Tag: Leonard Rosenman

  • Leonard Rosenman A Centenary Celebration

    Leonard Rosenman A Centenary Celebration

    Today marks 100 years of film composer Leonard Rosenman.

    Rosenman, who studied with Arnold Schoenberg, Roger Sessions, and Luigi Dallapiccola, was known for writing some of the most challenging movie music in history, including the uncompromising score for “Fantastic Voyage” (1966). His music for “The Cobweb” (1955) is credited with being the first predominantly twelve-tone score composed for a motion picture.

    Yet James Dean fans retain a particular affection for him, thanks in large part to his romantic interludes in “East of Eden” and “Rebel without a Cause” (both 1955). It was Dean who essentially discovered him and introduced him to director Elia Kazan.

    Fantasy and science fiction junkies embrace him, not only for his music for “Fantastic Voyage,” but also that for “Beneath the Planet of the Apes” (1970), the Ralph Bakshi animated version of “The Lord of the Rings” (1978), and “Star Trek IV: The Voyage Home” (1986.)

    Rosenman was the recipient of two Academy Awards, which he won back-to-back, for his work adapting music of Handel, Schubert, and others for Stanley Kubrick’s “Barry Lyndon” (1975), and for his score interleaving Woody Guthrie songs, for “Bound for Glory” (1976). He died in 2008 at the age of 83.

    Rosenman may have had some thorns, but by any other name he could also smell as sweet. Happy centenary, Leonard Rosenman!


    “Rebel without a Cause”

    “East of Eden”

    “The Cobweb”

    “Fantastic Voyage”

    “Star Trek IV”

    Rosenman wins Oscar for “Barry Lyndon”

  • “The Car” (1977) So Bad It’s Good Movie Review

    “The Car” (1977) So Bad It’s Good Movie Review

    Be forewarned: “The Car” (1977) is a movie you won’t want to watch alone. Not because it’s scary, but because it’s hilarious!

    Stock up on plenty of alcohol and chips and call your best buddy in the world, and get ready for a fun evening of so-bad-it’s-good, “Mystery Science Theater 3000”-style one-upsmanship. Then join Roy and me tomorrow night for an exhaustive discussion, which will fortify us with more than we thought we ever needed to know about this motorized cult classic.

    James Brolin (father of Josh, husband of Barbra) plays the deputy sheriff upon whom it falls to rid a sleepy desert community of an implacable, homicidal, seemingly driverless Lincoln Continental with tinted windows. Who cares about horse power, when it’s fueled by Satan! No one is safe – not even indoors. And those ‘70s cop cars are just so flammable.

    Even in the surprisingly crowded field of possessed vehicle entertainment (“Duel,” “Killdozer,” “My Mother the Car”), “The Car” has dirt in its carburetor. But that’s what makes it so damned fun.

    If you don’t have any beer and you don’t have any friends, or if you have zero tolerance for this kind of thing (in which case I am sorry for you), you really get all you need from this trailer, which never fails to brighten my day:

    “The Car” is one of those movies that hurts so good.

    We continue with our celebration of Halloween, on Roy’s Tie-Dye Sci-Fi Corner, as we check under the hood of “The Car.” Hitch a ride in the comments section, when we livestream on Facebook, this Friday evening at 7:00 EDT!

    https://www.facebook.com/roystiedyescificorner


    Wow, look what I found! The soundtrack by Leonard Rosenman (“East of Eden,” “Rebel without a Cause,” “Fantastic Voyage”). It opens, appropriately, if not unpredictably, with a quotation of the “Dies Irae,” which is woven throughout the score. Rosenman does his best to rachet up the tension – remember, he’s the one credited as the first composer to bring twelve-tone music to the movies (in “The Cobweb,” in 1955) – but nothing can really help “The Car.” Can it?

    Hoooooooonk! HonkHonkHoooooooonk!

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