Recommendations of the Editorial team
20 Link (1986)
Goldsmith experimented in the eighties like no other large classical composer with sequencers and keyboards. Here he portrays a murderous orangutan using all kinds of animal-like effects and a really malignant good night motif.
19 The Walons (1971)
Goldsmith was actually through with television at the beginning of the 1970s. For this panorama of a family of farmer at the time of the great depression, he once again wrote a significant TV melody: thirst for adventure with a trumpet, guitar and banjo.
18 Icelands in the stream (1976)
For Franklin J. Schaffner, he composed many good scores (“Patton”, “Papillon”). In this fictional hemingway-on-one island biography, Goldsmith relies on repetitive string melodies with which he illustrates the slow change in the tides.
17 The Secret of Nimh (1982)
With Paul Williams as a singer, Goldsmith turns to entertainment. The astonishingly grown-up cartoon drama about a mouse mother looking for her child receives Goldsmith’s dreamy music.
16 First Blood (1983)
Goldsmith’s first action score is less aggressive than “Rambo” should suspect it. The title piece “It’s a Long Road” is pure folk. The song for a returnee of war that nobody wants to see in his homeland.
15 Under Fire (1982)
Not his strongest melodies, but one of his most varied work. For the political drama, Goldsmith varied the Bajo, a South American folk dance, jazzed a little and committed Pat Metheny as guitarists.
14 Planet of the Apes (1968)
The Fantasy film score was extremely radical for his time. Almost purely percussive, dissonant, plus isolated horns-“no sci-fi-gimmicks”, as Goldsmith demanded by director Schaffner. The soundtrack sounds like a visit to hell.
13 The Wind and the Lion (1975
John Milius’ adventure film about a rebellious Berber prince receives all the bombast, the leading actor Sean Connery. Goldsmith’s homage to the Golden Hollywood cinema of the forties.
12 The Boys from Brazil (1977)
Goldsmith was known for his sarcasm. Here the Jewish composer equipped the Nazi mares from cloned hiters with the stately waltz that he ever composed.
11 King Solomon’s Mines (1986)
Goldsmith relies on Wagner-Bombast without shame in front of the Indiana-Jones comparison and its composer John Williams. Silly and pretentious, but also as subtle as rarely in the love themes.
10 Logan’s Run (1977)
In contrast to “Planet of the Apes”, the composer chose modern instruments in this future spectacle. With a Moog synthesizer and Wendy Carlos in mind, he composed architectural music for a fictional prison state.
9 The Omen (1976)
The world -famous “Ave Satani” brought him the only Oscar of his career. The choral sung on Latin is probably – the most religious? – piece of cinema history.
8 Gremlins (1984)
Nei Joe Dantes Horror comedy faced the challenge: composing topics, both for one of the most cute creatures in the history of cinema (Mogwai), and for one of the most common (the Gremlin). Empty and malice in a abrupt change of mood within the pieces.
7 Star Trek – The Movie (1979)
Alexander Courage wrote the world-famous, rapid TV music (1966), Goldsmith rely more on dreamy melodies, strings and mellotron. His view of infinity.
6 The Final Conflict (1981)
For part one, “The Omen”, Satan received his own hymn. At the end of the trilogy, it is his bodily son who receives an equal piece. Trumpet fanfares announce Damian Thorne’s triumphal march.
5 Psycho II (1983)
Bernard Hermann composed the legendary string stakkato of the first part (1960). Goldsmith does not try a copy, but writes a melancholy piano and synthesizer game as the title piece, which transfigures the psychopath Norman Bates romantically.
4 Alien (1979)
Goldsmith plays the vastness of the alls with similar spherical music as his “Star Trek” published in the same year. The use of the murderous alien, in turn, is illustrated with pure dissonance, as radically as in the “Planet of the monkey”. For his toughest score, Goldsmith brings his wind instruments to sound like a breath.
3 Poltergeist (1982)
The Spielberg satire on the ideal world is created for the ironic access of the composer. His version of the “Star Spangled Banner” ends with the sound of television snow: patriotism is only worth as much as the TV program that we devote ourselves.
2 Rambo – First Blood Part II (1985)
The film offers cold war propaganda. Functional Goldsmith does everything right: a score that is unparalleled in terms of drama, pace and crescendo in the action cinema. Orchestra plus keyboards.
1 Legend (1985)
Fans argue whether Tangerine Dream’s soundtrack used in the USA is better than Goldsmith’s European version. For Ridley Scotts Fantasy film, he not only set angels, but also every mythical creature that can accommodate a fantastic environment. Every animal its instrument. Natural music.