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Filmtracks On Cue


On Cue for June, 2001:





6/21/01 - Magdalene: (Cliff Eidelman) --All new review-- "Consider it incredible luck. Breaking into the scoring business is an incredibly hard task to accomplish, especially for a person in his young twenties fresh from school. Most aspiring composers are forced to spent rich amounts of money in order to record demos with a reasonably sized orchestra before they can be hired. In the case of Cliff Eidelman, who began his scoring career even before graduating with his advanced music degree, he was bestowed with an astonishing stroke of luck when he met in his apartment with the producer and director of Magdalene. During that conversation, Eidelman told the inquiring party that a group of seventy performers would be adequate for the heavily dramatic score. Producer Ernst Ritter von Theumer then responded with the now famous line, "Why seventy when you can have one hundred and twenty?" Eidelman was hired shortly thereafter and sent to Europe to compose for and conduct the Munich Symphony Orchestra. His eventual score would include a massive orchestral and choral sound, eclipsing most of the scores he would produce in the next ten years of his career...." **** Read the entire review.

6/20/01 - Triumph of the Spirit: (Cliff Eidelman) --All new review-- "Not many people are familiar with the scores of Cliff Eidelman from his pre-Star Trek days, but there is no doubt that Triumph of the Spirit is the strongest of the young composer's early works. After scoring a string of small releases, Eidelman was recommended for a composing position of Triumph of the Spirit at a very young age, only a few years out of his music studies. When presented with the prospect of working on the true WWII/Auschwitz story, Eidelman jumped at the opportunity, noting that the film had extended sequences without dialogue, allowing the score to flourish in emotion for extended cues. As part of process of creating a few demonstration pieces for the producers of the film, Eidelman manually researched the instrumentation and language of the Greek Jewish culture that was depicted in the film, and this attention to ethnic detail won him the job. Because of the lengthy sequences without dialogue, Eidelman utilized a large performing group and chorus to represent the emotional intangibles for the film...." **** Read the entire review.

6/14/01 - Picture Bride: (Cliff Eidelman) --All new review-- "One of the biggest disappointments in the career of Cliff Eidleman was the rejected score for Picture Bride, replaced in the final version of the film by an equivalent score by Mark Adler (who remains best known in the film score genre with 1988's The Unbearable Lightness of Being). The Adler score for the film was released on album at the same time as Eidelman's unused effort, and both scores would have worked just as well in the film. While some sources of information indicate that the post production scheduling conflicts of Picture Bride caused Eidelman to be unable to finish the score, other accounts of the collapse are less kind to Eidelman's composition. In any case, the film's location required a flavor of the Far East while also catering to the ears of Western audiences. Both scores accomplished this task, but they went about doing so from different directions...." **** Read the entire review.

6/10/01 - The Beautician and the Beast: (Cliff Eidelman) --All new review-- "Nearly a complete failure as a film, one of the few bright aspects about The Beautician and the Beast is its score by Cliff Eidelman. The film is a romantic fantasy which revolves around the outlandish premise that a hairdresser in New York could accidentally be confused as a tutor for the children of a foreign king, and of course, the unlikely love the spawns in that situation. Any charm that the film might have hoped to convey is nearly shattered by the comical dialect of Fran Drescher, whose voice becomes so intolerable by the end of the film that it is difficult to hear the music behind it. For the score, the filmmakers chose to mix a few traditional Eastern Block classical/choral pieces with the talents of Cliff Eidelman, whose career was looking upward at the time. Aside from The Beautician and the Beast, which gave him the opportunity to go to the U.K. to record with the London Metropolitan Orchestra...." *** Read the entire review.

6/5/01 - A Simple Twist of Fate: (Cliff Eidelman) --All new review-- "A year after his score for Untamed Heart was partially replaced in the film, Eidelman continued on to another in a string of character dramas that defined the bulk of his career. The heartwarming story of A Simple Twist of Fate was a suitable project for Eidelman, who was in the process of fine tuning his abilities to score these films of personal stories with emotional depth. The film's subject matter stands on a serious level, comparable to One True Thing or Now and Then, with longer passages of more ominous tones than most of Eidelman's other scores of the period. The wide range of emphasis in the performances by different sections of the orchestra makes A Simple Twist of Fate a more diverse effort for Eidelman, and portions of this score would influence his later rejected score for The Picture Bride the following year...." *** Read the entire review.

6/4/01 - Untamed Heart: (Cliff Eidelman) --All new review-- "At the height of his early career, Cliff Eidelman began his streak of scoring heavy character dramas. The film Untamed Heart was of typical success at the time, with the younger appeal of the film's stars drawing the most attention. The director of the film, Tony Bill, was impressed with the early works of Cliff Eidelman, claiming that the young composer had almost too much talent to describe, and crowning Eidelman as one of the "best of the new." For the project, the composer would write a score that would eventually be overshadowed for many in the public by the use of a Nat King Cole song instead. The score is very typical of Eidelman's use of a small performing group to build a suffienct emotion for the film, if not much more. Ironically, the score passed by in the film without much attention, and it would be hard to tell while watching it that Eidelman had composed the score...." *** Read the entire review.






Page created 6/23/01, updated 7/4/01. Version 2.1 (Filmtracks Publishing). Copyright © 2000, Christian Clemmensen. All rights reserved. "Real Audio" logo and .ra are Copyright © 1996, Real Audio (www.realaudio.com). "Academy Awards" and the Oscar statue are ® AMPAS, 1996.