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Album Cover Art
1992 Tsunami
1999 FSM
Album 2 Cover Art
2010 Intrada
Album 3 Cover Art
Composed and Conducted by:

1999 and 2010 Albums Co-Produced by:
Nick Redman

1999 Album Co-Produced by:
Lukas Kendall
Jeff Bond

2010 Album Co-Produced by:
Douglass Fake
Labels Icon

Film Score Monthly
(March, 1999)

Intrada Records
(November 9th, 2010)
Availability Icon
The 1992 Tsunami album (largely considered a bootleg) was available only through soundtrack specialty outlets. The 1999 Film Score Monthly album was a limited release of 3,000 copies, available only through FSM or the same specialty outlets before selling out. That FSM product's value on the collector's market was diminished to $20 upon the release of the 2010 Intrada set, which is a regular commercial release also sold initially for $20.
Nominated for an Academy Award.
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Decorative Nonsense
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Availability | Awards | Viewer Ratings | Comments | Audio & Track Listings | Notes
Buy it... on the 2010 Intrada 2-CD set to experience a comprehensive treatment of Jerry Goldsmith's original two recordings of this memorable but varied martial score.

Avoid it... on any of the presentations of Patton's original 1970 recordings if you demand resounding sound quality, in which case the outstanding, vibrant re-recording conducted by Goldsmith in 1997 is a satisfyingly faithful alternative.
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WRITTEN 3/30/99, REVISED 11/29/10
Patton: (Jerry Goldsmith) After decades of production difficulties, 20th Century Fox finally told in 1970 one of the most successful character studies from any war. Famous for George C. Scott's painstakingly realistic portrayal of the title character, Patton enjoyed resounding critical praise and has since been elevated to the designation of a classic. The complexities of U.S. General George Patton were examined both thoroughly and without bias, glorifying the pompous nature of the man and his many triumphs on the battlefield while also exploring his strangely romantic religious side and exposing his vulgar, obsessive, and mean-spirited tendencies. Few men could justify a three hour film dedicated to only a brief portion of their lives, though Patton is successfully absorbing in all of its parts, especially when considering the wide variety of locations in which the film had to show massive military movements. The advance of his American tanks and troops is followed from North Africa all the way through Europe, with lengthy pauses to contemplate the role of reincarnation in life and supply some Scott's best career-delivered one-liners. The film won Academy Awards for nearly all of its major players, with composer Jerry Goldsmith being an unfortunate exception. After collaborating with director Franklin Schaffner for the highly praised Planet of the Apes two years prior (a partnership and close friendship that would eventually yield several more great scores over the next two decades), Goldsmith would luckily wiggle out of his commitment to score the sequel of that film in order to tackle Patton. Goldsmith had written many scores for World War II topics already in his short mainstream career, but none would prove as memorable in any part as the march from Patton, a concert hall staple for the composer throughout his career. Despite the dominance of this theme and the fact that only thirty minutes or so of music was employed in such a long picture, the effect of his score on the film is far more complicated than many people may realize. While the famous march, with all its bravado from brass, flutes, and snare, easily represents the identity of the character and war, Goldsmith's work for the film actually spends more time dwelling on the deeper meanings of life that the general himself explored.

The pompous title theme for Patton is only applied sparingly to represent the massive, victorious ego of the general while subtle, secondary ideas often slowing the pace of the score to a crawl. That march opens the film, occupies the "Enr'acte" in the middle, and is featured prominently in the later battle sequence in which Patton's relentless movements are successfully waged. Film enthusiasts will likely grasp onto the triplet techniques on trumpets as their favorite aspect of the score. Serving on the surface as a call to war, these triplets were run through what was called an "echoplex" box, a tool that essentially contained tape loops that took the three note motif and repeated it in a way that later synthesizers could eventually accomplish with ease. The sound was so creative for the time that it became a catchy target for parody as well, heard frequently as a call to arms in Goldsmith's own, largely obscure comedy classic The 'Burbs in 1988. By echoing these trumpets, Goldsmith more specifically addressed the concept of reincarnation, the central theme in Patton's personal interests. Also of use is a distantly mixed organ, representing the general's deeply rooted religious beliefs. A significant amount of relatively uninteresting underscore exists in Patton, causing most of the cues in the first half of the film to meander at minimal and somewhat intimate levels. Light timpani and woodwind expressions of the score's themes sometimes devolve into lengthy periods of near silence. Leading this material is a contemplative theme of restrained nobility that is touched upon in "No Assignment," "The Hospital," and "End Title;" film score collectors will find interesting connections between the progressions of this idea and one presented by John Williams for a similarly religious purpose in Indiana Jones and the Last Crusade. Only in the second half of Patton do the famous portions really come to light, with snare-driven marches abounding. In these scenes, Goldsmith also explores a subtheme for the German army that is briefly treated in "German Advance" but was largely cut from the finished film. The composer did arrange a standalone concert arrangement of this march that was recorded later for the Patton album. Dedicated Goldsmith enthusiasts will notice an interesting similarity between the rhythmic performances here and those in the composer's 1980's and 1990's works. In particular, "Winter March" is an intriguing foreshadowing of Small Soldiers late in Goldsmith's career.

Ratings Icon
Average: 3.95 Stars
***** 487 5 Stars
**** 259 4 Stars
*** 145 3 Stars
** 87 2 Stars
* 70 1 Stars
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A complex and highly personal masterpiece by Goldsmith
Taikou - August 18, 2013, at 8:41 a.m.
1 comment  (1182 views)
Patton Formula
Bruno Costa - December 1, 2010, at 9:23 a.m.
1 comment  (1752 views)

Track Listings Icon
Audio Samples   ▼
1992 Tsunami Album Tracks   ▼Total Time: 60:45
Patton: (37:21)

• 1. Patton March (1:45)
• 2. Fanfare and Patton Speech (5:43)
• 3. Main Title (2:18)
• 4. The Battleground (2:21)
• 5. The First Battle (2:54)
• 6. Attack! (3:20)
• 7. The Funeral (1:59)
• 8. Winter March (1:58)
• 9. Intermission Music (2:11)
• 10. No Assignment (2:05)
• 11. German Advance (2:35)
• 12. The Hospital (3:22)
• 13. The Payoff (2:26)
• 14. Finale/"All Glory is Fleeting" (2:24)
A Patch of Blue: (23:24)

• 15. Main Theme/The Park/Stringin' Beads (5:58)
• 16. Pineapple Juice & Discovery/Ol' Pa, Help Me (5:27)
• 17. Waiting Friends/Grandmom's Music Box (6:22)
• 18. I Walked Myself/Finale (5:37)
1999 Film Score Monthly Album Tracks   ▼Total Time: 76:24
2010 Intrada Album Tracks   ▼Total Time: 77:45

Notes Icon
The 1992 Tsunami album contains no extra information about the film or score. The Film Score Monthly album includes the usual excellent quality of pictorial and textual information established in other albums of FSM's series, with extremely detailed notes about the films and scores relevant to that product. The same can be said of the Intrada set's insert, which contains more than the label's usual quantity of technical discussion.
Copyright © 1999-2021, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Patton are Copyright © 1992, 1999, 2010, Tsunami, Film Score Monthly, Intrada Records and cannot be redistributed without the label's expressed written consent. Page created 3/30/99 and last updated 11/29/10.
The war's over now, so it's okay to shovel shit in Louisiana.
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