#jerome moross

[twittercomfrnklin2001-blog]

Twisters

Early in Lee Isaac Chung’s TWISTERS (2024, Peacock), cocky tornado wrangler Glen Powell and traumatized meteorologist Daisy Edgar-Jones race each other to get to the perfect storm as Benjamin Wallfisch’s score thunders forth with a Western theme that seems like something Elmer Bernstein or Jerome Moross might have written on steroids. It’s a harbinger of what’s to come — a derivative action film long on spectacle and short on originality. You know, or is that dread, that Powell will turn out to have a softer side and help Edgar-Jones get over the pain of having lost three colleagues to an EF5 she was tracking five years earlier and that whatever they’re trying to accomplish can only be achieved by falling in love and working together.

The film’s big effects are expertly achieved. It’s hard not to be moved by a mother feverishly clutching her little girl as they cling to the pipes in a swimming pool while trying to avoid getting sucked up into a tornado. And the sight of buildings being blown apart is impressive, even if you’re aware it’s mostly CGI. Edgar-Jones is a sensitive, intelligent actress, and once he gets past acting like a butt, Powell can be very charming. As a bonus, there are scenes with the wonderful Maura Tierney as Edgar-Jones’ mother, and she gets to smile and crack jokes, something that rarely happens in most of her TV roles. But other actors, like David Corenswet and Sasha Lane, are pretty much wasted. They take a back seat to the special effects and the plot contrivances.

Although Chung and writers Mark L. Smith and Joseph Kosinski get points for making Edgar-Jones, even at her most tortured, a strong leading lady more capable than most of the men around her, there’s also a creeping sense that this is a disaster film for the second Trump era. Powell’s self-taught team are consistently presented as just as competent as and more honorable than Edgar-Jones’ highly degreed colleagues, who are revealed to be working with a real-estate developer so he can cheaply buy up properties destroyed by the tornadoes. Since he’s barely seen, that makes the scientists (aside from Edgar-Jones, who doesn’t know about the dealings) the bad guys, which would play well with MAGAts. Then there’s the touching moment in which Powell tries to show Edgar-Jones the positive side of Oklahoma life by taking her to a rodeo, thereby extolling the fine American tradition of animal torture. And even though Tierney wonders about the increase in tornados along with other severe weather, there’s not a word about man-made climate change until almost two hours into the film, and that’s just a hint flashed under the closing credits, when most people would be leaving. Chung has said he cut earlier references from the script because he didn’t want the film to be too preachy. Did he not understand the plot?

Though this is billed as a sequel to the 1996 TWISTER, it’s nowhere near as much fun. As in the first film, there are some WIZARD OF OZ references, but there’s not the lovely grace note of having members of the team act like equivalents to Dorothy’s friends on the Yellow Brick Road. There’s no real playfulness, either. Instead of running gags and character quirks, you just get special effects blasting you in the face like an over-stimulated toddler who’s just learned how much fun it is to scream. Worse yet, there are no cows. I miss the cows.

[hoppynsc]

Superb score by Jerome Moross that is one of the many reasons the film is so epic. A nice mix of sweeping romantic and epic tracks that adds a rousing nature to the film. Great addition to any movie film score library.

[cdbrainrecords]

Various - 西部劇サウンドトラック・ベスト4 = Golden Western Themes (7", EP)

Vinyl(VG+) Picture Cover(VG+) / コンディション　盤 : Very Good Plus (VG+) コンディション　ジャケット : Very Good Plus (VG+) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベ��� : United Artists Records – PS-94 フォーマット : Vinyl, 7″, 33 ⅓ RPM, EP 生産国 : Japan 発売年 : 1968 ジャンル : Stage & Screen スタイル : Soundtrack, Theme   収録曲 :  A1. Jerome Moross – Theme From ‘The Big Country’ A2. Al Caiola – The Magnificent Seven B1.…

[fidelitospix]

My Journey with the Trumpet: The Big Country (Jerome Moross) - Flugelhorn/Cornet Cover & Arrangement

What a BIG Country! Love Cowboy ��Music” Love Cowboy “Movies” Love Cowboy “Style” NOT big fan of Cowboy “Politics” 😉

[pliplanos]

Jerome Moross - THE BIG COUNTRY (1958) The Concert Suite.

[oskarlevant]

The brilliant opening of The Big Country, thanks to composer Jerome Moross and title designer Saul Bass. Incredibly, William Wyler hated the score and had planned to replace it, but a preview audience reaction and star Gregory Peck persuaded him to keep it. 

[thekingsofitall]

This is seriously one of the most beautiful pieces of music I’ve ever heard. 

The treasures you find in those old soundtracks are unbelievable, really. 

[rachelswirsky]

My latest patreon-unlocked interview is with science fiction writer and literary translator @john_chu. John is the author of The Water That Falls on You From Nowhere, microprocessor architect, and is generous with both his knowledge of musical theater history and writing tips. Check it out!

[blissedasanewt]

Opening title sequence of the 1958 William Wyler film, "The Big Country", featuring the iconic musical score by Jerome Moross.

[onewordshy]

In 1954, a musical The Golden Apple flopped on Broadway. It was a retelling of the story of Illiad and the Odyssey, reset in middle America during the Spanish War. In the show Helen is a small town girl who gets whisked off to the big city by a traveling salesman named Paris, and the men of the town set off to get her back. It’s a brilliant retelling of the story, with a lush score that was tragically not recorded in full until 2015.

