The New York Times
Maurice Jarre
By VERLYN KLINKENBORG, March 31, 2009
Without Maurice Jarre, who died last week at 84, who would David Lean’s Lawrence of Arabia be? Peter O’Toole’s deliquescent eyes, shimmering in the desert light, would have been little more than a silent mirage. Jarre’s 1962 film score, which won an Academy Award, is a reminder that in the movies there is no character and no landscape unless there is a musical soundscape too.
Maurice Jarre, Hollywood Composer, Dies at 84 (March 31, 2009) Maurice Jarre gave many of us a notion of the scale on which our personal life theme music might be written. People often notice the nostalgic quality of scent, the way a familiar smell can instantly carry you backward in time. The same is true of music.
A few bars of the theme from “The Longest Day” — astonishingly upright and Anglo-American for a French composer — and I am somewhere back in 1962, when I first saw the movie — and even further back in 1945. I understood, of course, that there was no harmony in the real sounds of D-Day. But Jarre’s score made the horrors and the heroism of that day palpably real for me.
To me, the indelible sign of Jarre’s power is the score for “Doctor Zhivago,” which was released in December 1965. Let me put my 1965 in perspective. The Beatles album “Help” came out in August, and “Rubber Soul” came out a couple of weeks before “Zhivago.” I was nearly deaf to anything that wasn’t composed by Lennon and McCartney, unless it was composed by Brian Wilson. And yet there was still room in my head for Jarre’s version of “Zhivago” — perhaps because it always carried with it an image of Julie Christie.
I cannot assess the professional significance of his movie music. But then, I don’t need to. All I have to do is listen to how one score of his after another opens a forgotten door in my life. We sit in the movies, and though we hear the music of the films we’re watching, we do not seem to be listening to it. Only later do we realize that it has saturated us.
- posted on 04/02/2009
鹿希 wrote:
The New York Times
Maurice Jarre
By VERLYN KLINKENBORG, March 31, 2009
To me, the indelible sign of Jarre’s power is the score for “Doctor Zhivago,” which was released in December 1965. Let me put my 1965 in perspective. The Beatles album “Help” came out in August, and “Rubber Soul” came out a couple of weeks before “Zhivago.” I was nearly deaf to anything that wasn’t composed by Lennon and McCartney, unless it was composed by Brian Wilson. And yet there was still room in my head for Jarre’s version of “Zhivago” — perhaps because it always carried with it an image of Julie Christie.
beat the Beatles... Brian Wilson
To Brian, the Beatles, especially the songs of Paul McCartney(Brian's bass-playing
twin who was born only two days and one oceant apart), were always a major
inspiration. When Brian heard Rubber Soul, his competitive instincts were aroused,
and he felt that rock's rules had changed.
"A whole album with all good stuff, " he marveled, modestly ignoring the fact
that previous Beach Boys' albums like 1963's Surfer Girl, 1964's All Summber Long
and 1965's Today and Summer Days had contained almost no filler.
I cannot assess the professional significance of his movie music. But then, I don’t need to. All I have to do is listen to how one score of his after another opens a forgotten door in my life. We sit in the movies, and though we hear the music of the films we’re watching, we do not seem to be listening to it. Only later do we realize that it has saturated us.
- Re: Maurice Jarre - Doctor Zhivagoposted on 04/05/2009
- Re: zt: Maurice Jarre died at 84posted on 04/05/2009
鹿希 wrote:
The New York Times
We sit in the movies, and though we hear the music of the films we’re watching, we do not seem to be listening to it. Only later do we realize that it has saturated us.
