(08-09-2012, 09:46 PM)LovinDaHaley Wrote:
But the primary reason I love this movie is the soundtrack. Here's a little sample:
I think the soundtrack / score is really underated in importance.
I'm not saying that people ignore it, but I think that the great scores and soundtracks make the classic movies as moving as they are and many of them would be far far less with just a "very good" sound track.
Look at the American Film Institues 100 great movies of all time (we don't need to indivdually share their opinions but the list is a broad compilation of opinions so its as good as any for a point of discussion)
http://www.afi.com/100years/movies.aspx
If you go down that list an incredible percentage of those have truely memorable original scores. A great many are actually musicals.
Those that are not remembered actively for their scores very often were still trendsetters and enormously regarded scores often utiilzing great music in creative ways .
while I have only seen Citizen Kane a few times and didn't necessarily remember the score (sometimes that is the point i imagine) this quote kinda explains some of the importance in better words than I could come up with:
Quote:Soundtrack
"Before Kane, nobody in Hollywood knew how to set music properly in movies," wrote filmmaker François Truffaut in a 1967 essay. "Kane was the first, in fact the only, great film that uses radio techniques."
......... (another random remark from wiki-pedia below)
Opera lovers are frequently amused by the parody of vocal coaching that appears in a singing lesson given to Susan Alexander by Signor Matiste. The character attempts to sing the famous cavatina "Una voce poco fa" from Il barbiere di Siviglia by Gioachino Rossini, but the lesson is interrupted when Alexander sings a high note flat.
Orson Welles said that the Nat King Cole Trio is heard performing the song, "It Can't Be Love," in one of the key scenes of Citizen Kane, the fight between Susan and Kane in the picnic tent. "I'd heard Nat King Cole and his trio in a little bar. I kind of based the whole scene around that song," Welles said. "The music is by Nat Cole — it's his trio. He doesn't sing it — he's too legitimate, we got some kind of low-down New Orleans voice [Alton Redd[80]] — but it was his number and his trio."[23]:57 Bernard Herrmann denied unconfirmed reports that suggest Cole can also be heard playing in the scene where Thompson questions a down-at-heel Susan in the nightclub where she works.[80]
