1 internautes sur 1 ont trouvé ce commentaire utile
- Publié sur Amazon.com
Although I had some problems with it, notably in its depiction of the L.A.P.D. and the F.B.I. as either being incompetent or more psychopathic than the "bad guys" they're supposedly fighting, the 1988 action film DIE HARD, about a New York cop (Bruce Willis) battling a group of terrorists in a West L.A. high rise on Christmas Eve, had many more good points than bad. Instead of being just another hyper-violent action film with testosterone, blood, gore, and guts to spill all over the place, there was genuine suspense and terror to go along with the sound and fury. In that sense, it resembled a number of classic 1970s thrillers (THE TOWERING INFERNO; BLACK SUNDAY; TWO-MINUTE WARNING) more than it did a typical Schwarzenneger or Stallone blood-and-guts extravaganza. And besides Willis, it also had very solid performances from Bonnie Bedelia as Willis' estranged wife, one of the office workers being held hostage; Reginald Veljohnson as a sympathetic L.A. cop; and Alan Rickman as the terrorist leader, one of the best villain roles in cinema history. The whole enterprise was skillfully directed by John McTiernan.
Another important element to the success of DIE HARD, though perhaps not everyone noticed it at first, was the large-scale orchestral score by Michael Kamen, whose previous credits before this included 1987's LETHAL WEAPON, and the 1983 David Cronenberg-directed adaptation of Stephen King's THE DEAD ZONE. It was rather out of the ordinary then (but it's less so now) for such a score to be provided for an action film unless one counted what John Williams or Jerry Goldsmith had done, but Kamen provided McTiernan and the movie with a really great one. Save for some temporary music cues, borrowed from John Scott's score for 1987's MAN ON FIRE and James Horner's for 1986's ALIENS, plus a number of pop music cues, including Run DMC's "Christmas In Hollis" and Vaughan Monroe's classic "Let It Snow! Let It Snow! Let It Snow!", most of the rest of the score is all Kamen's, sometimes quite brooding, and at other times boosted with some explosive, and sometimes terrifying brass fanfares.
The main exception is the adaptation (though not noted in the film's closing credits) of the "Ode To Joy" of Beethoven's Ninth Symphony. When McTiernan suggested interpolating that work into the score, Kamen was reportedly rather indignant, saying: "I will make mincemeat out of Wagner or Strauss for you, but why Beethoven?" McTiernan replied that director Stanley Kubrick had used it in his very controversial 1971 classic A CLOCKWORK ORANGE (and rather cagily, I might add), and since Kamen, like McTiernan, was a Kubrick fan, he decided to go along with the director's suggestion as an act of homage.
This monstrous 2-CD recording, which contains the aforementioned cues from other films and Christmas-themed pop hits, plus bonus cues, was assembled from the original masters by music score archivist and film buff Nick Redman, who did the same on the re-releases of various scores for Sam Peckinpah's films, including those (THE WILD BUNCH, STRAW DOGS, and BRING ME THE HEAD OF ALFREDO GARCIA) composed by Peckinpah's go-to composer, the highly underrated Jerry Fielding (whom Redman compares Kamen to in the liner notes, a tremendous thing to do). It amounts to a massive 108 minutes worth of music in a film that runs 132 minutes in all, and is well worth getting, given this edition is in extremely limited qualities, and given that DIE HARD, just as a movie itself, still endures as more than just a typical `R'-rated action extravaganza.