Explorers (1985) Explorers


Ben Crandall is a young teen living in the suburbs of Washington DC who experiences vivid dreams about flying through clouds and over a vast, city-like circuit board…usually after falling asleep watching old sci-fi films (The War of the Worlds is a favorite). Every night, upon waking from the dream, he draws the circuit board. Ben shows the sketches to his friend, child prodigy Wolfgang Muller. At school, Ben develops a crush on Lori Swenson – but he isn’t sure whether it’s mutual. Both boys meet punkish-but-likable Darren Woods, with whom they share their circuit board-concepts. Wolfgang builds an actual microchip based on Ben’s drawings. The chip enables the generation of an electromagnetic bubble which surrounds a pre-determined area. As the boys discover, the bubble is capable of moving at near-limitless distances and speeds without the usual ill-effects from inertia. They construct a rudimentary spacecraft out of an abandoned tilt-a-whirl car; they name their ship the Thunder Road, after Bruce Springsteen‘s song of the same title. Their experiments with the Thunder Road draw attention from the US Government, which sends agents to scout the area for unidentified flying objects.

After Ben receives more dreams about the circuit board, Wolfgang discovers a means of producing unlimited sustainable oxygen; this means longer flights, whereas previously they were limited to whatever a typical oxygen tank could hold. They finalize their plan to explore the galaxy in search of alien life. The boys complete lift-off, despite interference from the authorities (one of whom silently wishes them well). Shortly after breaking Earth’s orbit, something overrides the boys’ personal computer-controls. The Thunder Road is tractor-beamed aboard a much-larger spaceship. The boys venture out to meet their “captors”: Wak and Neek: two green-skinned aliens whose knowledge of Earth comes almost entirely from junk culture, particularly TV reruns. The young explorers hit it off with their extraterrestrial hosts…who are suddenly intercepted by a larger-still alien vessel. Feigning an attack by space-pirates, Wak urges the boys to leave. They are in the process of doing so when they’re cut off by a gigantic brown extraterrestrial, this one bearing a close resemblance to the other two, who gestures furiously while grinding out barely-comprehensible alien language. As it turns out, Wak and Neek are brother and sister; they’ve taken their father’s ship out for a “joy ride”, sending the dreams to the boys in the hopes of meeting humans. Transmissions of old black-and-white movies have kept the extraterrestrial populace at a distance – except for the curious Wak and Neek – due to the humans’ depicted violent tendencies toward alien life.

Wak and Neek’s father allows the Thunder Road and its crew to depart, after Wak and Neek give the boys a parting gift: an amulet which, according to the extraterrestrials, is “the stuff dreams are made of”. The boys make it safely back to Earth, but a malfunction results in them crashing the Thunder Road into their neighborhood lake. Now they’re back to square one…or so they think. A week later, Ben has a dream at school in which he envisions another vast circuit board while flying through more clouds overhead. This time – thanks to Wak and Neek’s amulet – Ben is joined in the dream by Wolfgang, Darren, and Lori. They proclaim that the circuitry is “really complicated”, and wonder where this one will take them once they’ve constructed it. “…I can’t wait to find out.” Lori smiles at Ben while holding his hand.

Music by Jerry Goldsmith


Ben sogna di continuo di volare su schemi di circuiti stampati. Incuriosito, prende nota dei circuiti che vede in sogno, fino a quando, con l’aiuto di alcuni amici, non decide di costruirli. Scoprono così che l’apparecchio ottenuto è di natura aliena, e permette la creazione di una bolla di forza che contrasta la legge di gravità e l’inerzia, e che può essere controllata con il computer per viaggiare nello spazio. Mettono quindi a punto, a partire da rottami, un vero e proprio mezzo di trasporto in grado di volare sfruttando la bolla: creano così un’astronave, e guidati dai medesimi extraterrestriche avevano comunicato in sogno a Ben lo schema del dispositivo, riescono finalmente a raggiungerli. Ma il contatto non avrà l’esito sperato.

  • Molti i riferimenti ai vecchi film di science fiction “anni cinquanta”:
  1. Nella camera di Ben si vede il poster di Destinazione… Terra!;
  2. Il programma che Ben sta guardando in televisione ad inizio film prima di addormentarsi è La guerra dei mondidel 1953. Il classico della fantascienza viene citato più volte nel corso di Explorers. In particolare durante uno dei sogni dei protagonisti è ben visibile su uno schermo il braccio di uno dei marziani;
  3. Poco prima di recarsi in cima al tetto per guardare le stelle Ben sta guardando in televisione il film Cittadino dello spazio del 1955;
  4. Quando gli alieni mostrano ai tre ragazzi come l’umanità si sia dimostrata crudele con gli extraterrestri vengono trasmesse le immagini di vari film di fantascienza. Sono ben riconoscibili Ultimatum alla terra del 1951 (la figura incappucciata che subisce il colpo di pistola), La cosa da un altro mondo sempre del 1951 (il mostro che viene folgorato), La terra contro i dischi volanti del 1956 (l’UFO colpito dalla contraerea) e A 30 milioni di km dalla Terra del 1957 (la lucertola aliena che abbatte le rovine romane).
Musiche Jerry Goldsmith


Explorers : The Making of
video link : https://www.youtube.com/watch?v=wW-46Xul3sE

Explorers : The Construction of “The Thunder Road”
video link : https://www.youtube.com/watch?v=F36SgQunezU

Explorers the complete soundtrack by Jerry Goldsmith
video link : https://ok.ru/video/300740053630

Tracks list :

0:00 Main Title (unused version)
2:25 Main Title (film version)
3:20 The First Dream
4:19 Sticks and Stones
5:08 Lori, Intervention
6:00 Home
8:12 The Bubble
10:00 Sci-fi Flick, The Rooftop
12:08 Crazed Bubble, Fuze Box
14:55 Free Ride
18:30 Peek-A-Boo
20:37 The Prospect
22:17 The Construction
29:31 The Thunder Road
37:41 First Flight
41:49 No Air
44:54 I Want to Live
47:32 Time for Bed
49:00 More Dreams, Dreams
52:06 Fast Getaway
54:41 Let’s Go (probably the one you came for)
56:26 Wait Up
58:04 The Spider
59:52 Alien Love Call
1:01:39 We Come in Peace
1:06:42 She Likes Me
1:07:42 Neek Chords
1:08:40 Looks Real
1:09:39 Space Pirates
1:11:45 Gifts, Home Flight
1:14:25 Have a Nice Trip
1:14:46 Tannhauser Overture [Excerpt]
1:16:50 Space Movie (by Alexander Courage)

Complete movie ENG 360p link : https://ok.ru/video/87950953086

The First Great Train Robbery

The First Great Train Robbery (1979) 1855 – La prima grande rapina al treno




In 1854, Edward Pierce (Sean Connery), a charismatic member of London’s high society, is secretly a master thief. He plans to steal a monthly shipment of gold from the London to Folkestone train which is meant as payment for British troops fighting in the Crimean War. The gold is heavily guarded in two heavy safes in the baggage car, each of which has two locks, requiring a total of four keys. Pierce recruits Robert Agar (Donald Sutherland), a pickpocket and screwsman. Pierce’s mistress Miriam (Lesley-Anne Down) and his chauffeur Barlow (George Downing) join the plot, and a train guard, Burgess (Michael Elphick), is bribed into participation. The executives of the bank who arrange the gold transport, the manager Mr. Henry Fowler (Malcolm Terris) and the president Mr. Edgar Trent (Alan Webb), each possess a key; the other two are locked in a cabinet at the offices of the South Eastern Railway at the London Bridge train station. In order to hide the robbers’ intentions, wax impressions are to be made of each of the keys.

Pierce ingratiates himself with Trent by feigning a shared interest in ratting. He also begins courting Trent’s spinster daughter, Elizabeth (Gabrielle Lloyd), to learn the location of her father’s key. Pierce and Agar successfully break into Trent’s home at night, and make a wax impression of the key before making a clean getaway despite a close call with the butler.

Pierce targets Fowler through his weakness for prostitutes. Miriam reluctantly poses as “Madame Lucienne”, a high-class hooker in an exclusive bordello. Miriam meets Fowler and asks him to undress, forcing him to remove the key worn round his neck. While Fowler is distracted by Miriam, Agar makes an impression of his key. Pierce then arranges a phony police raid to rescue Miriam, forcing Fowler to flee to avoid a scandal.

