Best Original Score – 1972

Official Nominations: Limelight. Images. Napoleon And Samantha. The Poseidon Adventure. Sleuth. Cabaret. Lady Sings the Blues. Man of La Mancha.

Limelight won the Dramatic category this year – a bit of a nonsense given that the film was made and released twenty years earlier, so this is clearly a pat on the back win for Charlie Chaplin. It’s quite a lovely score, dreary and downbeat in places, exuberant and uplifting in others – deserving of a win and nomination in its own right, but not just because LA had to wait 20 years before seeing the film – you’re not the boss of the world LA. Images is an almost forgotten Robert Altman psychological horror movie with a score by John Williams – one which has a lot in common with Carpenter’s score for Halloween – lots of haunting piano melodies, creeping strings, and jump-scare percussion, a fantastic soundtrack which so few remember. Similarly, Napoleon And Samantha is a weird film which no-one remembers – Michael Douglas, Jodie Foster, and Johnny Whitaker have scary adventures with a pet lion, involving cougars and crazy people. It’s as weird and entertaining as it sounds, but the soundtrack is fairly by the numbers. John Williams strikes again with The Poseidon Adventure – a much larger scope soundtrack than his other nominee but not as powerful, even if it does have plenty of interesting tracks and moments, even a bit of funk. John Addison’s score for Sleuth is a lot of fun, playful and mysterious.

And so on to the adaptation round. Cabaret was the winner this time round – at least it strived to create new music for the movie which was not there on the screen. Unfortunately the era, style, and songs are not my thing and I can’t listen for long. Musicals man, even when they’re good, they’re crap. Lady Sings The Blues is a little better – better songs anyway, but still not something I would ever pick, while Man Of La Mancha is very old school – fine, but nothing out of the ordinary.

My Winner: Images

Images.jpg

My Nominations: Images. Aguirre, The Wrath Of God. Deliverance. The Final Comedown. The Getaway. The Godfather. The Last House On The Left. Last Tango In Paris. Silent Running. Super Fly. Way Of The Dragon.

An almost entirely different, and superior, list for me with only Images making it over. This was actually a good year for Scores, even on the official list, but as there are so many others which I felt were better or more notable, most of the officials get cut. Aguirre has a hymnal, soothing score, akin to stumbling upon the gates of Heaven, all wall of sound organs and voices, quite haunting and beautiful, reminiscent of Pink Floyd I’ve always found – even the later guitar tracks are very Floyd. Deliverance is of course famous for the dueling banjos scene and music – taken from a much earlier recording, but it also has some sparse blue grass sections, renditions of other older pieces, and some rare synth moments – it mostly sounds like a rollicking good time, betraying what happens on screen. The Final Comedown is another entry in the funk blues rock scores of the decades, this one less well known but just as groovy and accomplished as the bigger hits. The Getaway sees funk maestro Quincy Jones in a slower and more soulful mood while Silent Running has plenty of pastoral and percussive moments aside from the obvious Joan Baez tunes.

The Godfather has one of the most famous scores of all time, yet was controversially not nominated after it appeared that some of the pieces had popped up in earlier Rota scores. We know they make up the rules as they go along, and this was one particular piece of bullshit which I am rectifying – there’s no way this doesn’t get nominated. With more European flavor is Last Tango In Paris by Gato Barbieri, as sumptuous and regal and tragic as you could wish for. On the other side of the scale is The Last House On The Left which, when heard on its own sounds like some late evening hippy dream, with David Hess and Stephen Chapin using folk tones to lull us into disbelief, and jaunty, circus, chase music to counter the vicious and disturbing antics on screen. Superfly is notable for having a soundtrack that made more money than the film itself, Curtis Mayfield crafting a classic of the genre – not many instrumentals though, so does that break the (my) rules? Finally, one of my all time personal favourite soundtracks, but one which is superb all round by the great Joseph Koo.

My Winner: The Godfather

Let us know in the comments which film of 1972 had the best score!