased her husband’s guilt because he could see more readily the anguish his drinking was causing, making his sacrifice in the end quite poignant; and the ’76 reboot headed by Barbara Streisand as another Esther was a valiant attempt to show how some brilliant creative souls are inexplicably driven to destroy themselves when they have everything that makes a career solid: fame, money, and a rich creative legacy that will impact future generations.

So in Part One, I go through the first two films to reveal the changes that codified the myth of a starlet’s dream to succeed in Hollywood, whereas in Part Two (due Wednesday) I address the myth being goosed with music, and later transposed to a different section of the entertainment industry. Part Three will deal with the music of the films (with an emphasis on the 1937 and 1954 films).

And since What Price Hollywood? was produced before the implementation of the restrictive Production Code rules that neutered the portrayal of vivid female characters, I’ve added a review of the 2003 TCM documentary Complicated Women (not on DVD), based on the book by Mick LaSalle.

Price isn’t highlighted in the doc, but it’s part of that wave of pre-Code films (a period that basically ran from early sound films produced up to and including part of 1934) that featured smart, savvy, sleazy, unrepentant and gutsy women. The doc helps places Price in context, and it’s worth a peek if you can catch it on TCM.

I should point out that in the Star reviews I fixate on comparing the basic story’s journey from anti-Hollywood to a commercially digestible myth, and the chances each subsequent batch of screenwriters made to ensure each new version reflected the period in which it was produced.

It is fascinating to see how the same simple story has been handled by filmmakers after 15-20 year breaks. Theoretically, there should’ve been another in the nineties, but that never materialized.

Joel Schumacher was reported to have developed a version set in the music world, and in her commentary track for the 1976 Star DVD, Streisand describes producer Jon Peters suggesting she direct a new version, with the gender roles flipped - the fading star is a woman, and the up-and-comer is a man (hopefully not named Esther). That would in fact be the next logical change, since it’s hard to see the same story working in another realm like fashion, painting, or TV.

A planned 2012 remake with Nick Cassavetes is in the works, but what’s striking is how all three of the proposed remakes were set in the music world. No one seems to care about resetting the myth in Hollywood again, and maybe it’s a sign that it’s too easy to critique Hollywood today: the news media feeds on stories of destruction and career implosion, and the details – in picture, video or audio evidence (like Mel Gibson’s reported rant to ex-lover Oksana Grigorieva that was released yesterday) – are more graphic than any film could be, making an anti-Hollywood drama kind of pointless.

Besides, keeping it in the music realm means soundtracks can be sold; why settle for a theme song in a drama when you can have a whole score of songs to sell?

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Mark R. Hasan, Editor
KQEK.com

2010 Prime Time Emmy Award Nominees on Home Video

The Prime Time Emmy Award Nominations were announced early this morning, and I've done the usual routine of linking titles available for purchase or pre-order to Amazon.com. I've also added links to available soundtracks, with further details at Soundtrackcollector.com.

For more info as well as the full list of nominatees and categories, visit the official Emmy site HERE, or just scan down, since the main info of nominated series, thespians, and composers is already on this page. Also note the irony Conan O'Brian must be feeling, knowing his version of The Tonight Show receieved a nod... Coco did good in spite of getting the shaft by NBC.

The Emmies will be broadcast live on Sunday August 29th at 8pm on NBC.

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Academy of Television Arts & Sciences -
62nd Primetime Emmy Award Nominations

Outstanding Comedy Series

-Curb Your Enthusiasm • HBO • HBO Entertainment

-Glee • FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV

-Modern Family • ABC • Twentieth Century Fox Television

-Nurse Jackie • Showtime • Showtime Presents, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber; A Caryn Mandabach Production

-The Office • NBC • Deedle-Dee Productions and Reveille LLC in association with Universal Media Studios

-30 Rock • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studio

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Outstanding Drama Series

-Breaking Bad • AMC • Sony Pictures Television

-Dexter • Showtime • Showtime Presents, John Goldwyn Productions, The Colleton Company, Clyde Phillips Productions

-The Good Wife • CBS • CBS Productions

-Lost • ABC • Grass Skirts Productions, LLC in association with ABC Network and Studios

-Mad Men • AMC • Lionsgate Television

-True Blood • HBO • Your Face Goes Here Entertainment in association with HBO Entertainment

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Outstanding Miniseries

-The Pacific • HBO • Playtone and Dreamworks in association with HBO

Miniseries

-Return To Cranford (Masterpiece) • PBS • BBC/WGBH in association with Chestermead

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Outstanding Made For Television Movie