The keys at the train station prove a much harder challenge. After a diversionary tactic with a child pickpocket fails because Agar cannot locate the two Chubb safe keys in the key cabinet, much less wax them in the time available, Pierce decides to use cat burglar Clean Willy (Wayne Sleep) to climb the station’s wall, climb down into the station, enter the office via a small hatch in the office ceiling, and open the office door and the key cabinet from within. Because Clean Willy is incarcerated at Newgate Prison, Pierce and Agar first have to break him out, using a public execution as a distraction. With Willy’s help, the criminals succeed in taking wax impressions of the keys when the night guard takes a scheduled restroom break without detection.

Clean Willy is subsequently arrested after being caught in the act pickpocketing and informs on Pierce. The police use Willy to lure Pierce into a trap, but the master cracksman easily eludes capture. Clean Willy escapes from his captors but is murdered by Barlow on Pierce’s orders. The authorities, now aware that the robbery is imminent, increase security by having the baggage car padlocked from the outside until the train arrives at its destination and forbidding passengers to travel in the guard’s van. Any container large enough to hold a man must be opened and inspected before it is loaded on the train.

Pierce smuggles Agar into the baggage car disguised as a corpse in a coffin. Pierce plans to reach the car across the coach roofs while the train is under way, but he and Miriam encounter Fowler, who is riding the train to Folkestone to watch over the shipment. After arranging for Miriam to travel in the same compartment as Fowler to divert his attention, Pierce crosses the roof of the train and unlocks the baggage van’s door from the outside. He and Agar replace the gold with lead bars and toss the bags of gold off the train at a prearranged point. However, soot from the engine’s smoke has stained Pierce’s clothes and he is forced to borrow Agar’s suit, which is much too small for him. The jacket splits across the back when he disembarks at Folkstone. The police quickly become suspicious and arrest him before he can rejoin his accomplices.

Pierce is put on trial for the robbery. As he exits the courthouse, he receives the adulation of the poorer British masses, who consider him a folk hero for his daring act. In the commotion, a disguised Miriam kisses him full on the mouth, in the process slipping him a key to his handcuffs by invisibly transferring the key from her mouth to his. Agar is also present, disguised as a Police van driver. As Pierce is about to be shoved into the wagon, he frees himself and he and Agar escape, to the jubilation of the crowd and the chagrin of the police.

Music by Jerry Goldsmith


Nel 1855 il mezzo di locomozione più veloce e moderno al mondo è il treno a vapore. La banca inglese Hundleston & Bradford utilizza abitualmente il treno per trasferire, da Londra al porto di Folkestone, le casse contenenti le paghe dei soldati inglesi impegnati nella guerra di Crimea. Il prezioso carico è costantemente presidiato da guardie armate e custodito in una cassaforte con quattro serrature. Le possibilità di appropriarsi dei soldi durante il tragitto sembrano inesistenti, ma Edward Pierce (Sean Connery), dai suoi semplicemente conosciuto come l'”armatore”, non crede che ciò sia irrealizzabile. Usando ingegno, pazienza, audacia ed un ristretto numero di aiutanti, Pierce compirà un’impresa ben presto definita da tutti i giornali “storica”.

Musiche Jerry Goldsmith

Lesley-Anne Down: The First Great Train Robbery

Lesley-Anne Down: The First Great Train Robbery

Risultati immagini per Great Train Robbery (1979) gif

Complete Soundtrack link : https://ok.ru/video/284886370942

Track list (00:36:32) :

01. Main Title (02:36)
02. Breakfast In Bed (01:50)
03. No Respectable Gentleman (02:25)
04. Clues (03:56)
05. Rotten Row (02:42)
06. The First Key – Bordello Raid (00:52)
07. Kiddie Kaper (02:04)
08. Street Attack – Casing The Station (03:09)
09. Over The Wall (02:00)
10. Night Entry (02:29)
11. Double Wax Job (02:58)
12. The Tombstone (01:14)
13. Departure (00:44)
14. The Gold Arrives (02:37)
15. Torn Coat (01:53)
16. End Title (02:58)

Complete movie ITA 720p link : https://ok.ru/video/284885650046

The 13th Warrior

The 13th Warrior (1999) Il 13° guerriero


The 13th Warrior is a 1999 American historical fiction action film based on the novel Eaters of the Dead by Michael Crichton[5] and is a loose retelling of the tale of Beowulf. It stars Antonio Banderas as Ahmad ibn Fadlan, Diane Venora, and Omar Sharif. It was directed by John McTiernan. Crichton directed some reshoots uncredited. The film was produced by McTiernan, Crichton, and Ned Dowd, with Andrew G. Vajna and Ethan Dubrow as executive producers.

The film was a financial failure. Production and marketing costs reputedly reached $160 million, but it grossed $61 million at the box office worldwide, making it one of the biggest box office bombs in history (23rd adjusted for inflation)

Music by Jerry Goldsmith


Anno 922. Ahmed Ibn Fahdlan è un colto cortigiano di Baghdad, uno dei più importanti centri culturali del Medio Oriente dell’epoca. Scoperta una sua relazione con la moglie di un potente nobile, quest’ultimo convince il Califfo a nominarlo ambasciatore nelle Terre del Nord. Lo accompagna Melchisidek, vecchio amico di suo padre. Mentre è in viaggio, però, la carovana si imbatte in un gruppo di Normanni: Ahmed non parla la loro lingua, la imparerà in seguito. Melchisidek riesce a comunicare con essi in latino e, nonostante le persuasioni di quest’ultimo, Ahmed resta convinto che si tratta di un popolo rozzo e primitivo e vorrebbe riprendere la strada.

Ma secondo il responso di un’indovina, l’arabo è l’uomo che i vichinghi cercano: il loro villaggio, minacciato da un popolo di misteriose creature, i Wendol, potrà essere salvato solo con l’intervento di una compagnia di tredici guerrieri, di cui uno straniero. Ahmed, ribattezzato Eban, si reca allora nel villaggio normanno, dove risiede il vecchio re Hrotgar. Il sovrano spiega loro il pericolo che li minaccia, citando anche il risveglio di un enorme drago di fuoco. Dapprima i guerrieri non credono al racconto del re, anche perché i Wendol sono scomparsi da generazioni, ma l’incontro con un fanciullo coperto di sangue farà loro cambiare idea. Giunti nella capanna del bambino, scoprono con orrore che i corpi dei familiari sono stati mutilati e mangiati.

I guerrieri dunque sono pronti a combattere i Wendol che attaccheranno il villaggio nella notte, approfittando della nebbia. Durante il sanguinoso agguato, Ahmed viene ferito in viso e due dei dodici guerrieri vichinghi perdono la vita. Terminato lo scontro, non si riesce a trovare i corpi dei Wendol uccisi e si pensa quindi che siano demoni invincibili. Convinti che presto i Wendol torneranno, e più numerosi, i guerrieri si prestano a costruire alcune rozze difese attorno al villaggio. Un suono di corno annuncia il risveglio del drago di fuoco. Durante il salvataggio di una fanciulla rimasta fuori dalle mura, Ahmed scopre che il drago in realtà sono gli stessi Wendol a cavallo, in fila e illuminati da fiaccole.

L’attacco in massa finisce con il ritiro dei Wendol e con la perdita di altri vichinghi. Durante la lotta, tuttavia, Ahmed fa un’altra scoperta: i Wendol sono in realtà semplici uomini travestiti e non creature demoniache. La moglie del re decide di portare i guerrieri da una vecchia indovina, mettendo in guardia il capo, Buliwyf, che per distruggere i Wendol dovrà uccidere la loro madre e il loro capo. Termina dicendo che dovrà cercarli nella terra. Ahmed, avendo notato che i Wendol usano pelli di orso e vari ornamenti che rappresentano questo animale, intuisce che il loro covo si trova dentro delle caverne.

« Ecco là io vedo mio padre, ecco là io vedo mia madre e le mie sorelle e i miei fratelli, ecco là io vedo tutti i miei parenti defunti, dal principio alla fine. Ecco, ora chiamano me, mi invitano a prendere posto in mezzo a loro nella sala del Valhalla, dove l’impavido può vivere per sempre. »
(Preghiera funebre dei normanni, prima della battaglia finale)

I guerrieri individuano il loro covo e penetrano in segreto sino alla caverna della “madre dei Wendol”, una strega che Buliwyf si incarica di uccidere: poco prima di ucciderla, tuttavia, ella riesce a colpirlo con un artiglio avvelenato. La compagnia riesce a fuggire seguendo un corso d’acqua sotterraneo che li porterà sino al mare. I Wendol non tardano a vendicarsi dei Normanni: partecipa anche Buliwyf, nonostante sia allo stremo per gli effetti letali del veleno. L’esito della battaglia è favorevole ai vichinghi che trionfano quando Buliwyf riesce ad uccidere il capo. Il vichingo raccoglie le sue ultime forze per sedersi su un trono e morire da re.