However in 1977, CBS aired an abridged version of the show. It’s a quite good production, and definitely worth a watch. If you’re a fan of the original cast recording, this production features most of those songs plus quite a bit that was never recorded, so it’s a nice glimpse. It also features the original ending of the show, “We’ve Just Begun,” used in the original off-Broadway production but dropped when the show transferred to Broadway, and was never recorded.

[thriftstorerecords]

The Big Country Original Music From The Motion Picture Sound Track Jerome Moross, Various Artists United Artists Records (1958)

Design by Saul Bass

[stingrayextraordinaire]

A constantly updating list of my favorite soundtracks, in no particular order

First Knight - Jerry Goldsmith

The Mask of Zorro - James Horner

Ben-Hur - Miklós Rózsa

Hook - John Williams

1917 - Thomas Newman

Star Wars original / prequel / sequel trilogies - John Williams

Chain Reaction - Jerry Goldsmith

Legends of the Fall - James Horner

Pocahontas - Alan Menken and Stephen Schwartz

The Princess Bride - Mark Knopfler

Lord of the Rings trilogy - Howard Shore

Chariots of Fire - Vangelis

Rogue One - Michael Giacchino

Medicine Man - Jerry Goldsmith

Beauty and the Beast - Alan Menken

Dances with Wolves - John Barry

Indiana Jones - John Williams

Kung Fu Panda - Hans Zimmer

Jurassic Park - John Williams

Cinderella - Patrick Doyle

Finding Nemo - Thomas Newman

Titanic - James Horner

The Good, the Bad, and the Ugly - Ennio Morricone

The Hunger Games trilogy - James Newton Howard

The Mandalorian - Ludwig Goransson

Alice’s Adventures in Wonderland - Joby Talbot

Once Upon a Time in the West - Ennio Morricone

The Last of the Mohicans - Trevor Jones and Randy Edelman

Braveheart - James Horner

Gladiator - Hans Zimmer

Ratatouille - Michael Giacchino

The Patriot - John Williams

The Big Country - Jerome Moross

The Young Victoria - Ilan Eshkeri

The Shawshank Redemption - Thomas Newman

The Lake House - Rachel Portman

Willow - James Horner

The Magnificent Seven - Elmer Bernstein

The Chronicles of Narnia trilogy - Harry Gregson-Williams and David Arnold

King of Kings - Miklós Rózsa

Pirates of the Caribbean - Hans Zimmer

Blade Runner - Vangelis

Barbie and the Twelve Dancing Princesses - Arnie Roth

Courageous - Mark Willard

The Mission - Ennio Morricone

Horse Crazy - Merrill Jenson

To Kill a Mockingbird - Elmer Bernstein

Forrest Gump - Alan Silvestri

Enchanted - Alan Menken

Somewhere in Time - John Barry

Mary Poppins - Irwin Costal

Casablanca - Max Steiner

True Romance - Hans Zimmer

The Theory of Everything - Jóhann Jóhannsson

Changeling - Clint Eastwood

Kill Bill - RZA and James Last

The English Patient - Gabriel Yared

The Black Stallion Returns - Georges Delerue

Conquest of Paradise - Vangelis

Barbie as Rapunzel - Arnie Roth

How the West Was Won - Alfred Newman

Gone with the Wind - Max Steiner

The Polar Express - Alan Silvestri

Amazing Grace - David Arnold

Masada - Jerry Goldsmith and Morton Stevens

Bandolero! - Jerry Goldsmith

Gettysburg - Randy Edelman

Young Catherine - Isaac Schwarts

MacGyver - Randy Edelman

Inception - Hans Zimmer

Empire of the Sun - John Williams

First Blood - Jerry Goldsmith

Jason Bourne series - John Powell, James Newton Howard, and David Buckley

[dance-world]

Ruth Page and Bentley Stone in “Frankie and Johnny.” Music: Jerome Moross. Scenery: Paul Dupont. Choreography: Ruth Page and Bentley Stone. Paris, May 1950, at the Théâtre des Champs-Élysée. Photo by Serge Lido.

[hnwearlybird]

The Big Country - Opening Titles composed by Jerome Moross

Opening title sequence of the 1958 William Wyler film, "The Big Country".

One of the most spectacular opening title sequences created by Saul Bass.

アカデミー賞史上最多の監督賞３度受賞（作品賞も同時受賞）を誇るウィリアム・ワイラー監督による西部劇大作「大いなる西部」のオープニング・タイトル。歴史上最も成功したグラフィック・デザイナーとも称される、ソール・バスが担当している。彼はこれ以外にもスパルタカス、栄光への脱出、ウェストサイド物語、枢機卿なども手がけている。簡素で抽象性を追求した彼の企業ロゴタイトルは長寿命で、コーセー（1959年）や紀文食品（1964年）のロゴタイトルは今でも使われている。

[mitjalovse]

The thing with musicians, such as Neil Young and Bob Dylan, is that listening to them seems like a daunting task. I am not talking about the magnitude of their records that can occasionally scare us whilst checking them out, I am also discussing the fact that these guys could form a workaholic club or something of that sort. Both of their opuses contain a lot of LPs, so you are not really sure where to start with them and to top it all, they keep releasing more material. Bob Dylan, in particular, currently stocks many stores with a multitude of his albums and official bootlegs. Moreover, his latest discs took their tunes from The Great American Songbook, which could be seen as a warning sign. Nonetheless, Bob Dylan's mercurial self makes his covers much interesting than your usual Songbook appreciation society gatherings that resemble one another.