: (Jerry Goldsmith) The
adaptation of Ernest Hemingway's novels has produced some spectacular
failures, and while Franklin J. Schaffner's 1977 translation of the
writer's last novel is floated by a very strong lead performance by
George C. Scott,
remains a little known
footnote by comparison's to the same crew's previous films (led by, most
notably,
). The novel's story is one of deep personal
introspection and character analysis, studying a metal-artist and
fisherman living a lonely life separated from his family and society on
a small island in the Bahamas during the time of the outbreak of World
War II. The first half of the film follows a reunion with his visiting
sons and estranged wife, showing a man with familial feelings that are
odds with the comfort of his solitude. As the story shifts into the
setting of war and Nazi submarines begin attacking nearby refugee boats,
Scott's character is forced into action, ultimately sacrificing
everything in a desperate effort to save his family and others from the
encroaching danger. The film is effective in its emotional appeal,
though its inherent tragic nature is a major deterrent. The production
attempted to counter its distressing subject matter through gorgeous
cinematography and a whimsical score from composer Jerry Goldsmith, who
wrote some of his best music for Schaffner's films. While Goldsmith was
never happy with either the original Los Angeles performance or
recording of
, he considered the composition
among his personal favorites. It was reportedly his self-professed top
score until
unseated it, citing a very strong
personal connection to the 1977 film, which he claimed to have brought
him to tears during spotting sessions. The delicacy with which he
addresses both nature and family in
Despite its obscurity, the score has been pressed on CD
no less than five times (three from Intrada Records focusing on a
re-recording of almost all of the score and two later entries from Film
Score Monthly and then Intrada containing the original recording), not
including fan-made bootlegs of dubious quality. Whether or not you are
encapsulated by
Islands in the Stream depends entirely upon your
opinion of the film, though. If you connect with the sorrow and inward
conflict of Hemingway's lead character, you will likely appreciate
Goldsmith's extremely careful and often feathery handling of the
sensitive topic. Otherwise, if you find the film shallow in its tragic
setup, the Goldsmith score may actually seem surprisingly dull. Either
way, it's a rare score by Goldsmith for Schaffner in which the composer
was allowed to explore his own compositional voice. The primary theme of
Islands in the Stream, despite most opinions that place the theme
for Scott's character at the forefront, is a ponderous swirling of
woodwinds and strings heard immediately in "The Island" (a.k.a. "Main
Title") and eventually developing into a remarkably effortless and
faithful representation of the ocean waters, itself a character in the
film. By "The Marlin," this theme has displaced the primary character
theme on French horns, and its ability to maneuver unpredictably though
its slight variations in its lengthy ostinato format is both a
pleasurable and elusive reflection of swelling ocean waves. Bernard
Herrmann on occasion captured the same flow of water with orchestral
activity, as in
Cape Fear, and here the effect defines the score.
On top of this idea is indeed the most fully realized theme of the
score, the one for the lead character's lonely existence. Performed on
solo horn in the opening cue and coming to an agonizing end on solo
piano in "It is All True," this idea strongly suggests a noir
connection, a distant cousin of
Chinatown in its bittersweet tone
as well. Perhaps the most interesting aspect of this theme is its slow
gain of symphonic warmth as the score progresses.
The most intelligent manipulation of the two themes
exists in "Is Ten Too Old?," a cue that turns a frightening encounter
with a shark into yet another aspect of the production that will remind
some of
Jaws. Outside of these two themes, however,
Islands in
the Stream relies completely on atmosphere to address the emotional
impact of the story. As such, the music on album sometimes wanders
seemingly without direction, potentially boring a listener not
interesting in hearing a character score without an abundance of
voluminous warmth. The few moments of excitement early in the score,
some of which exuding the same spirit of happiness as
Medicine
Man's comical cues, don't last long enough to separately appreciate.
As previously mentioned, the score's original performance was
lackluster. With Schaffner in attendance, Goldsmith re-recorded most of
Islands in the Stream at the conclusion of the 1986
Lionheart sessions in Budapest, a rewarding experience for both
despite their exhaustion due to the length and volume of
Lionheart. Intrada's three identical issues of this digital
performance from 1986 to 2005 are far superior to the bootlegged
versions of the original recording that long represented its existence
on the collector's market. In 2010, Film Score Monthly finally licensed
and managed to find a decent copy of the original recording, satisfying
Goldsmith's most ardent collectors with a film version that includes two
additional minutes of material. That assembly was not perfect, however,
and Intrada re-released that presentation with a few minor corrections
to the edit and used improved technology to execute another remastering
to improve the sound quality, with only marginal results. The 2024
project represented a personal passion for Intrada executive Douglass
Fake, and it was among his final projects before passing away. Still,
Islands in the Stream remains arguably one of Goldsmith's most
overrated scores, warm and redemptive for some listeners while cold and
distant for others. It's safe to say that it is an effective score in
context, but one that requires high volumes and a close embrace to enjoy
on album.
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