Subject: I have found a CD that I think you would enjoy
Last Castle (Score)
Genres: Pop, Soundtracks
Veteran film composer Jerry Goldsmith is renowned for his sci-fi writing, a reputation that stretches all the way back to the original TV Twilight Zone. But his work for military-themed historical epics is arguably every b... more »
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Veteran film composer Jerry Goldsmith is renowned for his sci-fi writing, a reputation that stretches all the way back to the original TV Twilight Zone. But his work for military-themed historical epics is arguably every bit as compelling and includes such highlights as The Blue Max, Patton, MacArthur, Tora! Tora! Tora! and The Wind and the Lion. This restrained, quietly dignified score to director Rod Lurie's tale of a wrongly imprisoned general (Robert Redford) and the uprising he inspires against his abusive jailer (James Gandolfini) should join that canon. Carried by a mournful solo trumpet, its elegiac, minor-key main theme ("The Castle") somehow echoes Goldsmith's heroic writing for Patton, even as it underscores wholly different dramatic concerns. That haunting theme--one that affirms an often-lonely honor in the face of oppression--wafts through the mounting martial rhythms of Goldsmith's restrained, suspenseful orchestral score like a ghostly conscience. The pair of non-score selections here (John Hammond's swampy take on Tom Waits's "Get Behind the Mule" and the equally gritty blues of Dean Hall's "Chiseled in Stone") offer aesthetic changeups that help give both the film and its score an earthy, human dimension. --Jerry McCulley
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Goldsmith's Only Entry In 2001
Luis M. Ramos | Caracas, Venezuela | 05/24/2002
(3 out of 5 stars)
""The Last Castle" was the only entry from Jerry Goldsmith in 2001. 'The Castle' is a noble militaristic theme played on the trumpet by the gifted Malcolm McNab; it sounds a little bit like "Patton", but its noble feeling makes it catchy. The theme is fully developed on 'September 11, 2001', a elegiac cue which Goldsmith dedicated to those tragic events that occured on that infamous date. The action tracks are interesting, but somehow they don't quite reach the level of those from something like "Total Recall". However, the elegiac music is worth the price of this CDThe two songs are the only real lowdown of this CD, especially John Hammond's 'Get Behind The Mule'. So repetitive and boring. Personally I think this album would have worked better without the songs."
Not the last of Goldsmith
Brandon Cutro | Tyler, Texas United States | 01/19/2003
(4 out of 5 stars)
"Jerry Goldsmith is still one of the best composers around and his continuation in scoring even at his old age is quite impressive. The score to The Last Castle is equally impressive and a standard Goldsmith score. As director Rod Lurie said in the liner notes: "There was always just one choice. Just one: Jerry Goldsmith". As always with Goldsmith, there is a main theme and this one is a 24 note theme for the general in the film, played by veteran Malcolm McNab on trumpet. As Lurie says in the liner notes: "24 notes. All in C minor. 24 notes that have haunted me ever since. 24 notes that left me in tears. 24 notes that are a gift to soldiers; to sailors; to Americans. 24 notes that, I think, will help to cement Jerry Goldsmith as the maestro of our time." The action music is good as always with Goldsmith. "Hold Them" is full of tension, while "Taking Command" is an all out percussion filled action cue, with pulsating horns and trumpets. Goldsmith's trademark synth sounds are present throughout the score that were in Along Came A Spider, U.S. Marshals, and some of his Star Trek scores. Other solid action cues are "The Countdown", "Hold Them", and "Full Alert". "Irwin Arrives" and "The Rock Pile" contain relatively pleasant music with the trumpet theme, as well as in "The Flag", which really lets the music soar. Goldsmith also pays tribute to 9/11 with "September 11, 2001 - Theme from the Last Castle", which is provides the best rendition of the main theme with boldly played brass. 2 songs are also present, one which is good and the other can be skipped. "Get Behind the Mule" is a catchy blues tune by John Hammond that represents the prison life and "Chiseled In Stone" by Dean Hall is a decent track, but can pretty much be skipped. The score itself runs about 33 minutes and plays well throughout. This is not the last of Goldsmith and I hope he continues to keep scoring films. An all out good soundtrack."