This is probably true. - Re: zt: Maurice Jarre died at 84posted on 04/06/2009
那天我也看见了雅尔的死讯。看来鹿希惦记着。
老一代的电子音乐已伴随我们许久。雅尔的音乐是其中之一。谁不记得“氧气”?我不太喜欢《日瓦戈医生》,无论小说还是电影。“劳拉之歌”听上去凄凉碎心,虽华尔兹节奏也不能让我轻快。俄罗斯,不管是白色的还是赤色的,都残忍压抑,妥斯陀耶夫斯基的世界,恶梦恶梦。
电子合成器的音乐,我更喜欢凡吉利斯的(Vangelis)。
不少人迷亚尼(Yanni)的音乐。可是亚尼的音乐对我来说是漏气一周的减肥可乐。
音乐是可以听出头锅肉和回锅肉的。 - Re: Maurice Jarre - Lawrence of Arabiaposted on 04/06/2009
- posted on 04/06/2009
touche wrote:
那天我也看见了雅尔的死讯。看来鹿希惦记着。
老一代的电子音乐已伴随我们许久。雅尔的音乐是其中之一。谁不记得“氧气”?我不太喜欢《日瓦戈医生》,无论小说还是电影。“劳拉之歌”听上去凄凉碎心,虽华尔兹节奏也不能让我轻快。俄罗斯,不管是白色的还是赤色的,都残忍压抑,妥斯陀耶夫斯基的世界,恶梦恶梦。
电子合成器的音乐,我更喜欢凡吉利斯的(Vangelis)。
不少人迷亚尼(Yanni)的音乐。可是亚尼的音乐对我来说是漏气一周的减肥可乐。
音乐是可以听出头锅肉和回锅肉的。
七月她秃叔,你说的是电子音乐是老雅尔还是小雅尔?我只知道小的Jean-Michel Jarre,成天瞎混弄电子音乐,没弄出个啥明堂,好象还去长城上折腾过。他自小被爹抛弃,老雅尔撇下妻儿去好莱坞出名。小雅尔在里昂郊区长大,一心想出人头地给他爹瞧瞧,但才气运气都不济,瞎混一气,他唯一的运气大概是娶过美女,和Paul Newman 等演戏的Charlotte Rampling。得,我又八卦上了。:)
老雅尔最好的电影音乐该数 Lawrence of Arabia, and Dead Poets Society. 我喜欢《日瓦戈医生》皆因其压抑,斯拉夫式的压抑。
- Re: zt: Maurice Jarre died at 84posted on 04/06/2009
说是他的音乐救了日瓦戈,可能也不为过,因为当时公映后,评论界对该片的分数很低,大卫林一直愤愤不平。是日瓦戈的音乐(而非诗歌哈)打动了观众,观众再扯动了票房,搞出这么个传世之作来;)
老氓说的凡吉利斯,就是我介绍那首七十年代的《Spring Summer Winter and Fall》的作曲,他后来一直在好莱坞混,非常成功。不过话说回来,好莱坞的音乐总是最棒的,不管电影本身如何。 - posted on 04/06/2009
“海滩男孩”当然比不上“披头士”的创造力。可是“海滩男孩”意念单一,fun 而已。“Barbara Ann ”,“Good Vibrations ",“海滩男孩”的和声永远忘不了。比起来,“披头士”念头太多,听起来心里负担也较大。
Sunshine, beach, surfer girls, what else on earth do you need?
xw wrote:
鹿希 wrote:beat the Beatles... Brian Wilson
The New York Times
Maurice Jarre
By VERLYN KLINKENBORG, March 31, 2009
To me, the indelible sign of Jarre’s power is the score for “Doctor Zhivago,” which was released in December 1965. Let me put my 1965 in perspective. The Beatles album “Help” came out in August, and “Rubber Soul” came out a couple of weeks before “Zhivago.” I was nearly deaf to anything that wasn’t composed by Lennon and McCartney, unless it was composed by Brian Wilson. And yet there was still room in my head for Jarre’s version of “Zhivago” — perhaps because it always carried with it an image of Julie Christie.
To Brian, the Beatles, especially the songs of Paul McCartney(Brian's bass-playing
twin who was born only two days and one oceant apart), were always a major
inspiration. When Brian heard Rubber Soul, his competitive instincts were aroused,
and he felt that rock's rules had changed.
"A whole album with all good stuff, " he marveled, modestly ignoring the fact
that previous Beach Boys' albums like 1963's Surfer Girl, 1964's All Summber Long
and 1965's Today and Summer Days had contained almost no filler.
I cannot assess the professional significance of his movie music. But then, I don’t need to. All I have to do is listen to how one score of his after another opens a forgotten door in my life. We sit in the movies, and though we hear the music of the films we’re watching, we do not seem to be listening to it. Only later do we realize that it has saturated us.
- Somewhere My Loveposted on 04/07/2009
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