Musiche Jerry Goldsmith

The making of…. The 13th Warrior

Video link : https://www.youtube.com/watch?v=sWxlKl4gu4s

Complete soundtrack by Jerry Goldsmith link : https://www.youtube.com/watch?v=HsIQicWS5ik&list=PL668D3B41037D31EB

> Complete soundtrack 1:13:35 video link : https://ok.ru/video/281161108094

Rejected soundtrack by Graeme Revell link : https://www.youtube.com/watch?v=R6-XqYpj7-g


The Blue Max

The Blue Max (1966) La caduta delle aquile


The Blue Max is a 1966 British war film in DeLuxe Color and filmed in CinemaScope, about a German fighter pilot on the Western Front during World War I. It was directed by John Guillermin, stars George Peppard, James Mason and Ursula Andress, and features Karl Michael Vogler and Jeremy Kemp. The screenplay was written by David Pursall, Jack Seddon, and Gerald Hanley, based on the novel of the same name by Jack D. Hunter as adapted by Ben Barzman and Basilio Franchina.

In contrast to films that romanticize the Flying Aces of the Great War, the protagonist of The Blue Max is depicted as a man with no conscience, no empathy, and no feelings for anyone but himself. The film also explores the decline of chivalry and the advent of total war.

Music by Jerry Goldsmith


Prima guerra mondiale, fronte occidentale, Bruno Stachel è un giovane sergente dell’esercito tedesco che, non senza difficoltà, riesce ad entrare nella Luftstreitkräfte, l’aviazione militare tedesca, divenendo ufficiale. Il suo ambientamento nella squadriglia comandata dal colonnello Otto Heidemann è tuttavia difficoltoso ed il suo desiderio di salire la scala sociale è presto compreso dai camerati, tutti di nobile estrazione, che progressivamente iniziano ad irriderlo ed a voltargli le spalle.

La situazione degenera quando, dopo avere catturato un aereo britannico, a causa di un gesto improvviso del mitragliere che Bruno scambia per un tentativo di reazione, lo abbatte mentre sta atterrando nel campo tedesco. Questo provoca il disappunto di tutti gli astanti ed un’inchiesta da parte del comandante ma, grazie alla testimonianza di Willi von Klugermann, un nobile asso, nipote del generale von Klugermann, che aveva appena ricevuto la croce azzurra dopo avere conseguito la sua ventesima vittoria, viene scagionato.

La sua popolarità tuttavia cresce e la macchina della propaganda, esaltando le sue umili origini, ne fa un eroe popolare ma il suo desiderio di conseguire la decorazione provoca molte perdite tra i giovani piloti che hanno rimpiazzato i veterani caduti durante il conflitto, i quali ingenuamente lo seguono in ogni sua azione avventata, provocando il disappunto del comandante Heidemann, che inutilmente ne chiede il trasferimento, ed il suo arrivismo arriva al punto di umiliare la moglie del generale Klugermann, con la quale ha iniziato una relazione.

La reazione della donna è immediata e minaccia Bruno di rivelare quanto le ha confidato, ossia che le sue ultime due vittorie, quelle che gli hanno consentito di ricevere l’agognata decorazione Pour le Mérite, sono in realtà state conseguite da Willi ma il generale, impossibilitato a ritirare la decorazione appena assegnata, al fine di evitare il discredito e lo scandalo, non lo avverte del pericolo rappresentato dalla scarsa stabilità del nuovo monoplano, testato da Otto nel primo volo, che il giovane asso è chiamato a pilotare di fronte ad una folla venuta per festeggiarlo, chiudendo la vicenda con la sua morte.


video link : https://www.youtube.com/watch?v=vwmYTXHLYso

Complete Track List

  1. The Blue Max (Main Title) 0.00
  2. The New Arrival 2:18
  3. A Toast to Bruno 3:45
  4. First Blood 5:28
  5. First Victory 7:50
  6. The Captive 8:36
  7. The Victim 10:25*
  8. The Attack 14:44
  9. A Small Favor 19:33
  10. Love Theme 20:34
  11. The Rivals 21:55
  12. Finale to Part 1 22:25
  13. Prelude to Part 2 23:37
  14. Love Theme 25:22
  15. The Bridge 26:21
  16. Love Theme 29:40
  17. Retreat 31:18
  18. Stachel to Berlin 38:52
  19. Nothing Needed 41.20
  20. Kaetie Has a Plan 42:05
  21. Stachel’s Last Flight 45:33
  22. End Title 47:35

Source Music:
23. Pour Le Merite 50:16
24. Presentiar March 52:35
25. Student Song Medley 54:06
26. Artist’s Life 55:58
27. Gloria March 57:03
28. Deutschland Uber Alles 57:28
29. Watch on the Rhine 58:20

Complete soundtracks link : https://ok.ru/video/272871393918

Complete Movie in ENG 480p link : https://ok.ru/video/37558094420

Film completo in ITA 720p link : https://ok.ru/video/244529564322

My name is Jerry, Jerry Goldsmith

Jerry Goldsmith (February 10, 1929 – July 21, 2004) Jerry Goldsmith


Jerrald KingJerryGoldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring. He composed scores for such noteworthy films as Star Trek: The Motion Picture (Which he personally considered his best work),The Sand Pebbles, Logan’s Run, Planet of the Apes, Patton, Papillon, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Capricorn One, Alien, Poltergeist, The Secret of NIMH, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, Explorers and four other Star Trek films.

He collaborated with some of film history’s most accomplished directors, including Robert Wise, Howard Hawks, Otto Preminger, Joe Dante, Richard Donner, Roman Polanski, Ridley Scott, Michael Winner, Steven Spielberg, Paul Verhoeven, and Franklin J. Schaffner.

Goldsmith was nominated for six Grammy Awards, five Primetime Emmy Awards, nine Golden Globe Awards, four British Academy Film Awards, and eighteen Academy Awards (he won only one, in 1976, for The Omen).

Jerry Goldsmith as a child.

Goldsmith, was born 10 February 1929 in Los Angeles, California. His parents were Tessa (née Rappaport), a school teacher, and Morris Goldsmith, a structural engineer.[2] He started playing piano at age six, but only “got serious” by the time he was eleven. At age thirteen, he studied piano privately with legendary concert pianist and educator Jakob Gimpel[3] (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.

At age sixteen, Goldsmith saw the 1945 film Spellbound in theaters and was inspired by veteran composer Miklós Rózsa‘s soundtrack to pursue a career in music.[4][5] Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more “practical music program” at the Los Angeles City College.[6] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor


Jerrald King Goldsmith, detto Jerry (Pasadena, 10 febbraio 1929Beverly Hills, 21 luglio 2004), è stato un compositore e direttore d’orchestra statunitense, celebre per le colonne sonore cinematografiche che ha composto nell’arco di oltre quarant’anni di carriera. Ha vinto il premio Oscar per la miglior colonna sonora nel 1977 per le musiche del film Il presagio (1976) alla sua decima nomination (in seguito ne ebbe altre 8, ma su 18 canditature totali quella rimase l’unica statuetta vinta).

Nato da una famiglia di emigrati dalla Romania all’inizio del secolo, studia pianoforte con Jacob Gimpel e composizione e teoria musicale con il compositore italiano Mario Castelnuovo-Tedesco.

Gli inizi

Nel 1950, all’età di 21 anni, viene assunto nella sezione musicale del network CBS, per il quale compone molte sigle e musiche di scena di spettacoli radiofonici, fino al 1960. Questa prima esperienza con i network radio-televisivi consente a Goldsmith di collaborare, nei primi anni sessanta, a moltissimi prodotti per il piccolo schermo, tra cui serie molto famose come Ai confini della realtà, Thriller, Dr. Kildare e L’uomo dell’UNCLE (delle ultime due serie è autore anche delle sigle).

Gli anni sessanta

Nel frattempo il compositore conosce Alfred Newman, all’epoca famoso ed influente compositore di musiche per film, il quale aiuta Goldsmith ad affermarsi nell’ambiente della musica cinematografica. Sul grande schermo Goldsmith esordisce nel 1957 con il film Giustizia senza legge di Allen H. Miller. Il suo primo lavoro per un titolo di rilievo è la colonna sonora del western crepuscolare Solo sotto le stelle, interpretato da Kirk Douglas e Walter Matthau: lo splendido tema e l’inusuale approccio di Goldsmith alle atmosfere western consentono al giovane compositore di ricevere delle ottime recensioni. Nel giro di pochi anni si afferma come uno dei musicisti per cinema più sensibili, eclettici, versatili e dotati, e la sua collaborazione è richiesta anche da registi di notevole rilievo.

Tra essi, John Huston, Sam Peckinpah, Otto Preminger, Robert Wise, Howard Hawks, John Frankenheimer.

