Subject: I have found a CD that I think you would enjoy
|Jerry Goldsmith, National Philharmonic Orchestra|
Supergirl (1984 Film)
Genres: Pop, Soundtracks
Listen to Samples
bardays | 06/28/2000
(4 out of 5 stars)
"Generally known as a forgettable score to a forgettable film, this new release of Supergirl should prove to be quite a surprise. This score is loaded with subtle qualities rather than overwhelming themes like some other composers' scores. It is unassuming, yet powerful, just like the title character. In its newly restored and expanded format it is truly a treat for fans like myself who experienced this charming movie in theaters in 1984. I recommend it to fans of the film and fans of Jerry Goldsmith alike."
Super Goldsmith To The Rescue
Luis M. Ramos | Caracas, Venezuela | 06/28/2000
(4 out of 5 stars)
""Supergirl" was perhaps one of the worst movies ever made in film history. It barely sank the careers of Helen Slater -where is she anyway? -and Faye Dunaway. The visual effects were spectacular, although they were at the service of a completely nonsense film. But watch out, here comes Super Jerry Goldsmith to the rescue, with one of his finest works ever in this expanded edition CD. The theme for Supergirl is epic, and the french horns play the love theme beautifully in some of the passages of this composition. The only questionable thing about this score is the excessive use of synthesizers, which almost cast a shadow over the orchestra.One thing is certain: Jerry Goldsmith is still a true master of film scoring who can create music that can be far better than the movie for which it was written."
One of those overall "meh" Goldsmith scores with moments of
Milo D. Cooper | San Diego, California, USA | 05/04/2010
(3 out of 5 stars)
"As a massive Jerry Goldsmith fan (love Alien, love Star Trek:TMP, love the Omen trilogy especially TFC, love Legend, Chinatown and Planet of the Apes are good, etc.), I've never been moved to buy the whole Supergirl score. I have bought two individual tracks, though:
"Main Title & Argo City" -- Everything you've heard is true. Goldsmith's theme for Supergirl is in the same league as Williams' Superman theme, and it gets the full treatment in the opening credits. Three increasingly exultant brass fanfare statements, the third (which comes after a love theme interlude) buttressed by a secondary line in the French horns and a skip beat on the timpani that has to be heard to be believed. Love love love the synth "swoosh" that Goldsmith throws in there, too -- so typical of him to do something off-the-wall yet completely appropriate like that.
"Arrival on Earth / Flying ballet" -- Seriously, the single best track of the whole score, easily. Starts off with a somewhat chaotic passage very reminiscent of Williams' more restrained but no less tumultuous "Trip to Earth" cue for Superman; there are sketchy and nervous versions of the hero theme and the love theme in here, and this part of the track ends with a huge, elephantine chorus from the horns as Supergirl emerges triumphantly from the pond in which her travel pod lands. Next, we get some very Legend-like, synth-backed music as Supergirl somersaults and pirouettes gently about, trying out her new powers of hovering and flight. The love theme dominates. Finally -- in a huge "wait for it" crescendo -- Supergirl flies away from the pond and really gets going, and we are treated to one of the most majestic, heartbreakingly beautiful moments of Goldsmith's entire musical career. As Supergirl flies far and long over the Earth, the hero theme gets an insanely gorgeous treatment from the string section, with an ingenious pizzicato skip beat from the double basses (same as the one played by the timpani in the third statement of the hero theme in the Main Title) and ostinato tambourine accompaniment. The opulence here is tremendous, and the almost dance-like feeling of freedom and joy is overwhelming. The composer hits us with this twice, adding a horn line the second time (which is pretty much like cheating where evocation is concerned), then BAM, cymbal crash, she flies over a waterfall and the brass and timpani let loose with the hero theme in fortissimo, and the synth swoosh is back. It's really too much, I'm pretty sure I cried the first few times. After that, the track ramps down with a nice statement of the love theme on horns and strings, and finally decrescendos down into silence as Supergirl lands and surveys a lakeside sunset vista. This track never gets old; as astounding as Williams' Superman score is (in fact, apart from The Empire Strikes back and maybe Star Trek:TMP, I can't think of any score that might top it), the flying sequence of this Goldsmith track is better than any flying music that Williams wrote, that's a fact. Its powers of retention are remarkable even if one hasn't seen the movie. This is the kind of film scoring that makes people want to become movie soundtrack composers, it is that good. If you haven't heard it, I envy you, you are in for a major treat.