37 Years From Home

etWell, here’s a twist. I’ve finally succumbed and ordered La La Land’s two-disc edition of the E.T. soundtrack. Released back in 2017 to celebrate the film’s 35th anniversary (as if I needed reminding I’m getting old) in an edition of 5,000 copies, La La Land revealed last week that the last batch of 500 copies have arrived from their manufacturer. So it seemed that the time was nigh to finally pull the trigger. Considering I’ve brought most of the other John Williams expansions of the last few years (really a quite remarkable run of discs/scores) buying this one was inevitable, but I’ve always had a love/hate relationship with this little critter in particular. The music is fine I guess (I had the original soundtrack release on cassette, eventually, once it dropped into a bargain bin) but it’s the damn movie, and the fact that it was such a flip-side of Blade Runner, both in style and in popular and critical response. Well, I guess I have to admit I bore a grudge for all these years, but I really struggled to even watch the film over those years since, considering it full of  Spielberg’s worst traits and excesses. I have a Blu-ray steelbook that I bought for some strange reason years ago that I have never watched.

But it does seem weird and rather silly on my part that the  music has always been lumped in with my general apathy for the film. Maybe this edition will make me warm to its charms. I will say this- listening to John William’s great scores again over this past few years of expansions, what has perhaps impressed me most is how well they have aged, and how well they stand up to the current crop of what passes for film scores these days. Jaws 1 & 2, The Fury, CE3K, 1941, Dracula, Superman: The Movie, The Empire of the Sun, and to a lesser extent Hook, are superb works that really shine brightly now that their style of film scoring has apparently become so redundant of late.

If only Vangelis’ Blade Runner score had received such care and attention for its own 35th anniversary. Well, I guess there’s always the fortieth anniversary (if we’re still buying music on CD by then)….

Ghosts in the corners, and well done, Ridley!

roomThe building where I have worked for the past 25, going on 26, years is being demolished, to be replaced by something newer/cheaper/more impermanent, which has necessitated in being temporarily relocated to a building towards the city centre and trips up and down busy motorway at an ungodly hour. Unfortunately this has impacted on the frequency of my posting here, and I suspect will continue to do so, which is why I’m writing this post. Hopefully things will return to normal in a few months.

I feel a bit like Noodles in Sergio Leone’s masterpiece Once Upon A Time In America; I’m spending my days going to bed early. Five am is a lousy time to be getting up, and cold dark February mornings trying to beat the peak motorway traffic (and usually failing, as like the eponymous city, the motorway never sleeps, and that traffic just keeps on rolling) is a depressing way to start any day. Back end of the week, thirteen to fourteen-hour days have a way of wearing you out. Oh well, as the song goes, a change is gonna come, but I’m sure these long days were rather easier years ago. None of us are getting any younger, and neither are our movies- did someone mention that Blade Runner is 36 years old this year?

Changes. They have a way of sneaking up on you. Where do 25 years go? That last Friday evening, when I walked the empty corridors and rooms of that old building, alone in the shell of what was once a bustling, vibrant building full of people (in truth, it’s been a long slow decline towards this inevitable end, but when I started there back in 1992, it was something else entirely. It was like every corner, every room, was full of ghosts. I could almost hear them in the suddenly echoey, empty rooms; old voices and laugher, lurking like ghosts in the corners.

The majority of the building had been emptied in preparation of the demolition teams and asbestos removal experts (the building dates from the 1950s/1960s and the building practices of unwiser times), so most of it was already a dim shadow of its former self of decades ago. In the early nineties, the canteen/mess room on a Friday evening such as this would be bustling, like a working men’s social club minus the booze- smoke hanging the air, men playing cards, shooting their mouths off, watching the television bolted high in a corner… voices long gone, now. And soon the building with them.

riddersI mentioned that Blade Runner is 36 years old this year. Last night at this years BAFTA, Ridley Scott -sorry, Sir Ridley Scott- was given a BAFTA Fellowship award, marking his 40 years in the film business. Well surely it’s longer than that, when did The Duellists come out, 1977 wasn’t it?  Well, whats a year or two? Nice to see Ridley up there taking an BAFTA award for once -the first time, in fact, according to him, and he was certainly visibly moved by the occasion.  A video segment with clips from many of his films demonstrated two things – one: that they may not all have been brilliant, but it’s one hell of a body of work for any director to have behind him, and two: bloody hell I’m getting old, I’ve seen most of them at cinemas over the years, many of them at cinemas that no longer even exist. Here we go again, demolished buildings.

At least in LA 2019 they had the good sense to retrofit them rather than demolish them.

It was nice, too, to see Blade Runner 2049 pick up two awards at least. Roger Deakins award for cinematography was no great surprise (although the huge injustice if he had failed to win might have broken the internet for a few hours “suddenly a great wail was heard, as if a million film geeks had cried out and were suddenly silenced…”) but the visual effects award was a pleasant surprise. Its fully deserved, but I rather feared the more ‘showy’ spectacles of  films like The Last Jedi might have trumped it. I do feel rather aggrieved that it didn’t win for Best Sound though. I think the sound design in BR2049 is just sublime, its gorgeous, like an aural painting, a sound canvas if you will that’s equal to the rightly-lauded Deakins cinematography.

Well, two awards isn’t bad. Blade Runner won three, mind, back in 1983…(it didn’t win for sound back then, either, which is a similar grand injustice- they gave that one to the team behind the Pink Floyd movie The Wall, go figure…).

Moreover, it didn’t win for Best Visual Effects either- they gave that one to Poltergeist.

I know. Poltergeist. I mean, sure, its a good film and the effects were nice for the time… still are, I guess, but come on, Blade Runner‘s effects are in a whole different league.

Awards never get it right, every film geek knows that, just wait for Oscars to upset everyone. The Oscars REALLY know how to not get it right. They gave the Best Visual Effects that year to E.T. for goodness sake. Bloody E.T. I’ll never make my peace with that film.