Gli anni settanta e ottanta

Goldsmith, come i quasi coetanei Elmer Bernstein e John Williams, è capace di costituire il punto di passaggio tra l’impostazione classica delle colonne sonore hollywoodiane di nomi come Miklòs Ròzsa, Franz Waxman, Bernard Herrmann e lo stesso Alfred Newman, e le nuove concezioni del rapporto musica / cinema che vedono la luce in conseguenza degli anni a cavallo del 1968. Il compositore, infatti, non esita ad arricchire la sua tavolozza creativa con sperimentalismi, con ricerca timbrica, con l’inclusione di componenti etniche (laddove richiesto dai film) oppure elettroniche, con l’introduzione di intriganti commistioni tra musica sinfonica classica e musica jazz, blues e persino pop e rock.

Tra le sue opere spiccano dunque anche lavori ai limiti dell’atonalismo, come Il pianeta delle scimmie del 1968, oppure intrise di fredde componenti marziali, come Patton, generale d’acciaio, o, ancora, dominate da ombrose venature jazz, come Chinatown.

Negli anni settanta il compositore californiano collabora con i nomi più autorevoli del “nuovo” cinema. Tra essi Roman Polanski, Franklin J. Schaffner, John Milius, Richard Donner, Peter Hyams.

Dopo l’exploit delle musiche di John Williams per Guerre stellari di George Lucas, del 1977, infatti, si assiste ad un rilancio della composizione romantica e grandemente sinfonica, che lo stesso Goldsmith ha già dimostrato di saper padroneggiare molto bene. In questa cornice, scrive alcuni dei suoi titoli più noti, come Star Trek (del 1979), Masada (1981) (per l’omonima serie televisiva) e Brisby e il segreto di NIMH (1982).

Grande importanza assume inoltre la colonna sonora de Il presagio, del 1976, che farà vincere al compositore il suo unico premio oscar per la miglior colonna sonora, su un totale di 18 nomination. Goldsmith comporrà in seguito le musiche per i due seguiti del suddetto film (La maledizione di Damien e Conflitto finale, rispettivamente nel 1978 e nel 1981).

L’esperienza maturata nel periodo più sperimentale degli anni settanta e la notevole versatilità fanno sì che in questo periodo Goldsmith sia spesso richiesto da registi molto giovani, per i cui film non esita ad accrescere le componenti elettroniche delle sue scelte timbriche.

Gli anni novanta

Tra i registi delle ultime generazioni con cui il musicista lavora, si ricordano Ridley Scott, Joe Dante, George Pan Cosmatos e Paul Verhoeven. Sono proprio per film diretti da quest’ultimo i titoli migliori che Goldsmith realizza nell’ultimo decennio di carriera, tra cui Atto di forza del 1990 e Basic Instinct del 1992.

2000-2004: Le ultime opere

Agli inizi del XXI secolo, il compositore dirada molto la sua attività, anche a causa del progressivo peggioramento delle proprie condizioni di salute, dovute al tumore al colon, contro il quale combatteva da anni. In questo periodo compone partiture cinematografiche quali Nella morsa del ragno (2000), Al vertice della tensione (2001), Star Trek: La nemesi (2002). L’ultima colonna sonora di Goldsmith per il cinema è stata quella di Looney Tunes: Back in Action (2003). In realtà, l’ultima colonna sonora cinematografica effettivamente composta da Goldsmith, fu per il film di fantascienza Timeline – Ai confini del tempo, diretto da Richard Donner, ma il lavoro non fu poi utilizzato nel film.

Other Post – Altri post (Jerry Goldsmith) category :


7 hours of soundtracks – 7 ore di soundtracks (Youtube k.o. ? try the video link!)

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Jerry Goldsmith: Live in Budapest

Risultati immagini per Budapesti Fesztiválzenekar rendezte: InterCom 1999

Jerry Goldsmith (27 – 06 – 1999 h 18:30) Live in Budapest

Thanks to Attila Petricsák (write by Kulics László)

ENG (translate by Google)

In the summer of 1999 Jerry Goldsmith he was honored by little our country that gave a concert for the audience gathered in Vörösmarty Square in Budapest. He made it all the Budapest Farewell, thanks to an open-air concert in the intercom and Andrew Vajnának. Now it can understand right away how could have been a free event formation.

But let’s start at the beginning of the story – just for the sake of completeness. So these days the morning of my father came into my room saying that a film composer was going to report on the radio, listen to me. I looked at him skeptically, but she turned on the radio. Indeed, Jerry Goldsmith interview given by one of the tax on live television. In the end, said that same evening, on Vörösmarty Square concerts. More I did not need me felkerekedtem to check with those sites by visiting the events. Then I found out that all this is part of the Budapest Farewell, and exactly when it starts. Since it was early in the afternoon, I went home that I buy myself a camera, and “Small Soldiers” m-cd cover. I stood before my first concert of film music: I was full of happiness. I would add that time did not really know the Master’s work, only heard a couple of music ( “Small Soldiers,” “Rambo” -trilógia, “Alien”), therefore has not cultivated as much personality as today. I was full of questions: what would give for that look just manage to ask for autographs, etc. These mysteries, and, accompanied by my brother – who is the műfajért not enthusiastic, but he did not want to miss this – we started in the city to achieve the scene in time.
By the time soon arrived, they were already up on stage at the concert needed supplies and gradually gathered in the audience, among whom were some members of the band to see. In addition to handing out a general review of the stage, which was mentioned a few rows up Goldsmith was also marked with well-known tunes. Unfortunately, this “röpanyag” It was pretty rough. While looking around, apparently we sought the ideal location. By now the audience took his place and the band he started tuning.

Finally, the event began. Jerry Goldsmith was surprised after the stage has perhaps had not expected so many viewers? Of course torrent of applause received. The Master politely bowed, greeted the audience, the band then launched into the “Star Trek” main theme. This is one of the most famous, the most enduring of the main topics, which ever composed, and launched a decisive performances with this item. Where the original main themes where he performed the part of the current theme, but never missed the Programme. Then I heard for the first time alone in the “Star Trek” main theme. So far ódzkodtam him, but after he went down here, absolutely captivated. The dynamic opening and closing tunes include a pleasant, slowly trickling theme is “pushed”.
The next song was a medley of cinema film, which was selected from among the best-known music together, stitched into one. A montage of the 1966 war / romance “The Sand Pebbles” in drama began with the beginning of a very intriguing sikeredett. But the little kavargós topic quickly switched to a softer, more romantic part of the movie. The melodies slowly átvezetődtek music of “Chinatown” in works of Roman Polanski wrote. Pleasant transition, almost no notice was taken. The mood is still pondering, kimértség was typical. This broke the harmony of “Air Force One” glory-filled main theme. Hard-sounding drums, long strings and wind instruments accompanied by Harrison Ford, the US’s number one man. The first hearing hypnotic music is superb “A Patch Of Blue” again with the sixties we have flown Goldsmith. Also a drama composed work we have heard, which provided the basic melody of the piano was an outstanding role, which was later taken over by the winds. A nice series of motifs in “The Wind and the Lion” starter bars were jolted us out: once again, “összecsörrennek” musical instruments. The most produkcióból the “Air Force One” was impressed, so much so that the next day much elbattyogtam buy the disc. To the rest of the music it resound not remained indifferent to me …