-Endgame (Masterpiece) • PBS • Channel 4, Target Entertainment Group and

Masterpiece present A Daybreak Pictures Production

-Georgia O'Keeffe • Lifetime • Sony Pictures Television for Lifetime Television

-Moonshot • HISTORY • Produced by Dangerous Films LTD for History

-The Special Relationship • HBO • A Rainmark and Kennedy/Marshall Production in association with HBO Films

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

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Outstanding Variety, Music Or Comedy Series

-The Colbert Report • Comedy Central • Hello Doggie, Inc. with Busboy Productions and Spartina Productions

-The Daily Show With Jon Stewart • Comedy Central • Central Productions, LLC

-Real Time With Bill Maher • HBO • Bill Maher Productions and Brad Grey Television in association with HBO Entertainment

-Saturday Night Live • NBC • SNL Studios in association with NBC Studios and Broadway Video

-The Tonight Show With Conan O'Brien • NBC • Conaco & NBC Universal

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Outstanding Animated Program

-Alien Earths • NGC • SkyWorks Digital, Inc.

Disney Prep & Landing • ABC • Walt Disney Animation Studios

-The Ricky Gervais Show • Knob At Night • HBO • W!LDBRAIN and Media Rights Capital in association with HBO Entertainment

-The Simpsons • Once Upon A Time In Springfield • FOX • Gracie Films in

association with 20th Century Fox Television

-South Park • 200/201 • Comedy Central • Central Productions

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Outstanding Lead Actor In A Comedy Series

-The Big Bang Theory • CBS • Chuck Lorre Productions, Inc. in association with Warner Bros. Television

Jim Parsons as Sheldon Cooper

-Curb Your Enthusiasm • HBO • HBO Entertainment

Larry David as Himself

-Glee • FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV

Matthew Morrison as Will Schuester

-Monk • USA • Universal Cable Productions in association with Mandeville Films and ABC Studios

Tony Shalhoub as Adrian Monk

-The Office • NBC • Deedle-Dee Productions and Reveille LLC in association with Universal Media Studios

Steve Carell as Michael Scott

-30 Rock • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studio

Alec Baldwin as Jack Donaghy

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Outstanding Lead Actor In A Drama Series

-Breaking Bad • AMC • Sony Pictures Television

Bryan Cranston as Walter White

-Dexter • Showtime • Showtime Presents, John Goldwyn Productions, The Colleton Company, Clyde Phillips Productions

Michael C. Hall as Dexter Morgan

-Friday Night Lights • DirecTV • Imagine Entertainment in association with Universal Media Studios and Film 44

Kyle Chandler as Eric Taylor

-House • FOX • Universal Media Studios in association with Heel and Toe Films, Shore Z Productions and Bad Hat Harry Productions

Hugh Laurie as Dr. Gregory House

-Lost • ABC • Grass Skirts Productions, LLC in association with ABC Network and Studios

Matthew Fox as Jack Shephard

-Mad Men • AMC • Lionsgate Television

Jon Hamm as Don Draper

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Outstanding Lead Actor In A Miniseries Or A Movie

-A Dog Year • HBO • Duopoly in association with HBO Films

Jeff Bridges as Jon Katz

-The Prisoner • AMC • AMC, ITV Productions and Granada

Ian McKellen as Two

-The Special Relationship • HBO • A Rainmark and Kennedy/Marshall Production in association with HBO Films

Michael Sheen as Tony Blair

-The Special Relationship • HBO • A Rainmark and Kennedy/Marshall Production in association with HBO Films

Dennis Quaid as Bill Clinton

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

Al Pacino as Dr. Jack Kevorkian

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Outstanding Lead Actress In A Comedy Series

-Glee • FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV

Lea Michele as Rachel Berry

-The New Adventures Of Old Christine • CBS • Kari's Logo Here in association with Warner Bros. Television

Julia Louis-Dreyfus as Christine Campbell

-Nurse Jackie • Showtime • Showtime Presents, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber; A Caryn Mandabach Production

Edie Falco as Jackie Peyton

-Parks And Recreation • NBC • Produced by Deedle-Dee Productions and Universal Media Studios

Amy Poehler as Leslie Knope

-30 Rock • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studio

Tina Fey as Liz Lemon

-United States Of Tara • Showtime • Showtime Presents, Dreamworks Television

Toni Collette as Tara Gregson

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Outstanding Lead Actress In A Drama Series

-The Closer • TNT • The Shephard/Robin Company, in association with Warner Bros. Television

Kyra Sedgwick as Deputy Chief Brenda Johnson

-Damages • FX Networks • Sony Pictures Television, FX Productions and KZK Productions

Glenn Close as Patty Hewes

-Friday Night Lights • DirecTV • Imagine Entertainment in association with Universal Media Studios and Film 44

