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Filmtracks Recommends: Buy it... if you wish to hear one of Goldsmith's last ventures into the Western genre with a tender heart and one very rousing and rhythmic brass theme. Avoid it... if the concept of a largely fluffy Goldsmith Western without grit or significant substance turns you away. Filmtracks Editorial Review:
Despite its resurgence in the "fondness" department ten years after its release, Goldsmith's Bad Girls was not greeted with enthusiasm at the time, even though it was one of few sidesteps into the Western genre for Goldsmith in his later years. Among a few critics' problems with the film in 1994 --and the reviews were treacherous-- was Goldsmith's overdone score, stretching the drama to unmanageable levels while the dialogue and acting was tugging from the opposite direction. Some film music critics mentioned that the score lacked enough of a feminine element. Indeed, Goldsmith tackled the project with straight-laced action in mind, although he does temper the otherwise masculine effort with emotionally heartening, soft guitar performances of the title theme. The shorter rips of the theme seem to share unintentional similarities with John Barry's Zulu, though the fuller, more tender moments of the theme's performances have a more unique structure played with the woodwind sensibilities of Rudy's equivalent moments. While some Goldsmith fans may rejoice in the bouncing retro-Western theme in full brass that is heard at least three times in the film, the reflective and enjoyable acoustic guitar performances of that theme which occupy a far greater portion of the score are likely the heart of the piece. The minimal comedy writing is held to "Jail Break," a cue that rolls with honky-tonk style piano and triangle action. Goldsmith's typical synthetic instruments are also evident in Bad Girls, but only used in keyboard and drum sampling form underneath purely orchestral material. A cue such as "Josh's Death" has rhythms established by electronics in much the same fashion as Extreme Prejudice, but not with the same stark intent. Orchestrally, the percussion section rips off some wild drum sequences that hark back to the days of The Wind and the Lion, although the instrumentation sounds consistent (along with a motif or two in "Bank Job") to his concurrent The Shadow score. Overall, Bad Girls is an enjoyable, if not misplaced score, and its reception has softened considerably with fans over the years. Unfortunately, the album is largely out of print. Still, if you embark upon a search of Goldsmith's rarer early 90's albums, Bad Girls should easily be in the upper half of that list. ***
Insert includes no extra information about the score or film. In fact, the interior of the insert is quite literally blank. | |||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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