The next work came from the first part of Sylvester Stallone’s film classic cinema, the ‘Rambo’, also within the theme song of “It’s A Long Road” for the orchestral version was discussed. With the harp and the wind slowly leading departments was the main theme, which along majestically played by the band. Toured the war, homeless Vietnam veteran pain megkeseredettségét Goldsmith adequately reflected the fact that almost the end “weeping” of musical instruments. If one word should be characterized not, I would say: masterpiece!
The presentation was followed by a huge applause. The group – headed by the Master – bowing politely thanked recognition. The “Rambo – First Blood, Part I.” After the music came on stage Andrew Vajna, who produced not only in the event as was reported, but also as an interpreter helped – although the latter role, sometimes beyond. (In addition, an error is captured when he said that our country was recorded soundtrack of the second part of the Rambo However, the fact is that the “Rambo. – First Blood, Part III.”. Melodies recorded in our country), the composer told me that 13 years He looked at the age of “Spellbound” movie and I immediately fell in love. Primarily Ingrid Bergman and secondly, Miklos Rozsa’s music. Then he decided to dedicate his life to film music. In light of this it was not surprising that in conversation with Miklós Rózsa work of “Ben Hur” followed, which was a kind of tribute to the composer that his native played in the most famous acquisitions in the “commemoration” is known for racy topics started: “belekapkodó “horns, rattles and firm strokes violin summoned the Hungarian-born composer of the spirit. Then, of course, the more emotional parts notation may have been due to its closure was beautiful music. The film then celebrated his 40th birthday, but items – and production – even in our times also do the job just fine. After the applause of the 1998 Disney cartoon, the “Mulan” suite-je occurred, which was then Golden Globe, Grammy and Oscar awards also candidates, but unfortunately did not receive a prize. The composer koncertprogramjaiba usually added to the familiar, ever-forward items include a new music or curiosity. In this case, he said the “Ben Hur” and “Mulan.” These sweet melodies dissolved done under typical music from cartoons: light and sweet. Small unorganized staff – and disrespectful staff – suggesting that before the last number of konferálással lady in charge did not appear on stage. Luckily, Jerry Goldsmith bridged the thing: felkonferálta the show finale, “The Generals – MacArthur & Patton,” then added that this should not be paid. Motion of the baton, what signs the sounds of two war heroes theme through “military discipline” left the musical instruments. While the “MacArthur” a tougher, stronger music, until the beginning of the “Patton” seemed a bit easy-going. Perhaps the highlight flute made it so. Extremely beautiful and dynamic line, which was a worthy conclusion of the concert. The Master left the stage amid applause flood, but these do not disappear Congratulations came back wanting to influence and thanked the recognition. After Meghatódottsága praised the band and told me a couple of sentences, he finally stepped onto the stage Vajna to pay. Again, the lack of organization, which is now more upset. I think when you have such a big artist we host, you can indeed give him the proper respect. As Goldsmith and the band was not an encore, so again, “Ben Hur” is played out. As the concert ended, some of the audience began stormed the composer, who was handing out the autographs forgolódva bodyguards made chain. There were those who cd and cassette cover, there were people who shared the information booklet, or just a plain paper stretched into the chain. The composer is looking in the joy of what we can cheat the audience rajongásunkkal heart. This made him one of the countless interviews asked why music is played live? “Tapsért, I love the applause.” – She replied. It has suffered a deficit here, and he deserved it all around. in terms of Goldsmith’s work it would be impossible to put together a concert program, which is able to meet the needs of all fans. The reason of course is that the Master has a vast oeuvre. I missed an “Alien” overture, but simultaneously a generally I was not dissatisfied, because a man who is not really familiar with his work – and do I then still owed one of them – such a concert program of perfection, as was said fully present Online Master of music, style spice. And those who do not like, they do not have too much reason to get acquainted with his works, unless you do not like jazz. Because although it is not the only music sounded in this regard either, Goldsmith wrote a few times. All in all it was a perfect concert, which I will remember all my life. And even though I was so far along with three concert of the Master, unfortunately, I could see in her first and last time. The white suit with snow-white and tinted glasses copfjával himself bevéste my memory forever. Thank you so much for him this experience, I remain eternally grateful for it!

HUG (Original link : http://www.filmzene.net/read.php?u=konc_jerry_goldsmith_budapesten.html )
1999 nyarán Jerry Goldsmith megtisztelte kicsiny hazánkat azzal, hogy koncertet adott a budapesti Vörösmarty téren összegyűlt közönség számára. Tette mindezt a Budapesti Búcsú keretében, egy szabadtéri koncerten az InterComnak és Andrew Vajnának köszönhetően. Így már rögtön érthetővé válik, hogy miként kerülhetett sor egy ingyenes rendezvény létrejöttére.

De kezdjük a történetet az elején – csupán a teljesség kedvéért. Szóval eme nap délelőttjén édesapám bejött a szobámba mondván, egy filmzeneszerzővel készült riport megy a rádióban, hallgassam meg. Néztem rá kétkedve, de azért bekapcsoltam a rádiót. Való igaz, az egyik adó élő adásban közölt interjút Jerry Goldsmith-el. A végén elhangzott, hogy aznap este, a Vörösmarty téren koncertezik. Több se kellett nekem, felkerekedtem, hogy az említett helyszínt felkeresve tájékozódjak az eseményekről. Akkor tudtam meg, hogy ez az egész a Budapesti Búcsú keretében lesz, s hogy pontosan mikor is kezdődik. Minthogy kora délután volt, még hazamentem, hogy magamhoz vegyem a fényképezőgépem, illetve a “Small Soldiers” cd-m borítóját. Életem első filmzenei koncertje előtt álltam: tele voltam boldogsággal. Hozzáteszem, akkoriban még nem igazán ismertem a Mester munkásságát, csupán pár zenéjét (“Small Soldiers”, “Rambo”-trilógia, “Alien”) hallottam, ebből adódóan még nem kultiváltam annyira személyét, mint napjainkban. Tele voltam kérdésekkel: vajon mit ad elő, hogy nézhet ki, sikerül-e autogramot kérnem, stb. Ezen rejtélyek, és öcsém kíséretében – aki a műfajért nem lelkesedik ugyan, de ezt ő sem akarta kihagyni – nekivágtunk a városnak, hogy időben a helyszínre érjünk.
Mire kiérkeztünk, a színpadon már fenn voltak a koncerthez szükséges kellékek és lassacskán gyülekezett a közönség is, akik között a zenekar néhány tagját is látni lehetett. A színpad mellett osztogattak egy általános ismertetőt, melyben megemlítették pár sor erejéig Goldsmith-t is, megjelölve ismertebb zenéit. Sajnos ez a “röpanyag” eléggé elnagyolt volt. Miközben nézelődtünk, megkerestük az ideálisnak tűnő helyet. Ekkorra már a közönség is elfoglalta a helyét, a zenekar pedig nekikezdett a hangolásnak.

Végre elkezdődött az esemény. Jerry Goldsmith igencsak meglepődött, miután a színpadra lépett: talán nem számított ennyi nézőre? Természetesen tapsözön fogadta. A Mester illedelmesen meghajolt, köszöntötte a közönséget, a zenekart, majd belekezdett a “Star Trek” főtémájába. Ez egyike a legismertebb, legmaradandóbb főtémáinak, melyet valaha komponált, s fellépésein döntően ezzel a tétel indított. Hol az eredeti főtémát, hol pedig az éppen aktuális rész témáját adta elő, de sosem hiányzott a programjából. Ekkor hallottam először önmagában a “Star Trek” főtémát. Mindezidáig ódzkodtam tőle, azonban miután itt lement, abszolút rabul ejtett. A dinamikus nyitó-, illetve záródallamok közé egy kellemes, lassan csordogáló téma “szorult”.
A következő szám egy mozifilmes egyveleg volt, melyet legismertebb zenéi közül válogatott össze, fűzött eggyé. A montázs az 1966-os “The Sand Pebbles” című háborús / romantikus drámával kezdődött, melynek eleje igencsak érdekesre sikeredett. Ám a kicsit kavargós témából hamar átváltott a film lágyabb, romantikusabb részére. A dallamok lassan átvezetődtek Roman Polanski “Chinatown” című alkotásához írt zenéjébe. Kellemes átmenet, szinte észre sem lehetett venni. A hangulatra továbbra is merengés, kimértség volt jellemző. Ezt a harmóniát törte meg az “Air Force One” dicsőséggel teli főtémája. Keményen megszólaló dobok, hosszú vonósok és fúvósok kísérték útján Harrison Fordot, az Egyesült Államok első számú emberét. Az első hallásra altatózenének is kiváló “A Patch Of Blue”-val újfent a hatvanas évekbe repített minket Goldsmith. Szintén egy drámához komponált művet hallhattunk, ahol a zongora szolgáltatta alapdallam kiemelkedő szerepet kapott, amit később a fúvósok vesznek át. A kellemes motívumok sorozatából a “The Wind and the Lion” kezdő taktusai zökkentettek ki minket: ismét “összecsörrennek” a hangszerek. A produkcióból leginkább az “Air Force One” volt hatással rám, olyannyira, hogy másnap szépen elbattyogtam megvenni a lemezt. Azért a többi felcsendült zene sem maradt közömbös számomra…

