Homeward Bound 2: Lost in San Francisco.
Best Original Dramatic Score - 1997
This poll is for the first part of the competition Talkclassical Best Film Score Award and it will close on March 1.
You simply have to vote your favourite film score between the five that were nominated in 1997 for the Oscar "Best Original Dramatic Score".
Here below you find five videos containing the best parts of each suite, together with images from the film.
The typical structure of a video (or playlist) is the following:
If you want to listen to the full suites, click the "details links".
IMPORTANT: since this is a competition between ORIGINAL SCORES, you should evaluate only the music which belongs to the score (the incidental music, which is outside of the film) and only its original parts. So, for example, since the film Shine is about classical music you might hear a lot of music that you like inside of it (as for example the piano concerto no. 3 of Rachmanichoff), but it's not relevant for this competition, since it's not music originally composed for the film and it doesn't belong to the incidental music.
Thanks to the videos containing my selections, you ensure to listen only to music which is relevant for the competition.
THE WINNER OF THE OSCAR: THE ENGLISH PATIENT (music composed by Gabriel Yared)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 As Far As Florence (exposition of the main theme)
05:16 Opening
08:54 Read Me To Sleep
13:56 Let Me Come In (final reprise of the main theme with violin solo)
MICHAEL COLLINS (music composed by Elliot Goldenthal)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 East Rebellion
03:17 Boland Returns
04:39 Civil War
06:53 An Anthem Deferred
08:41 Defiance and Arrest
10:34 The Station Farewell
12:33 Train To Granard
14:06 Funeral/Coda (final climax)
SHINE (music composed by David Hirschfelder)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 Goodnight Daddy
02:04 Scales to America
04:36 Tell Me a Story, Katharine
06:40 Will You Teach Me?
09:13 With the Help of God, Shine
HAMLET (music composed by Patrick Doyle)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 I Loved you Once [main theme]
03:28 My Thoughts be Bloody
06:22 Out Out Thou Strumpet Fortune
09:35 In Pace [vocal reprise of the main theme]
12:42 The Doors are Broke
14:05 If Once a Widow
17:42 Go Bid the Soldiers Shoot [final reprise of the main theme with climax]
SLEEPERS (music composed by John Williams)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 Hell's Kitchen
05:23 Saying the Rosary
12:18 Reunion and Finale [final climax]
You simply have to vote your favourite film score between the five that were nominated in 1997 for the Oscar "Best Original Dramatic Score".
Here below you find five videos containing the best parts of each suite, together with images from the film.
The typical structure of a video (or playlist) is the following:
- Main theme
- Secondary themes
- Final reprise of the main theme with climax
If you want to listen to the full suites, click the "details links".
IMPORTANT: since this is a competition between ORIGINAL SCORES, you should evaluate only the music which belongs to the score (the incidental music, which is outside of the film) and only its original parts. So, for example, since the film Shine is about classical music you might hear a lot of music that you like inside of it (as for example the piano concerto no. 3 of Rachmanichoff), but it's not relevant for this competition, since it's not music originally composed for the film and it doesn't belong to the incidental music.
Thanks to the videos containing my selections, you ensure to listen only to music which is relevant for the competition.
THE WINNER OF THE OSCAR: THE ENGLISH PATIENT (music composed by Gabriel Yared)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 As Far As Florence (exposition of the main theme)
05:16 Opening
08:54 Read Me To Sleep
13:56 Let Me Come In (final reprise of the main theme with violin solo)
MICHAEL COLLINS (music composed by Elliot Goldenthal)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 East Rebellion
03:17 Boland Returns
04:39 Civil War
06:53 An Anthem Deferred
08:41 Defiance and Arrest
10:34 The Station Farewell
12:33 Train To Granard
14:06 Funeral/Coda (final climax)
SHINE (music composed by David Hirschfelder)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 Goodnight Daddy
02:04 Scales to America
04:36 Tell Me a Story, Katharine
06:40 Will You Teach Me?
09:13 With the Help of God, Shine
HAMLET (music composed by Patrick Doyle)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 I Loved you Once [main theme]
03:28 My Thoughts be Bloody
06:22 Out Out Thou Strumpet Fortune
09:35 In Pace [vocal reprise of the main theme]
12:42 The Doors are Broke
14:05 If Once a Widow
17:42 Go Bid the Soldiers Shoot [final reprise of the main theme with climax]
SLEEPERS (music composed by John Williams)
Go here for more details or if you want to listen to the full suite
The video here below, which contains a selection of the best parts of the suite, is structured as follows:
00:00 Hell's Kitchen
05:23 Saying the Rosary
12:18 Reunion and Finale [final climax]
1 - 10 of 10 Posts
Sometimes the Academy's nominations crack me up.
For 1996 the nominated films were Shine, Sleepers, The English Patient, Hamlet, and Michael Collins?
Film scores that were NOT nominated include
Independence Day (David Arnold)
The Hunchback of Notre Dame (Alan Menken)
Fargo (Carter Burwell)
12 Monkeys (Paul Buckmaster)
Muholland Falls (Dave Grusin)
The Craft (Graeme Revell)
Dragonheart (Randy Edelman)
The Rock (Nick Glennie-Smith & Hans Zimmer)
American Buffalo (Thomas Newman)
Star Trek: First Contact (Jerry Goldsmith)
Sling Blade (Daniel Lanois)
Mars Attacks! (Danny Elfman)
The Birdcage (Stephen Sondheim)
Emma (Rachel Portman)
The Glimmer Man (Trevor Rabin)
I do find it to be frustrating that women are practically shut out of the film score industry. So few scores from females, and rarely nominated or recognized.
