Classic Ross Amico

Tag: Conan the Barbarian

80s Sword Sandal Film Scores Beastmaster Conan

“…To crush your enemies… to see them driven before you… and to hear the lamentations of their women!”

This week on “Picture Perfect,” we venture very far from Turner Classic Movies territory with an hour of guilty pleasures, as we listen to music from sword and sandal flicks from the 1980s.

These include “The Beastmaster” (1982), a film that was once so pervasive on cable that comedian Dennis Miller branded HBO as “Hey, Beastmaster’s On!” and TBS was known in some circles as “The Beastmaster Station.” I still haven’t seen it, believe it or not, but I know it has something to do with swords, sandals, two ferrets, and Tanya Roberts.

The music by Lee Holdridge (who celebrated his 80th birthday on May 3) is given the royal treatment, in a performance conducted by Charles Gerhardt, of RCA’s legendary “Classic Film Scores” series, on an album produced by George Korngold (son of Erich Wolfgang Korngold).

To prove that I have no reason to lie to you about not having seen “The Beastmaster,” I enthusiastically embrace the fact that, as a 15-year-old, I totally lapped up “The Sword and the Sorcerer” (1982). And since I still love everything now that I did when I was 15, you can draw your own conclusions.

A pre-“Matt Houston” Lee Horsley stars as Talon, a mercenary-warrior of royal blood, who wields an improbable sword with three blades that can be projected, by unexplained means, like lethal rockets. There’s also a hideous wizard played by Richard Moll, who went on to play Bull on television’s “Night Court,” king of the B-movie villains Richard Lynch, and George Maharis.

This is the best example I can think of of a really trashy movie with a fantastic score. Revisiting the music for “The Sword and the Sorcerer” merely affirms what I’ve known for a long time – that 1982 was a kind of second Golden Age for film scores, when even the terrible movies had fabulous music. The first Golden Age, of course, was roughly 40 years earlier – though the movies were generally better.

English composer David Whitaker, a veteran of 1970s Hammer Films, relates in the album’s liner notes that he wrote and orchestrated 75 minutes of music at white heat. The result sounds like one of the great scores of three or four decades earlier. If you like Korngold, John Williams, or Vaughan Williams, for that matter, definitely check this one out.

“Clash of the Titans” (1981) had a much more distinguished pedigree. It was the last film of stop-motion special effects genius Ray Harryhausen before his retirement. Harryhausen was responsible in large part for such classic films as “Mighty Joe Young,” “It Came from Beneath the Sea,” “Earth Versus the Flying Saucers,” “Jason and the Argonauts,” and any number of Sinbad movies.

The supporting cast employed Sir Laurence Olivier as Zeus, Claire Bloom as Hera, Maggie Smith as Thetis, and Ursula Andress as Aphrodite, alongside Burgess Meredith and Flora Robson in her final film appearance. It was also the film that introduced Harry Hamlin, as Perseus. Hamlin went on to success on television’s “L.A. Law.”

Laurence Rosenthal, who studied at the Eastman School and with Nadia Boulanger in Paris, wrote the score. Rosenthal was responsible for the music for, among others, “A Raisin in the Sun,” “The Miracle Worker,” and “Becket.” This one actually does turn up on TCM from time to time.

While “The Clash of the Titans” was an end of an era of sorts, the success of “Conan the Barbarian” (1982) sparked a sword and sandal resurgence. Of course, most of the imitators it spawned were low-budget affairs that nobody ever saw. “Conan” proved a high-water mark of its kind. It also made Arnold Schwarzenegger one of the biggest stars in Hollywood.

It sports unquestionably the best-loved score of its composer, Basil Poledouris. The music is regarded in soundtrack collector’s circles as a classic. The original soundtrack was revived in a lavish 3-CD set on the Intrada label, featuring all the available music, with alternate takes.

If this hour serves to illustrate anything, it’s that the overall quality of a film (or lack thereof) need not hinder a composer. At least back then. If you decide to stick with it, I think you’ll be pleasantly surprised.

Release the Kraken! Then slip on your man-flops for an hour of ‘80s sword and sandal flicks, on “Picture Perfect,” music for the movies, now in syndication on KWAX, the radio station of the University of Oregon!

Clip and save the start times for all three of my recorded shows:

PICTURE PERFECT, the movie music show – Friday at 8:00 PM EDT/5:00 PM PDT

SWEETNESS AND LIGHT, the light music program – ALL NEW! – Saturday at 11:00 AM EDT/8:00 AM PDT

THE LOST CHORD, unusual and neglected rep – Saturday at 7:00 PM EDT/4:00 PM PDT

Stream them, wherever you are, at the link!

https://kwax.uoregon.edu/

May 31, 2024
Conan & Barbarian Film Scores: A Final WWFM Tribute

“Crom… I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. Valor pleases you, Crom, so grant me one request: grant me an hour of barbarian music!”

Ten days ago, I received notice that, after a 13-year run, “Picture Perfect” will be “sunsetting” on WWFM. Not much notice, and tonight’s show was already scheduled. But I must say, if the series has to end, it may as well go out in a blaze of glory.