Connie Britton as Tami Taylor

-The Good Wife • CBS • CBS Productions

Julianna Margulies as Alicia Florrick

-Law & Order: Special Victims Unit • NBC • Wolf Films in association with Universal Media Studios

Mariska Hargitay as Det. Olivia Benson

-Mad Men • AMC • Lionsgate Television

January Jones as Betty Draper

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Outstanding Lead Actress In A Miniseries Or A Movie

-Capturing Mary • HBO • A talkbackTHAMES Production in association with the BBC and HBO Films

Maggie Smith as Mary Gilbert

-Georgia O'Keeffe • Lifetime • Sony Pictures Television for Lifetime Television

Joan Allen as Georgia O’Keeffe

-Return To Cranford (Masterpiece) • PBS • BBC/WGBH in association with Chestermead

Dame Judi Dench as Miss Matty

-The Special Relationship • HBO • A Rainmark and Kennedy/Marshall Production in association with HBO Films

Hope Davis as Hillary Clinton

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

Claire Danes as Temple Grandin

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Outstanding Supporting Actor In A Comedy Series

-Glee • FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV

Chris Colfer as Kurt Hummel

-How I Met Your Mother • CBS • Twentieth Century Fox Television

Neil Patrick Harris as Barney Stinson

-Modern Family • ABC • Twentieth Century Fox Television

Jesse Tyler Ferguson as Mitchell

-Modern Family • ABC • Twentieth Century Fox Television

Eric Stonestreet as Cameron Tucker

-Modern Family • ABC • Twentieth Century Fox Television

Ty Burrell as Phil Dunphy

-Two And A Half Men • CBS • Chuck Lorre Productions, Inc., The Tannenbaum Company in association with Warner Bros. Television

Jon Cryer as Alan Harper

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Outstanding Supporting Actor In A Drama Series

-Breaking Bad • AMC • Sony Pictures Television

Aaron Paul as Jesse Pinkman

-Damages • FX Networks • Sony Pictures Television, FX Productions and KZK Productions

Martin Short as Leonard Winstone

-Lost • ABC • Grass Skirts Productions, LLC in association with ABC Network and Studios

Terry O'Quinn as John Locke

-Lost • ABC • Grass Skirts Productions, LLC in association with ABC Network and Studios

Michael Emerson as Ben Linus

-Mad Men • AMC • Lionsgate Television

John Slattery as Roger Sterling

-Men Of A Certain Age • TNT • TNT Original Productions

Andre Braugher as Owen

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Outstanding Supporting Actor In A Miniseries Or A Movie

-Emma (Masterpiece) • PBS • A co-production of BBC Productions and WGBH Boston

Michael Gambon as Mr. Woodhouse

-Hamlet (Great Performances) • PBS • production of Illuminations and Royal

Shakespeare Company for BBC in association with Thirteen for WNET.org and NHK

Patrick Stewart as Ghost / Claudius

-Return To Cranford (Masterpiece) • PBS • BBC/WGBH in association with Chestermead

Jonathan Pryce as Mr. Buxton

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

David Strathairn as Dr. Carlock

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

John Goodman as Neal Nicol

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Outstanding Supporting Actress In A Comedy Series

-Glee • FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV

Jane Lynch as Sue Sylvester

-Modern Family • ABC • Twentieth Century Fox Television

Julie Bowen as Claire Dunphy

-Modern Family • ABC • Twentieth Century Fox Television

Sofia Vergara as Gloria Delgado-Pritchett

-Saturday Night Live • NBC • SNL Studios in association with NBC Studios and Broadway Video

Kristen Wiig as Various Characters

-30 Rock • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studio

Jane Krakowski as Jenna Maroney

-Two And A Half Men • CBS • Chuck Lorre Productions, Inc., The Tannenbaum Company in association with Warner Bros. Television

Holland Taylor as Evelyn Harper

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Outstanding Supporting Actress In A Drama Series

-Burn Notice • USA • FOX Television Studios in association with Fuse Entertainment

Sharon Gless as Madeline Westen

-Damages • FX Networks • Sony Pictures Television, FX Productions and KZK Productions

Rose Byrne as Ellen Parsons

-The Good Wife • CBS • CBS Productions

Archie Panjabi as Kalinda Sharma

-The Good Wife • CBS • CBS Productions

Christine Baranski as Diane Lockhart

-Mad Men • AMC • Lionsgate Television

Christina Hendricks as Joan Harris

-Mad Men • AMC • Lionsgate Television

Elisabeth Moss as Peggy Olson

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Outstanding Supporting Actress in a Miniseries or Movie

-Alice • Syfy • A Reunion Pictures and Studio Eight Production in association with RHI Entertainment

Kathy Bates as Queen of Hearts

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

Julia Ormond as Eustacia (Temple's Mom)