A következő mű Sylvester Stallone klasszikus mozifilmjéből, a “Rambo” első részéből származott, azon belül is a főcímdalnak, az “It’s A Long Road”-nak a nagyzenekari változata került terítékre. A hárfa és a fúvós részlegeknek köszönhetően lassan vezetődött fel a főtéma, melyet végig méltóságteljesen játszott a zenekar. A háborút megjárt, hontalan vietnámi veterán fájdalmát, megkeseredettségét kellőképpen tükrözte Goldsmith azzal, hogy szinte végig “sírtak” a hangszerek. Ha egy szóval kellene jellemeznem, azt mondanám: remekmű!
Az előadást hatalmas taps követte. A zenekar – élén a Mesterrel – illedelmesen meghajolva köszönte meg az elismerést. A “Rambo – First Blood, Part I.” zenéjét követően feljött a színpadra Andrew Vajna is, aki nemcsak az esemény producereként volt jelen, hanem tolmácsként is közreműködött – bár ez utóbbi szerepén olykor túllépett. (Ráadásul egy hibát is ejtett, mikor arról beszélt, hogy hazánkban vették fel a Rambo második részének zenéjét. Azonban az a helyzet, hogy a “Rambo – First Blood, Part III.” dallamait rögzítették hazánkban.) A komponista elmesélte, hogy 13 éves korában megnézte a “Spellbound” című filmet és rögtön szerelembe esett. Elsősorban Ingrid Bergmanba, másodszor pedig Rózsa Miklós zenéjébe. Ekkor határozta el, hogy a filmzenének szenteli életét. Ennek tükrében nem volt meglepő, hogy a beszélgetést egy Rózsa Miklós mű, a “Ben Hur” követte, mely egyfajta tisztelgés volt a zeneszerző felé, azzal, hogy szülőhazájában játszották el leghíresebb szerzeményét A “megemlékezés” az ismert, lendületes témával indult: “belekapkodó” fúvósok, csörgők és határozott hegedűvonások idézték meg a magyar származású komponista szellemét. Ezután persze az érzelmesebb részek kottái is előkerültek, melynek köszönhetően szép lezárást kapott a zene. A film ekkor ünnepelte 40. születésnapját, ám tételei – és a produkció – még korunkban is remekül megállják helyüket.

A tapsvihar után az 1998-as Disney rajzfilm, a “Mulan” suite-je következett, melyet akkor Golden Globe-, Grammy-, és Oscar-díjakra is jelöltek, ám sajnos egyik díjat sem kapta meg. A zeneszerző koncertprogramjaiba általában az ismertebb, állandóan előadott tételek közé bekerül egy-egy újabb zene, vagy kuriózum. Jelen esetben ezeket a “Ben Hur”, illetve a “Mulan” jelentette. Eme kedves dallamokkal megtoldott muzsika tipikusan rajzfilmek alá való: könnyed és aranyos.
Kis szervezetlenségre – illetve tiszteletlenségre – utal, hogy az utolsó szám előtt a konferálással megbízott hölgy nem jelent meg a színpadon. Szerencsére Jerry Goldsmith áthidalta a dolgot: felkonferálta a műsor zárótételét, a “The Generals – MacArthur & Patton”-t, majd hozzátette: ezt nem kellett fordítani. Mozgásba lendült a karmesteri pálca, minek jeleire a két háborús hős témájának hangjai végig “katonás fegyelemmel” hagyták el a hangszereket. Míg a “MacArthur” egy keményebb, határozottabb muzsika, addig a “Patton” eleje egy kissé könnyedebbnek tűnt. Talán a fuvola kiemelése tette azzá. Rendkívül szép és dinamikus tétel, ami méltó lezárása volt a koncertnek.

A Mester tapsözön közepette hagyta el a színpadot, azonban eme gratuláció szűnni nem akarásának hatására visszajött, és megköszönte az elismerést. Meghatódottsága után dicsérte a zenekart, és jó pár mondatot elmondott, mire végre fellépett a színpadra Vajna, hogy fordítson. Ismét a szervezetlenség hiánya, ami most jobban idegesített. Úgy vélem, ha már egy ekkora művészt látunk vendégül, akkor igenis adjuk meg neki a kellő tiszteletet. Mivel Goldsmith és a zenekar nem készült ráadással, ezért újból a “Ben Hur”-t játszották el.

Ahogy véget ért a hangverseny, a közönség egy része elkezdte megrohamozni a zeneszerzőt, aki a testőrök alkotta láncon belül forgolódva osztogatta az autogramokat. Voltak, akik cd, illetve kazetta borítóját, voltak akik az ott osztott tájékoztató füzetecskét, vagy csupán egy sima papírt nyújtogattak a lánc belsejébe. A zeneszerzőn látszódott az öröm, amit mi, a közönsége rajongásunkkal csaltunk szívébe. A vele készült számtalan interjú egyikében megkérdezték, miért játssza zenéit élőben? “Tapsért, szeretem a tapsot.” – válaszolta. Ebből itt sem szenvedett hiányt, és minden mennyiségben meg is érdemelte.
Goldsmith munkásságát tekintve lehetetlen volna egy olyan koncertprogramot összeállítani, mely minden rajongó igényét képes kielégíteni. Ennek oka természetesen abban rejlik, hogy a Mester hatalmas életművel rendelkezik. Én hiányoltam egy “Alien” nyitányt, ám ezzel párhuzamosan egyáltalában nem voltam elégedetlen, hiszen egy olyan embernek, aki még nem igazán ismeri munkásságát – és ugye én ekkor még ezek közé tartoztam – egy ilyen koncertprogram maga a tökély, hiszen az elhangzottakban teljes mértékig jelen vannak a Mester zenéinek, stílusának sava-borsa. S akinek ezek nem tetszenek, annak nincs is túl sok értelme tovább ismerkedni műveivel, hacsak nem szereti a jazzt. Mert bár itt nem hangzott el egyetlen ilyen irányú zene sem, Goldsmith írt párat.

Mindent összevetve egy tökéletes koncert volt, amire egész életemben emlékezni fogok. És bár ezzel együtt eddig három koncertjén voltam a Mesternek, sajnos itt láthattam őt először és utoljára. A fehér öltönyével, hófehér copfjával és foncsorozott szemüvegével örökre bevéste magát emlékeimbe.
Köszönöm szépen neki ezt az élményt, örökké hálás maradok érte!

Track List :

1, Star Trek: The Motion Picture
2, Motion Picture Medley – The Sand Pebbles, Chinatown, Air Force One, A Patch Of Blue,
Poltergeist, Papillon, Basic Instinct, The Wind and the Lion
3, Rambo: First Blood, Part I. – It’s A Long Road
4, Rózsa Miklós: Ben Hur – Suite
5, Mulan – Mulan Suite
6, The Generals – MacArthur & Patton
7, encore: Rózsa Miklós: Ben Hur – Suite

Video link : https://ok.ru/video/244923763326

Star Trek: The Motion Picture

Star Trek: The Motion Picture (1979) Star Trek


In 2273, a Starfleet monitoring station, Epsilon Nine, detects an alien force, hidden in a massive cloud of energy, moving through space towards Earth. The cloud destroys three of the Klingon Empire‘s new K’t’inga-class warships and the monitoring station en route. On Earth, the starship Enterprise is undergoing a major refit; her former commanding officer, James T. Kirk, has been promoted to Admiral and works in San Francisco as Chief of Starfleet Operations. Starfleet dispatches Enterprise to investigate the cloud entity as the ship is the only one in intercept range, requiring her new systems to be tested in transit.

Kirk takes command of the ship citing his experience, angering Captain Willard Decker, who had been overseeing the refit as its new commanding officer. Testing of Enterprises new systems goes poorly; two officers, including the science officer, are killed by a malfunctioning transporter, and improperly calibrated engines almost destroy the ship. Kirk’s unfamiliarity with the new systems of the Enterprise increases the tension between him and first officer Decker. Commander Spock arrives as a replacement science officer, explaining that while on his home world undergoing a ritual to purge all emotion, he felt a consciousness that he believes emanates from the cloud.

Enterprise intercepts the energy cloud and is attacked by an alien vessel within. A probe appears on the bridge, attacks Spock and abducts the navigator, Ilia. She is replaced by a robotic replica, another probe sent by “V’Ger” to study the crew. Decker is distraught over the loss of Ilia, with whom he had a romantic history. He becomes troubled as he attempts to extract information from the doppelgänger, which has Ilia’s memories and feelings buried within. Spock takes a spacewalk to the alien vessel’s interior and attempts a telepathic mind meld with it. In doing so, he learns that the vessel is V’Ger itself, a living machine.

At the center of the massive ship, V’Ger is revealed to be Voyager 6, a 20th-century Earth space probe believed lost. The damaged probe was found by an alien race of living machines that interpreted its programming as instructions to learn all that can be learned, and return that information to its creator. The machines upgraded the probe to fulfill its mission, and on its journey the probe gathered so much knowledge that it achieved consciousness. Spock realizes that V’Ger lacks the ability to give itself a focus other than its original mission; having learned what it could on its journey home, it finds its existence empty and without purpose. Before transmitting all its information, V’Ger insists that the Creator come in person to finish the sequence. Realizing that the machine wants to merge with its creator, Decker offers himself to V’Ger; he merges with the Ilia probe and V’Ger, creating a new form of life that disappears into another dimension. With Earth saved, Kirk directs Enterprise out to space for future missions.

