My favorite part of this film is when Bujold and Reeve realize that the other is not who they thought that person to be. It's not that this scene is well written, it's John Williams' music over this scene that I love. The music is over-the-top dramatic and nobody does this better in film score history than John Williams.
I was first hooked on his style of movie music when I saw "The Poseidon Adventure", in 1973, when I was 12 years old.
Shipoopi, you are so correct!
John Williams is a master of film music and he definitely gave a great score for Monsignor even though it is a poor film.
Viva John Williams! His magic period for scoring films was 1977-1983!!!
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Jaws is a great score but once Star Wars appeared, every score that followed was pure magic.
Most fans call that period his magic period, but I usually go to about 1987 because Spacecamp and Empire of the Sun are great scores.
...what I've noticed is that a lot of 80s films have that magical-style score over them. John Williams may or may not have began it, but many different composers composed magical, majestic, mystical scores that fill one with awe and wonder whenever we watched an 80s film. Nowadays that magic is gone. Infact, it's been gone for over ten years now. Not even John Williams can compose scores like the 80s ones anymore. His scores recently have been dull and forgettable.
It's unfortunate that the generation of today could never feel what we felt in previous generations because they would consider such music to be corny. Movies of today sadden me because all the magic is gone..
I'm not a control freak, I just like things my way
Well said!
shareI really doubt it's Williams who has become dull... Harry Potter certainly doesn't sound dull to me and in fact you can hear some of Monsignor in it!
Listen to the last Harry Potter score by Nicholas Hooper and you'll have a better example of dull. I think filmmakers have increasingly stayed away from good thematic scoring which is the real dissapointing truth about film music. Williams is one of the last truly melodically gifted composers Hollywood has left anymore. Many of the great composers left are not working anymore because of this change of paradigm among Hollywood filmmakers.
I think his most interesting period - and consequently some of his very best scores are from the pre-"Star Wars" years. "The Rare Breed" (1966), "The Reivers" (1969), "The Cowboys" (1972), "Jane Eyre" (1971), "Images" (1972), "The Poseidon Adventure" (1972), "Cinderella Liberty" (1973), etc. are all fascinating and very distinct sounding scores. These scores represent a chameleon-like approach, much like the late Jerry Goldsmith. I prefer these to some of the overly orchestrated opuses that Mr. Williams created post-"Star Wars". "Empire of the Sun", "The Accidental Tourist", the Indiana Jones trilogy are, among some of his more recent works, also some of his best.
"Thus, we began our longest journey together."
Adult Scout, 'To Kill A Mockingbird'
I feel that the "overly orchestrated opus" is just hard to find when he only gets assignments from George Lucas and Steven Spielberg. Great examples of Williams' post Star Wars chameleon would be gems like Stanley & Iris, The Accidental Tourist, Rosewood, Catch Me If You Can, Sabrina, Angela's Ashes....there are many chameleon sides of John Williams recently heard that reflect that early 70s period.
shareI agree with you completely! I just love those scores. More introverted and personal scores for Spielberg include "Saving Private Ryan" and, believe it or not, his very dark "War of the Worlds".
"Thus, we began our longest journey together."
Adult Scout, 'To Kill A Mockingbird'