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

Catherine O'Hara as Aunt Ann

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

Brenda Vaccaro as Margo Janus

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

Susan Sarandon as Janet Good

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Outstanding Writing for a Comedy Series

- Glee • Pilot - Director's Cut • FOX • A Ryan Murphy TV Production in association with 20th Century Fox TV

- Modern Family • Pilot • ABC • Twentieth Century Fox Television

- The Office • Niagara • NBC • Deedle-Dee Productions and Reveille LLC in association with Universal Media Studios

- 30 Rock • Anna Howard Shaw Day • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studio

- 30 Rock • Lee Marvin Vs. Derek Jeter • NBC • Broadway Video, Little Stranger, Inc. in association with Universal Media Studio

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Outstanding Writing for a Drama Series

-Friday Night Lights • The Son • DirecTV • Imagine Entertainment in association with Universal Media Studios and Film 44

-The Good Wife • Pilot • CBS • CBS Productions

-Lost • The End • ABC • Grass Skirts Productions, LLC in association with ABC Network and Studios

-Mad Men • Guy Walks Into An Advertising Agency • AMC • Lionsgate Television

-Mad Men • Shut The Door. Have A Seat. • AMC • Lionsgate Television

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Outstanding Writing for a Miniseries, Movie or a Dramatic Special

-The Pacific• Part Eight • HBO • Playtone and Dreamworks in association with HBO Miniseries

-The Pacific• Part Ten • HBO • Playtone and Dreamworks in association with HBO Miniseries

-The Special Relationship • HBO • A Rainmark and Kennedy/Marshall Production in association with HBO Films

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

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Outstanding Music Composition For A Series (Original Dramatic Score)

-Batman: The Brave And The Bold • Mayhem Of The Music Meister • Cartoon Network • Warner Bros. Animation

Michael McCuistion, Music By

Lolita Ritmanis, Music By

Kristopher Carter, Music By

Michael Jelenic, Lyrics By

James Tucker, Lyrics By

-FlashForward • No More Good Days • ABC • ABC Studios

Ramin Djawadi, Music By

-Lost • The End • ABC • Grass Skirts Productions, LLC in association with ABC Network and Studios

Michael Giacchino, Composer

-Psych • Mr. Yin Presents • USA • Universal Cable Productions in association with Tagline Pictures

Adam Cohen, Music by

John Robert Wood, Music by

-24 • 3:00 PM - 4:00 PM • FOX • Imagine Television and 20th Century Fox TV in association w/Teakwood Lane Productions

Sean P. Callery, Music by

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Outstanding Music Composition For A Miniseries, Movie Or A Special

(Original Dramatic Score)

-Blessed Is The Match • PBS • Katahdin Productions and Balcony Releasing Presents

Todd Boekelheide, Music by

-Georgia O'Keeffe • Lifetime • Sony Pictures Television for Lifetime Television

Jeff Beal, Music by

-The Pacific • Part Ten • HBO • Playtone and Dreamworks in association with HBO Miniseries

Blake Neely, Music by

Geoff Zanelli, Music by

Hans Zimmer, Music by

-Temple Grandin • HBO • A Ruby Films, Gerson Saines Production in association with HBO Films

Alex Wurman, Music by

-When Love Is Not Enough: The Lois Wilson Story (Hallmark Hall Of Fame Presentation) • CBS • Hallmark Hall of Fame Productions, Inc. in association with E1 Entertainment

Lawrence Shragge, Music by

-You Don't Know Jack • HBO • Bee Holder, Cine Mosaic and Levinson/Fontana Productions in association with HBO Films

Marcelo Zarvos, Music by

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Outstanding Original Main Title Theme Music

-Human Target • FOX • Bonanza Productions Inc. in association with Wonderland Sound & Vision, DC Comics and Warner Bros. Television

Bear McCreary, Music By

-Justified • FX Networks • Sony Pictures Television and FX Productions

Oscar Owens, Music By

Jason Keaton, Music By

-Nurse Jackie • Showtime • Showtime Presents, Lionsgate Television, Jackson Group Entertainment, Madison Grain Elevator, Inc. & Delong Lumber; A Caryn Mandabach Production

Wendy Melvoin, Music By

Lisa Coleman, Music By

-Parks And Recreation • NBC • Produced by Deedle-Dee Productions and Universal Media Studios

Gaby Moreno, Music By

Vincent Jones, Music By

-Warehouse 13 • Syfy • Universal Cable Productions

Edward Rogers, Music By

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Mark R. Hasan, Editor
KQEK.com

To browse the complete archive of the Editor's Blog and other blather, please visit Mondomark.blogger.com or Mondomark.com.