There are those, I’m sure, who would deny themselves the guilty pleasures of viewing these silly, cheesy, violent films, all of which were inspired by the writings of pulp master Robert E. Howard. Howard created the warrior Conan in 1932. The character became the center of a series of lucrative stories first published in “Weird Tales” magazine.

It would be a half century before Conan made the leap to the big screen, under the direction of John Milius. “Conan the Barbarian” (1982) propelled Arnold Schwarzenegger, already a legend in the field of bodybuilding, to international superstardom. While “Conan” isn’t exactly “Citizen Kane,” it does have its pleasures. The intensity of the violence can be a little disturbing, but the ponderous tone is a blast. “Conan” is a film that takes itself just seriously enough to make it occasionally hilarious.

Another thing “Conan” has going for it is the fact that it was made on a blockbuster budget. The first-rate production values extend to the music by Basil Poledouris, who employs a full symphony orchestra to impressive ends. In fact, the “Conan” score was one of the strongest of the decade. It’s amazing that anyone would find so much inspiration in such a mediocre film, but Poledouris’ music intersperses Borodin-style Central Asia lyricism with brawny, thrilling action music.

Sadly, the sequel, “Conan the Destroyer,” betrays signs of penny-pinching, so that it often winds up feeling like a direct-to-video effort. Poledouris was forced to make do with a smaller orchestra, which sounds a bit too much like a television ensemble. Still, he gave it his all, and there’s something to be said for the fact that it is an original score, rather than a mere retread of the original.

Another one of Howard’s creations, Kull of Atlantis, was given the big screen treatment as “Kull the Conqueror” (1997). Kevin Sorbo, TV’s Hercules, plays the title role. The composer, Joel Goldsmith (son of Jerry Goldsmith), was asked to incorporate heavy metal riffs into his orchestral underscore. I haven’t actually seen this one, but for some reason I don’t feel like I’m missing anything.

The astoundingly prolific Ennio Morricone – with more than 500 motion picture and television scores to his name – had an uncanny knack for spinning garbage into gold. His music for “Red Sonja” (1985) lends the film an aura of ‘80s cheese ball fun, perhaps more so than it deserves. This is the film that introduced Brigitte Nielsen as the chain-mailed barbarian beauty. Schwarzenegger appears in the supporting role of Lord Kalidor.

“Make the music loud, Crom! Drive my enemies before me and drown the lamentations of their women.”

“Picture Perfect” gallops off into the sunset with movies inspired by the writings of Robert E. Howard, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

PHOTO: Classic Ross Amico, after 28 minutes of music from “Conan the Barbarian”

April 29, 2023
80s Sword & Sandal Film Scores Unleashed

“…To crush your enemies… to see them driven before you… and to hear the lamentations of their women!”

This week on “Picture Perfect,” we venture very far from Turner Classic Movies territory with an hour of guilty pleasures, as we listen to music from sword and sandal flicks from the 1980s.

These include “The Beastmaster” (1982), a film that was once so pervasive on cable that comedian Dennis Miller branded HBO as “Hey, Beastmaster’s On!” and TBS was known in some circles as “The Beastmaster Station.” I still haven’t seen it, believe it or not, but I know it has something to do with swords, sandals, two ferrets, and Tanya Roberts.

The music by Lee Holdridge is given the royal treatment, in a performance conducted by Charles Gerhardt, of RCA’s legendary “Classic Film Scores” series, on an album produced by George Korngold (son of Erich Wolfgang Korngold).

To prove that I have no reason to lie to you about not having seen “The Beastmaster,” I enthusiastically embrace the fact that, as a 15 year-old, I totally lapped up “The Sword and the Sorcerer” (1982). And since I still love everything now that I did when I was 15, you can draw your own conclusions.

A pre-“Matt Houston” Lee Horsley stars as Talon, a mercenary-warrior of royal blood, who wields an improbable sword with three blades that can be projected, by unexplained means, like lethal rockets. There’s also a hideous wizard played by Richard Moll, who went on to play Bull on television’s “Night Court,” king of the B-movie villains Richard Lynch, and George Maharis.

This is the best example I can think of of a really trashy movie with a fantastic score. Revisiting the music for “The Sword and the Sorcerer” merely affirms what I’ve known for a long time – that 1982 was a kind of second Golden Age for film scores, when even the terrible movies had fabulous music. The first Golden Age, of course, was roughly 40 years earlier – though the movies were generally better.

English composer David Whitaker, a veteran of 1970s Hammer Films, relates in the album’s liner notes that he wrote and orchestrated 75 minutes of music at white heat. The result sounds like one of the great scores of three or four decades earlier. If you like Korngold, John Williams, or Vaughan Williams, for that matter, definitely check this one out.

“Clash of the Titans” (1981) had a much more distinguished pedigree. It was the last film of stop-motion special effects genius Ray Harryhausen before his retirement. Harryhausen was responsible in large part for such classic films as “Mighty Joe Young,” “It Came from Beneath the Sea,” “Earth Versus the Flying Saucers,” “Jason and the Argonauts,” and any number of Sinbad movies.