Music by Jerry Goldsmith


Il pianeta Terra è minacciato da una misteriosa entità aliena sconosciuta, che vi si sta avvicinando a grande velocità sotto forma di nebulosa, lasciando dietro di sé una scia d’implacabile distruzione. Ne fanno le spese dei malvagi incrociatori Klingon ed un avamposto terrestre, dissolti da sfere di energia (nella pratica scansionati e ridotti a mole di dati).

Il capitano James T. Kirk, al quale viene riaffidata una missione stellare dopo alcuni anni trascorsi negli uffici dell’Accademia della Flotta Stellare, riprende il comando della nave USS Enterprise (NCC-1701), ampiamente rimodernata, demansionando il capitano titolare, Willard Decker.

Con l’equipaggio della serie classica riunito, cui si aggiunge una splendida aliena deltana calva, il tenente Ilia, l’astronave parte tra numerose difficoltà tecniche, ovviate dall’arrivo provvidenziale del sig. Spock, il quale avrebbe percepito sin dal suo pianeta Vulcano un’entità di notevole intelligenza celata nell’oggetto.

Grazie alle capacità e ai poteri di Spock l’astronave viene risparmiata dalla distruzione; viene così concesso agli umani di entrare nella nebulosa, pagando però lo scotto di vedere il tenente Ilia dissolta e poi rimaterializzata sotto forma di sonda, riprodotta sin nei più minuscoli dettagli ma ora essere artificiale utilizzato come portavoce dalla potente entità aliena, che afferma di chiamarsi “V’ger” e di essere alla ricerca del proprio Creatore.

Si scopre alla fine che l’ineffabile alieno altri non è che l’antica sonda Voyager 6, partita centinaia di anni prima proprio dalla Terra: il Creatore con cui V’ger intende caparbiamente riunirsi, in altre parole, è l’umanità stessa. La minaccia viene scongiurata grazie all’ambizioso sacrificio di Decker, che accetta consapevolmente di “fondersi” con l’androide Ilia e l’entità aliena, così da consentire alla sonda Voyager di concludere la propria missione esplorativa in questo universo.

Musiche Jerry Goldsmith

Video link : https://www.youtube.com/watch?v=urRWCoIMh-k

Video link : https://www.youtube.com/watch?v=2RnEE0fW5Ik

Video link : https://www.youtube.com/watch?v=Z2o_gl59hLs

Video link : https://www.youtube.com/watch?v=w1Cvyrvxlbk

Star Trek The Motion Picture Documentary link : https://www.youtube.com/watch?v=NSC9fncoIpI

Complete Soundtrack video link : https://www.youtube.com/watch?v=rzHw3W_7Ft8

Capricorn One

Capricorn One (1978) Capricorn One

Risultati immagini per Capricorn One


Capricorn One—the first manned mission to Mars—is on the launch pad. The bewildered crew of Brubaker (James Brolin), Willis (Sam Waterston), and Walker (O. J. Simpson) are removed from Capricorn One and flown to an abandoned desert base. The launch proceeds on schedule, and the public is unaware that the spacecraft is empty. At the base, the astronauts are informed by NASA official Kelloway (Hal Holbrook) that a faulty life-support system would have killed the astronauts during the flight, and they must help counterfeit the television footage during the flight to and from Mars. Initially they refuse, but Kelloway threatens their families if they do not cooperate.

The astronauts remain in captivity during the flight and are filmed landing on Mars within a studio located at the base. The conspiracy is known to only a few officials, until alert technician Elliot Whitter (Robert Walden) notices that ground control receives the crew’s television transmissions before the spacecraft telemetry arrives. Whitter mysteriously disappears before he can finish sharing his concerns with journalist friend Robert Caulfield (Elliott Gould). Caulfield discovers that all evidence of his friend’s life has been erased and begins investigating the mission, surviving several attacks.

Upon returning to Earth, the empty spacecraft burns up due to a faulty heat shield during re-entry. The captive astronauts board a plane to be placed in the spacecraft, but the plane unexpectedly turns around and returns to the airfield. They realize that something has gone wrong with the re-entry process and that officials can never release them because doing so would automatically expose the hoax. They break out of their confinement and escape in a plane, which runs out of fuel soon after take-off. Forced to crash-land and stranded in the desert, they attempt to return to civilization while being pursued by two helicopters. They start walking in three directions. Brubaker is the only one to avoid capture.

Caulfield’s investigation leads him to the desert, where he finds the military base and the hangar abandoned. Looking around, he finds a necklace given to Brubaker by his wife and concludes that the astronauts were in the hangar. With the help of crop-dusting pilot Albain (Telly Savalas), he searches the desert and rescues Brubaker from the men in the helicopters. The helicopters chase their plane but are destroyed after being blinded with crop spray. Ultimately, Caulfield and Brubaker arrive at the astronauts’ memorial service, exposing the conspiracy.

Music by Jerry Goldsmith


Houston, Texas. A Capo Kennedy sta per prendere il via, dopo 15 anni di preparazione e un grande dispendio di mezzi tecnici ed economici, la missione spaziale che prevede lo sbarco sul pianeta Marte. I tre astronauti scelti per l’impresa sono il comandante Charles Brubaker e i due ufficiali Peter Willis e John Walker.

Il disinteresse della politica per l’impresa, concretizzato dalla presenza al lancio del Vice Presidente in luogo del Presidente, è motivo di frustrazione per il dottor James Kelloway, colui che ha coltivato per anni questo sogno. Egli è a conoscenza, insieme ad alcuni colleghi dell’ente spaziale, di un difetto ad un componente essenziale della missione, dovuto alle “economie” dell’azienda che lo produce, che potrebbe addirittura provocare la morte degli astronauti, ma per non rinunciare al suo “sogno”, architetta una messinscena volta a proseguire nel programma e togliere argomenti a chi ritiene che le ingenti risorse per le missioni spaziali debbano essere impiegate per altri scopi.

Pochi minuti prima del lancio i tre astronauti vengono fatti uscire dalla capsula e, mentre il razzo parte senza equipaggio, i tre vengono trasportati in aereo in un luogo segreto, dove vengono messi al corrente del piano organizzato da Kelloway (un finto sbarco su Marte) e delle sue motivazioni. Essi inizialmente rifiutano di prendere parte alla macchinazione, ma vengono costretti all’obbedienza dalla minaccia di ritorsioni sulle loro famiglie.

La missione “prosegue” tramite una finta sala controllo, che trasmette i dati registrati durante le prove; ma i segnali radio provenienti da sole 300 miglia di distanza dalla base, suscitano le perplessità di Elliot Whitter, un tecnico della sala controllo. Egli fa presente i suoi dubbi, ricevendo solo fredde risposte; lo riferisce allora all’amico giornalista Robert Caulfield, ma subito dopo sparisce misteriosamente. Caulfield cerca di ricontattarlo, ma alla NASA negano di avere in servizio qualcuno con quel nome e il suo appartamento risulta abitato da una donna che sostiene di viverci da più di un anno.

Caulfield si mette a indagare, nonostante lo scetticismo del suo capo redattore Walter Loughlin, e inizia a subire strani attentati: i freni della sua auto vengono manomessi. Si reca comunque a casa del comandante Brubaker: una strana reazione della moglie di Brubaker, Kay, a una trasmissione dallo spazio del marito, lo spinge a visitare una città fantasma, dove un anno prima la famiglia Brubaker si era recata per assistere alla preparazione della scena di un film western. Qui viene bersagliato da un colpo di fucile.

Nel frattempo gli astronauti, dopo aver messo in scena il finto sbarco sul pianeta rosso, sono ufficialmente dati sulla via del ritorno, ma fanno in tempo a rendersi conto che perché il piano funzioni alla perfezione, è stata programmata la loro “scomparsa” qualora ci sia un incidente, che si verifica effettivamente al rientro nell’atmosfera terrestre. Come conseguenza, la NASA è “obbligata” ad eliminare i tre astronauti.

La situazione disperata li spinge a tentare la fuga: rubano un piccolo jet che, tuttavia, a causa della scarsa quantità di carburante, li costringe a un atterraggio di fortuna nel deserto. Per aumentare le loro probabilità di successo, decidono di proseguire a piedi in direzioni diverse, per trovare un centro abitato dove possano essere visti, smontando così la cospirazione e salvandosi la vita.

Caulfield nel frattempo è arrestato con una falsa accusa di possesso di cocaina. Rilasciato sotto cauzione, versata dal capo redattore Loughlin, è da questi licenziato. Si rivolge così ad una collega ed amica, Judy Drinkwater, che gli presta dei soldi, la sua macchina e lo informa dell’esistenza di una base militare abbandonata, nella quale Caulfield trova il set cinematografico utilizzato per fingere lo sbarco su Marte. Nella terra rossa del pavimento trova una medaglietta di Brubaker, a conferma definitiva dei suoi sospetti. Intanto Willis e Walker vengono catturati dagli uomini di Kelloway.