For 1996 the nominated films were Shine, Sleepers, The English Patient, Hamlet, and Michael Collins?
Film scores that were NOT nominated include
Independence Day (David Arnold)
The Hunchback of Notre Dame (Alan Menken)
Fargo (Carter Burwell)
12 Monkeys (Paul Buckmaster)
Muholland Falls (Dave Grusin)
The Craft (Graeme Revell)
Dragonheart (Randy Edelman)
The Rock (Nick Glennie-Smith & Hans Zimmer)
American Buffalo (Thomas Newman)
Star Trek: First Contact (Jerry Goldsmith)
Sling Blade (Daniel Lanois)
Mars Attacks! (Danny Elfman)
The Birdcage (Stephen Sondheim)
Emma (Rachel Portman)
The Glimmer Man (Trevor Rabin)
I do find it to be frustrating that women are practically shut out of the film score industry. So few scores from females, and rarely nominated or recognized.
These two films have been nominated for the Oscar "Best original musical or comedy score" of the same year (we will see them in the next poll). Emma has won the award.The Hunchback of Notre Dame (Alan Menken)
Emma (Rachel Portman)
For the rest, there are of course many good film scores, but the jury must choose only five of them. Since the art is subjective, not always you agree with the decisions of the jury. That said, I don't think that the nominations are bad.
My personal rankings:
Hamlet (the best one)
Michael Collins
The English Patient
Sleepers
Shine (I don't like it, but maybe it's only me)
I quite like all film scores except for the last two of the list. There is still something I like in Sleepers, but Shine does nothing for me.
Only one vote? I'll extend the expiration of the poll to March 16. We need at least other four votes.
There are probably two issues at play here that keep the voting low.Only one vote? I'll extend the expiration of the poll to March 16. We need at least other four votes.
1. Film scores seem to be viewed as "inferior" or "fake Classical Music".
2. There are five clips, for a total of around an hour and ten minutes of active (or, perhaps, semi-active) listening. The time commitment to honestly assess five film suites, each running an average of 10-15 minutes each, is huge.
So even those of us that enjoy film scores may find the commitment overwhelming.
Some users have expressed such extreme positions in the discussion about film music, maybe are you thinking about them? Remember that in the same discussion there were many people who wrote that they like soundtracks, so I wouldn't generalize too much about the users of Talkclassical.There are probably two issues at play here that keep the voting low.
1. Film scores seem to be viewed as "inferior" or "fake Classical Music".
That said, if you look at the numbers of the first and second polls of this competition, you can see that we had eight-nine voters. So, the first experiments were promising and encouraging. Considering that in my competition about the music of Johann Sebastian Bach I had an average of 4-5 votes, 9 votes is more than I can ask.
Eventhough in the last polls we haven't had such numbers, we've been able to reach the quorum of five votes.
It's a shame if a competition that started in a promising way, dies at the half way.
I'd suggest that the real problem of games in general is that they are in minor sections of the forum and not in the main section.
I've thought about this. Note that in my competition concerning Bach the users have only one week to vote, while in this competition they have at least three weeks.2. There are five clips, for a total of around an hour and ten minutes of active (or, perhaps, semi-active) listening. The time commitment to honestly assess five film suites, each running an average of 10-15 minutes each, is huge.
So even those of us that enjoy film scores may find the commitment overwhelming.
The logic is that you can watch a video today (time 15-20 minutes... not so much, right?), an other video the next day, and so on...
Maybe I should give five weeks, so that the users can watch only one video a week: 15-20 minutes a week is not so much, right?
I can even suggest to use this discussion to take notes about the various film scores, for example: "The English Patient: at the time XY there is my favourite part, my overall vote is 7/10", and so on. In this way, you can use your personal notes for a rapid comparision once you are done with all the scores.
Well, I do enjoy film scores, but do find it difficult to find time.
As for "1. Film scores seem to be viewed as "inferior" or "fake Classical Music"." I probably should have added a "by some around here" to the end of that sentence.
I've though of yet another reason why the response for this particular post is lackluster: The films themselves aren't really all that well known, with the exception of "The English Patient", which is regarded as an awful film by many.
Yes, we've all heard of Hamlet, but not necessarily this version.
I think that the slate of contenders just isn't generating excitement.
I mean, I'll have a listen later, maybe tomorrow, but it's been a busy couple of weeks for me.
As for "1. Film scores seem to be viewed as "inferior" or "fake Classical Music"." I probably should have added a "by some around here" to the end of that sentence.
I've though of yet another reason why the response for this particular post is lackluster: The films themselves aren't really all that well known, with the exception of "The English Patient", which is regarded as an awful film by many.
Yes, we've all heard of Hamlet, but not necessarily this version.
I think that the slate of contenders just isn't generating excitement.
I mean, I'll have a listen later, maybe tomorrow, but it's been a busy couple of weeks for me.
Not by many. Only by a few persons. All films have their own haters and the English Patient has not a significant number of haters.I've though of yet another reason why the response for this particular post is lackluster: The films themselves aren't really all that well known, with the exception of "The English Patient", which is regarded as an awful film by many.
In IMDB, only a few persons have given a vote below 6: The English Patient (1996) - User ratings - IMDb
Sleepers is a famous film. Maybe even a cult.
However, who were the people who said the "Best original score" Oscar is always for the the most famous films?
I've relaunched to poll for other 14 days. It's your last chance to vote. We need at least other four votes. Without more votes, I'll have to suspend the competition.
1 - 10 of 10 Posts
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