Jerry Goldsmith’s score for the 1968 sci-fi landmark Planet of the Apes was #18 on the AFI’s list the whole time! What technique does Goldsmith call on to sound so alien? What wacky instruments does he throw into the mix? And have we finally seen the last of Charlton Heston’s bare chest?
Another Kazan/Brando collaboration turns up as the AFI’s #19: it’s Alex North’s score for the 1951 film adaptation of Tennessee Williams’ stage classic A Streetcar Named Desire. Why is North’s groundbreaking use of jazz so effective? Why was the music for the famous “Hey Stella!” scene deemed to be too sexy? And what does it sound like to go to crazytown?
Now it’s time for the AFI’s #20: Henry Mancini’s score for the 1963 farce The Pink Panther. Why is the iconic Pink Panther tune such a great melody? When does Mancini feel the need to “hit things with the comedy hammer?” And did Blake Edwards really make this movie just so he could go on vacation?
Miklós Rózsa’s score for the 1959 super-spectacular Ben-Hur trumpets its way onto the AFI’s list at #21. How were biblical epics like comic book movies? In such an immense film with such an immense score, what are the moments that don’t get any music, and why? And should we have been writing lyrics to all the love themes we’ve covered?
Counting down to #22 on the AFI’s list takes us to Leonard Bernstein’s score for the 1954 classic On the Waterfront. Were Lennie and Elia Kazan making the same movie? Is this the prettiest love theme ever? And, how is Jon’s Marlon Brando impression?
#23 on the AFI’s list is Ennio Morricone’s score for the 1986 period drama The Mission. Why is the music accompanying Robert De Niro’s redemption so powerful? Is the “Gabriel’s Oboe” theme too noodly? And, what did Jon say to Ennio when he briefly met him that one time?
Next up is #24 – Dave Grusin’s score for On Golden Pond (1981). When does Grusin decide to just score the scenery, and when does he dare to get inside Katherine Hepburn’s performance? What changed between 1981 and 1991 about how joy sounds? And what does this score have in common with Cheers?
Jon and Andy kick off their show by talking about #25 on the AFI’s list – Alfred Newman’s score for the 1962 epic western How the West Was Won. As they figure out what they’re doing, they consider: How should music be used for action sequences? Did Aaron Copland invent the “western sound?” And, how do you pronounce “Cinerama?”
Jon and Andy introduce themselves, and the show.