Official Nominations: Butch Cassidy And The Sundance Kid. Anne of The Thousand Days. The Reivers. The Secret of Santa Vittoria. The Wild Bunch. Hello Dolly. Goodbye Mr Chips. Paint Your Wagon. They Shoot Horses Don’t They. Sweet Charity.
More craziness this year as the Scoring category was divided into – Best Original Score (Not A Musical) and Best Original Or Adaptation Score (Including Musical). I’ve bunched them all together though, both in the Official List and in my own. Lets get the two Official Winners out of the way first. BCATSK by one Burt Bacharach is of course most famous for it’s central song, but the rest of the soundtrack has a fun and light folk and jazz vibe, unusual for what would be classed as a Western – it is in stark contrast to Morricone’s stuff for example. There’s a winsome, nostalgic, bittersweet, and playful tone throughout. I’m not convinced Hello Dolly should be on here given that the soundtrack is simply a list of songs from the movie – it’s whether you consider a movie soundtrack to be purely or mostly instrumental, or whether is matters or not. Regardless, the music and songs don’t do anything for me, aside from some amusing lyrics and the vocal and comic talent involved it’s just not very good.
Georges Delarue presents a regal soundtrack for Anne Of The Thousand Days, crafting a very good period sound with subtle contemporary flavour – moving and grand. John Williams was already an established Conductor by the time of The Reivers, but not yet considered in the same league as his contemporaries – this nomination and score went a long way to changing that – a rich and epic score peppered with the lighter melodic moments which would be one of his most enduring trademarks. Ernest Gold’s score for The Secret Of Santa Vittoria is another strong one, with authentic European charm, but it maybe gets lost in the mix with all of the other big hitters this year.
The Wild Bunch I’ve always found to have a strange soundtrack for a Western. Jerry Fielding’s score shares more with a drama or 80s adventure movie than with what you would expect from a Western – perhaps it is this which again adds to the feeling that the movie was closing the book on the genre. Speaking of unusual ideas for a Western, Paint Your Wagon sees Clint, Marvin, and co singing unnecessarily. The music by Lernre, Loewe, and Previn is okay, at least one of the songs is good, but it’s all terribly old fashioned and far too happy and cheesy for its own good.
Goodbye, Mr Chips has a score by John Williams again, and songs by Leslie Bricusse – not my thing as the songs are so plain, while Sweet Charity has work from Cy Coleman and Dorothy Fields – better songs then, but the score is still nothing out of the ordinary – massive jazz thumps and sways, but again not my thing. Finally, They Shoot Horses, Don’t They has strange incidental music punctuated by show tunes or earlier times – the nice score coming from Johnny Green.
My Winner: The Reivers
My Nominations: The Reivers. The Secret Of Santa Vittoria. Butch Cassidy And The Sundance Kid. Easy Rider
If those other soundtracks are getting official nominations, then there’s no way Easy Rider is missing out. The same goes for The Italian Job. Quincy Jones somehow steps in to a uniquely English film to give some Motown class to the camp proceedings, while Easy Rider speaks for itself. As that soundtrack is entirely songs though, I can’t in good conscience give it the win in this category.
My Winner: The Italian Job
Let us know in the comments who your pick for the Best Score of 1969 is – and stay tuned throughout February as I unleash a tonne of music posts that have been sitting in my drafts for months!