Clash of the Titans


Pendulum
PEG Recordings (0706404001420)
Film | Rok: 1981 | Format: CD
 

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# Tor   Czas
1.Prologue and Main Title3:19
2.The Lovers1:48
3.Argos Destroyed2:26
4.Boyhood of Perseus3:03
5.Dreams and Omens1:46
6.Joppa1:28
7.Andromeda4:20
8.Pegasus4:12
9.The Lord of the Marsh3:53
10.The Kraken3:25
11.The Farewell2:15
12.Medusa2:38
13.Bubo the Dive Bomber1:18
14.River Styx2:48
15.Clash of the Titans1:47
16.Andromeda Rescued2:30
17.The Constellation - End Title4:03
 46:58
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Clash of the Titans - 06/10 - Przegląd wersji Tom Daish, zgłoszone w (Język angielski)
It seems hard to believe that in the same year that the bearded ones gave us Indiana Jones, setting new precedents for fantasy/adventure films, also saw the release of Clash of the Titans. A film that, while sometimes quite splendid, must have seemed awfully quaint in comparison. Indeed, when I recently watched it (typical Saturday afternoon television fodder these days) I just assumed that it was another 60's Ray Harryhausen film and it never occured to me it was so recent. I must admit to having been less than impressed, despite the almost thespian cast including Burgess Meredith, Maggie Smith and Laurence Olivier no less. I also can't say I was particularly bowled over by the music. I was however, surprised to discover it was written by Laurence Rosenthal, perhaps best known recently for his splendid work on the junior Young Indiana Jones Chronicles.

Listening to the music again on its own, Rosenthal's stylisms come through, most notably in the rousing overture which gives the impression of coming from the composer of the Young Indy theme. The Main Titles are suitably rousing and the main theme is sparingly used throughout the remainder of the score. Rosenthal's overall approach is similar to Bernard Herrmann's; to create musicals ideas to mirror certain settings, characters or creatures. The ethereal harps for Boyhood of Perseus and the cosmic Dreams and Omens, turbulent, grinding material for the River Styx and slithering (is that a word?) music for Medusa. However, none of these particular ideas stand out on their own. Herrmann had the right idea of using very short, dynamic motifs to represent certain characters which worked brilliantly, but Rosenthal doesn't seem able to focus his thematic material as successfully as he creates moods. This is not to suggest the music is boring, but simply that it doesn't stick with the listener in quite the way that perhaps Herrmann's four note motif for The Roc from Seventh Voyage of Sinbad (for example) does.

For me, this is one of those frustrating scores which is an enjoyable listen, but mainly forgettable afterwards. I've listened to it several times and would be hard pressed to pick out any notable moments or melodies aside from the main theme. It is active and keeps moving - this is not a score that simple idles along until the end - but nothing sticks out in quite the way it perhaps should. Rosenthal's music is poorly represented on disc and so its nice to have this available, but in the same way Spielberg's film ruled the box office, Williams' music unfortuantely leaves Rosenthal's competent (but quite charming) effort standing.


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