The supporting cast employed Sir Laurence Olivier as Zeus, Claire Bloom as Hera, Maggie Smith as Thetis, and Ursula Andress as Aphrodite, alongside Burgess Meredith and Flora Robson in her final film appearance. It was also the film that introduced Harry Hamlin, as Perseus. Hamlin went on to success on television’s “L.A. Law.”

Laurence Rosenthal, who studied at the Eastman School and with Nadia Boulanger in Paris, wrote the score. Rosenthal was responsible for the music for, among others, “A Raisin in the Sun,” “The Miracle Worker,” and “Becket.” This one actually does turn up on TCM from time to time.
While “The Clash of the Titans” was an end of an era of sorts, the success of “Conan the Barbarian” (1982) sparked a sword and sandal resurgence. Of course, most of the imitators it spawned were low-budget affairs that nobody ever saw. “Conan” proved a high-water mark of its kind. It also made Arnold Schwarzenegger one of the biggest stars in Hollywood.

It sports unquestionably the best-loved score of its composer, Basil Poledouris. The music is regarded in soundtrack collector’s circles as a classic. The original soundtrack was revived in a lavish 3-CD set on the Intrada label, featuring all the available music, with alternate takes.

If this hour serves to illustrate anything, it’s that the overall quality of a film (or lack thereof) need not hinder a composer. At least back then. If you decide to stick with it, I think you’ll be pleasantly surprised.

Release the Kraken! Then slip on your man-flops for an hour of ‘80s sword and sandal flicks, on “Picture Perfect,” music for the movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org.

October 2, 2021
Conan’s Musical Might 80s Film Scores

In the film “Conan the Destroyer” (1984), one of Conan’s companions speculates, “I suppose nothing hurts you.”

To which Conan responds, philosophically, “Only pain.”

Discriminating viewers may feel a little pain themselves, watching these silly, cheesy, violent films, all of which were inspired by the writings of pulp master Robert E. Howard. Howard created the warrior Conan in 1932. The character became the center of a series of lucrative stories first published in “Weird Tales” magazine.

It would be a half century before Conan made the leap to the big screen, under the direction of John Milius. “Conan the Barbarian” (1982) propelled Arnold Schwarzenegger, already a legend in the field of bodybuilding, to international superstardom. While “Conan” isn’t exactly “Citizen Kane,” it does have its pleasures. The intensity of the violence can be a little disturbing, but the ponderous tone is a blast. “Conan” is a film that takes itself just seriously enough to make it occasionally hilarious.

Another thing “Conan” has going for it is the fact that it was made on a blockbuster budget. The first-rate production values extend to the music by Basil Poledouris, who employs a full symphony orchestra to impressive ends. In fact, the “Conan” score was one of the strongest of the decade. It’s amazing that anyone would find so much inspiration in such a mediocre film, but Poledouris’ music intersperses Borodin-style Central Asia lyricism with brawny, thrilling action music.

Sadly, the sequel, “Conan the Destroyer,” betrays signs of penny-pinching, so that it often winds up feeling like a direct-to-video effort. Poledouris was forced to make do with a smaller orchestra, which sounds a bit too much like a television ensemble. Still, he gave it his all, and there’s something to be said for the fact that it is an original score, rather than a mere retread of the original.

Another one of Howard’s creations, Kull of Atlantis, was given the big screen treatment as “Kull the Conqueror” (1997). Kevin Sorbo, TV’s Hercules, plays the title role. The composer, Joel Goldsmith (son of Jerry Goldsmith), was asked to incorporate heavy metal riffs into his orchestral underscore. I haven’t actually seen this one, but for some reason I don’t feel like I’m missing anything.

The astoundingly prolific Ennio Morricone – with more than 500 motion picture and television scores to his name – had an uncanny knack for spinning garbage into gold. His music for “Red Sonja” (1985) lends the film an aura of ‘80s cheese ball fun, perhaps more so than it deserves. This is the film that introduced Brigitte Nielsen as the chain-mailed barbarian beauty. Schwarzenegger appears in the supporting role of Lord Kalidor.

In the ‘80s, even bad films had great scores. I hope you’ll give “Conan the Barbarian” a shot this week, on “Picture Perfect,” music for movies, this Saturday evening at 6:00 EDT, on WWFM – The Classical Network and wwfm.org!

April 17, 2021
Conan’s Score How Music Elevates Silly Films

How a good film score can improve a very silly movie: Basil Poledouris conducts “Battle of the Mounds” from “Conan the Barbarian,” with the film, in Spain, on July 22, 2006. Poledouris, who always got a charge out of conducting this music, would succumb to cancer less than four months later.

For anyone who actually tuned in a little before “Picture Perfect” yesterday hoping to hear an amazing organ transcription of Poledouris’ “Conan,” as advertised, I apologize. The disc actually disappeared into the bottom of my radio bag, and I thought I had forgotten it at home. Fortunately, that too can be found on YouTube.

“Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, or why we died. All that matters is that two stood against many. That’s what’s important! Valor pleases you, Crom… so grant me one request. Grant me revenge! And if you do not listen, then to HELL with you!”

September 7, 2019

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