Conscio di trovarsi finalmente sulla pista giusta, Caulfield noleggia un aereo adibito alla disinfestazione dei campi e comincia a sorvolare la zona alla ricerca dell’astronauta superstite, salvandolo proprio mentre stava per essere catturato. Nella sequenza finale Kelloway, insieme alle mogli degli astronauti, sta assistendo a una cerimonia commemorativa presieduta dal Presidente: inaspettatamente giungono Brubaker e Caulfield, portando alla luce la cospirazione e ponendovi termine.

Musiche Jerry Goldsmith

Video link : https://www.youtube.com/watch?v=T1BTHDOs4cY

Risultati immagini per Capricorn One

Risultati immagini per Capricorn One

Risultati immagini per Capricorn One

Risultati immagini per Capricorn One

Capricorn One Eternal Flame

Risultati immagini per Capricorn One

Complete Soundtrack by Jerry Goldsmith link : https://ok.ru/video/229074668158

01. Main Title (1:12) 02. Abort 1 (1:30) 03. Abort 2 (0:32) 04. Capricorn Control (0:25) 05. Mars (1:18) 06. Docking (2:47) 07. Working Overtime (0:43) 08. We Have Landed (0:58) 09. The Message (3:51) 10. Kay’s Theme [Trio Source]/ Elliot is Missing (3:38) 11. The Letter (2:54) 12. Break Out (5:04) 13. The Desert (0:28) 14. Bedtime Story (2:32) 15. The Helicopters (1:04) 16. Hide and Seek (1:22) 17. No Water (2:45) 18. Flare No. 1 (0:26) 19. The Long Climb/Flare No. 2 (3:51) 20. The Snake (3:32) 21. To Bru from Kay (1:46) 22. The Station (5:28) 23. The Celebration (1:40) 24. End Title (2:40) Bonus Tracks 25. Fanfare Source (0:11) 26. Breakout (LP Imitation) (3:04)

Complete Movie in ENG 480p link : https://ok.ru/video/34112211626

Film Completo in ITA 720p link : https://ok.ru/video/232708115024


Legend (1985) Legend



Legend is a 1985 American dark fantasy adventure film directed by Ridley Scott and starring Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten, Billy Barty, Cork Hubbert, and Annabelle Lanyon. It is a dark fairy tale and has been described as a return to more original, sometimes disturbing, fables, from the oral tradition of ancient times before reading and writing were widespread.

Although not a commercial success when first released, it won the British Society of Cinematographers Award for Best Cinematography in 1985 for cinematographer Alex Thomson, as well as being nominated for multiple awards: Academy Award for Best Makeup; Academy of Science Fiction, Fantasy & Horror Films Saturn Award for Best Makeup; BAFTA Awards for Best Costume Design, Best Makeup Artist, Best Special Visual Effects; DVD Exclusive Awards; and Young Artist Awards. Since its premiere and the subsequent release of the Director’s Cut edition, the film has become a cult classic. With many critics agreeing the Director’s Cut is far superior to the U.S. Theatrical Version.

Music by Jerry Goldsmith
(European Version and Director’s Cut)
Tangerine Dream
(US Version)


Tenebra è costretto a vivere confinato nel suo regno sotterraneo di oscurità perché teme e detesta la luce e i sentimenti puri ed incontaminati che ad essa si collegano. Ansioso di impadronirsi di tutta la Terra, è deciso a far scomparire per sempre luce e purezza dalla superficie del mondo. Per ottenere ciò deve eliminare gli ultimi unicorniesistenti, che con la loro essenza luminosa e divina mantengono puro il mondo, e assegna questo incarico ad una banda di perfide creature, capitanate da uno dei goblin più malefici: l’orrido Blix.

Nel frattempo, nel bosco incantato, i giovani Jack e Lili si amano e amano profondamente il luogo sereno e luminoso in cui vivono. Jack, un “ragazzo della foresta”, come pegno d’amore mostra alla sua amata il nascondiglio segreto degli ultimi unicorni, nonostante sia proibito poiché sono creature sacre. Lili disubbidendo a Jack si avvicina ad uno di loro e Blix, che nel frattempo li aveva seguiti, ne approfitta per lanciargli un dardo avvelenato. Questo gesto sprofonda la terra in una sorta di oscuro inverno perenne; travolto dal turbine, Jack viene trascinato via e lascia Lili in balia di Blix, che rapisce pure lei ed il restante unicorno, per portarli al cospetto del suo signore. Il malefico Re si invaghisce della fanciulla, e vuole sposarla, ma prima di questo deve riuscire a corrompere il suo animo puro ed a spezzare la promessa d’amore che lei ha fatto a Jack.

Nel frattempo Jack conosce un gruppo di creature magiche, tra cui l’eterno fanciullo Gump Mieldispino (un elfo), Oona (una fata) e alcuni nani. Armatosi di un’antica e leggendaria armatura dorata, il ragazzo parte con la sua banda raccogliticcia per sconfiggere Tenebra prima che uccida l’ultimo unicorno e perciò getti il mondo nel buio.

Lili promette a Tenebra di rimanere con lui a condizione che sia lei a uccidere l’Unicorno, ma questo è solo un inganno poiché Lili conosce le intenzioni di Tenebra.

Capendo che il punto debole di Tenebra è la luce, Jack e i suoi compagni raccolgono tutti gli oggetti rilucenti che riescono a trovare per puntare la luce su Tenebra.

L’estremo sacrificio deve essere fatto ma Lili non uccide l’Unicorno, anzi lo libera causando le ire di Tenebra che tramortisce Lili; Jack assiste alla scena e affronta Tenebra uccidendolo infilzandolo con il corno amputato dell’unicorno morto e con la luce che si riflette nel covo segreto.

A questo punto, la primavera torna a rischiarare il mondo e i due amanti, Jack e Lili, possono ricongiungersi, per vivere felici e contenti. Ed anche l’unicorno ucciso all’inizio del film ritorna in vita.

Musiche Jerry Goldsmith (versione Europea), Tangerine Dream(versione USA)

Risultati immagini

Legend Unicorns:

Annabelle Lanyon as fairy Oona in Legend (1985) by Ridley Scott and costume design by Charles Knode:

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Three versions, two soundtracks

Tre versioni, due colonne sonore

Legend (1985) The Dance – Jerry Goldsmith

video link : https://www.youtube.com/watch?v=OAIf0Sy-3rs

Complete Score by Jerry Goldsmith link : https://www.youtube.com/watch?v=Ev2zFPw9NUY&list=PLe7CuPx_qfl9YjRUIDFRS9bWdDzIrK5zP

1 Main Title / The Goblins
2 My True Love’s Eyes / The Cottage
3 The Unicorns
4 Living River / Bumps & Hollow / The Freeze
5 The Faeries / The Riddle
6 Sing The Wee
7 Forgive Me
8 Faerie Dance
9 The Armour
10 Oona / The Jewels
11 The Dress Waltz
12 Darkness Fails
13 The Ring
14 Re-United

Legend (1985) The Dance – Tangerine Dream

video link : https://www.youtube.com/watch?v=bWuToQn9VH4

Complete Score by Tangerine Dream link : https://www.youtube.com/watch?v=LfOWehvvuo0

0:00:00 – Once Long Ago
0:01:22 – Main Titles
0:04:15 – Nell’s Cottage
0:07:33 – Unicorn Theme
0:10:54 – Apocalypse
0:12:41 – Goblins
0:15:40 – Fairies
0:18:34 – Forgiveness
0:21:40 – The Fairy Weapons
0:23:57 – Legend
0:31:02 – Blue Room
0:34:25 – The Dance
0:36:46 – Darkness
0:39:49 – Kitchen Fight
0:43:08 – Jack the Champion [Unicorn Theme Reprise]
0:44:41 – Jack Versus Darkness
0:48:26 – Loved By The Sun [Vocal version -Jon Anderson]
0:54:19 – Horn Returned
1:01:21 – Is Your Love Strong Enough [Bryan Ferry]
1:06:29 – Unicorn Saga (Bonus)
1:10:25 – United Goblin Parade (Bonus)
1:19:06 – Autumn (Bonus)
1:20:34 – Unicorn Song [Suzanne Pawlitzki] (Bonus)
1:23:44 – My True Love’s Eyes-The Cottage [Suzanne Pawlitzki] (Bonus)

HERE Complete movie 720p link : https://ok.ru/video/90422905470