Relationship Montage | Basil Poledouris | Free Internet Radio | Slacker Radio
Montage: Robert Gordon; Musique: Basil Poledouris, interprétée par The . Eventually, their relationship, more along the lines of brother and sister in their youth, was a member of the Princeton Triangle Club and the Cap and Gown Club. .. Basil Konstantine Poledouris (August 21, – November 8, ) was a. And unto this: Conan, destined to wear the jeweled crown of Aquilonia upon a troubled brow. . Conan the Barbarian opens with a montage of a sword being forged, and . He has forged so meaningful a relationship with her -- again, the polar . And enough praise cannot be given to Basil Poledouris. relationship with a gazillion-dollar giant green ogre has really put him on .. Basil Poledouris Under Siege 3, King. Conan: Crown . montage of flashback images with which early attacks to wear down the soldiers in the.
In particular, I am a big fan of rousing, epic musical themes. Sometimes, even mediocre films can contribute a memorable tune that stays fresh in my memory for years to come. What follows is a top 10 list of my personal favorite epic musical themes from movies. Keep in mind, this list is made up of entirely orchestral themes from non-Musical films. Popular songs are left for another list entirely, and these picks are of one particular track of music, and not the whole score itself.
This is probably the most recognizable piece from the whole movie and with good reason. The same holds true for many of the others on this list, but Escaping the Smokers makes it onto mine purely because I just like listening to it. Though most of the scores of this period usually all sounded the same, there was no denying that the trend of this period leaned more in the big and grand direction. Rozsa had built a stellar career in Hollywood, contributing scores to nearly films for over four decades.
I love the way that the marching beat keeps building in this, along with the trumpets that really helps to boost the grandness behind the march. Befitting the tastes of director Michael Mann not the most likely of names to be associated with a period dramathis piece of music has a very modern beat to it, with electronically enhanced rhythms.
But, even still, it does feel right for the movie that Mann created. The piece of music itself actually compliments this dichotomy perfectly, with the Native American drumbeat mixed beautifully with the English strings. The Daniel Day-Lewis headlined film marked a stark contrast with other epics of the time. Promontory is a perfect representation of that melancholy mood.
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And no more so than this beautiful piece by the late, great Michael Kamen. Some find it corny with an unsubtle screenplay and some fairly laughable performances especially when Costner tries to feign an English accent.
Really the whole soundtrack is worth listening to. John Williams definitely set the bar high when he created his iconic Superman theme for the Richard Donner film. Elfman is one of those rare film composers who has a distinctive sound that is all his own.
A Danny Elfman tune is easily recognizable and it seems he always saves his best bits for his long time collaborator Tim Burton. Nobody brought out the best in the Dark Knight more than Danny Elfman, and this is easily my favorite musical theme ever for a super hero.
The relentless drum beat, the soaring strings, and the overwhelming vocal choir. Composer Basil Poledouris almost seems like he wants this to be the epic theme to end all other epic themes. You would think that it belongs with a huge battle scene or a climatic showdown between hero and villain. Either way, this is an exceptional piece of music. It probably stands better to listen to this piece separated from the movie itself. They have nowhere to run, no recourse.
Instead, his mother -- who had been holding his hand -- falls away from him, out of frame, and Conan is left holding nothing…only air. The family has been destroyed.
The next scene in Conan the Barbarian is among my very favorite from the film. The boy Conan pushes the Wheel of Pain for years -- through sunlight and darkness, through winter and spring -- until he is all grown up.
Arnold Schwarzenegger is introduced as the adult Conan in this montage, coming around on the final revolution of the wheel. First, we see only his strong legs, but then we see his adult countenance, his furrowed brow and cunning eyes. A less clever film might have simply faded out on young Conan as a slave, and faded in years later, with him as an adult.
It is a life of repetition, routine, hardship, grunt-work, labor, and struggle.
BASIL POLEDOURIS - FOR LOVE OF THE GAME [ORIGINAL MOTION PICTURE SCORE] * USED - | eBay
The years do not pass quickly for Conan. Instead, they pass tediously and with back-breaking sweat, and as I noted in my introduction, the Wheel of Pain thus seems like a perfect metaphor for the human existence. Some people might say adolescence and high school are wheels of pain. Others might conclude that a 5-day-a-week job is a candidate for another wheel of pain.
He is trapped in this Hell, doing the same thing over and over again, dreaming patiently of revenge, but never being able to enact it. The snake cult of Thulsa Doom, I believe, represents another aspect of human life: But the landscape around the cult is of special note in terms of the visuals: There is little life, color, or vitality there. There have been those writers and reviewers over the years who suggest a certain right-leaning or tilt to Conan the Barbarian, and I concur with that viewpoint.
Specifically, Doom robs Conan of his parents.
This act so grieves Osric that wealth and power mean nothing to the king. First by killing his parents, and secondly by murdering the love of his life: The most affecting moments of Conan the Barbarian involve the dedication and commitment that these soul-mates and lovers show one another. Valeria saves Conan from the under-world and, finally, her spirit saves him in battle.
The latter act is suggestive of a love that lasts beyond mortality, and again, that act of love very much stands in contrast to the selfish and empty love that Thulsa Doom offers his followers.
But this is not because other people are bad, but because death takes them. Some scholars and reviews have suggested that there is something inherently fascist about Conan the Barbarian, but in truth, it seems far less fascist in design and execution than a saga like Star Wars.
There, for example, only the people with the right kind of blood Midichlorians… can harness the power of the Force. Conan takes the terrible… hand he was dealt and, in spite of his woes and sorrows, becomes a wise King. Beyond this, the film is gorgeous to look at in terms of its natural vistas. Today, of course, the lack of CGI is very refreshing. We see him set up booby traps, and think through all the angles.
We thus get the idea that he wins the battle for two reasons. The first is that he assiduously prepared a strategy to defeat the army…meaning that Conan is smart and cunning.
And secondly, Conan wins, because Valeria intervenes in his affairs, from the Underworld. He has forged so meaningful a relationship with her -- again, the polar opposite of Doom -- that even death cannot keep his dearest ally from aiding him in a time of need.
It has always been fashionable to bash Arnold Schwarzenegger as an actor, and Conan the Barbarian is no exception. Sandahl Bergman is also perfect as Valeria, making the no-nonsense role her own. She plays a strong woman, and Conan's equal on the battlefield and presumably elsewhere Bergman projects toughness and tenderness in equal measure, and has no stereotypical "damsel in distress" moments whatsoever.
Bergman's best moment, in my opinion, involves her decimation of Thulsa Doom's forces, while Conan is carrying away the princess. Valeria ruthlessly, efficiently -- and magnificently -- eliminates what seems like an army of warriors, and Bergman is poetry in motion.
Also impressive here is the fact that without much dialogue, Bergman is able to powerfully express Valeria's devotion to Conan.