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Comments about the soundtrack for Far From Heaven (Elmer Bernstein)

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Re: Golden Globes tragedy
• Posted by: Otis Bryant   <Send E-Mail>
• Date: Friday, February 14, 2003, at 10:12 p.m.
• IP Address: cache-df06.proxy.aol.com
• In Response to: Re: Golden Globes tragedy (Luis L.)

> I admit that Elmer Bernstein should have won the Golden Globe. I am not
> bothered by the fact that Elliot Goldnthal is a Golden Globe winner For
> Best Score, but what does bother me is that he won for the wrong score. Of
> all the good scores he has written (Interview With the Vampire, Batman
> Forever, Heat, Titus, Final Fantasy: The Spirits Within), I can't believe
> that his score for Frida would be the one to bring him a Golden Globe or
> Oscar. This year's Golden Globes and Oscars are pretty screwed up.

I can give a couple of reasons why Goldenthal might get the Oscar for THIS score. First off, the last time he's ever done something this melodic was Michael Collins, which was the last nomination he got. When you look at it, both scores are for biopics and include the integration of ethnic influences. Yes, I agree he should've won for some of his other scores, but you have to admire the guy's diversity. Also, there are complaints that some of his scores don't have memorable themes. He's not in the business to write great themes; he only concerns himself with what the film itself needs. Lastly, anyone can tell that the score was written out of love for the genre. Even Goldenthal himself admitted that his attempts to add more complexity weren't quite successful. Elmer Bernstein's score is very good; I have every nominated score for this year and they are good in their own rights. Frida just happens to stand out not only from them but from Goldenthal's other scores. I won't be surprised if Bernstein wins; even though he still has the upper hand, I'm rooting for Goldenthal all the way. I've been rooting for the score before it came out. Speaking of lack of originality, as some others complain about, try listening to La Cavalera a couple of times and tell me that's not original. He hasn't detracted from his originality, he's written original themes. That's the only area where originality applies because the score needed to stay within the bounds of the genre. It's not about writing a good score; it's about the writing the RIGHT score; whether or not is good is up to you. IMHO, after hearing track 10, I knew he'd get a nomination.

I know I've gotten off on a tangent. I'm just tired of the complaints. But I can't help that; people don't like what they don't understand. Hell, neither Bernstein nor Goldenthal might win. They might decide to give it to Thomas Newman to pay him back for American Beauty. Besides, he was hardly noticed the entire awards season before the nomination.

The whole thing is about favoritism, and I respect that. But people just need to be a little more open minded. I've heard each score and I realize the underlying reasons for their nominations. Besides, it gives more options on who to root for. Even though I'm rooting for Goldenthal, I'll be happy no matter who wins. They're all good. Last year, I was rooting for Howard Shore, but since only either Williams or Horner would've won if Shore didn't get it, I was happy with that thought as well. Root for one person definitely and root for some of the others after that. Otherwise, you'll just set yourself up for disappointment.

There are exceptions, though. I am still kind of ticked about Gladiator losing too years ago.




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