Maurice Jarre Has Died
by John Nolte
Tough choice between this and “Dr. Zhivago” (1965). Maurice Jarre won well-deserved Oscars for both (and “A Passage To India” in 1984). Other memorable, hummable, off-the-top-of-my-head favorites include “The Train” (1964), “The Professionals” (1966) and ”Witness” (1985).
When you mix sound for a film – score, effects, dialogue – not taking the audience out of the story is a very difficult part of the job and just one way to begin to appreciate the talent and craftsmanship required to do what Jarre did; to craft lush, large, and rousing scores that not only don’t distract, but enhance everything on such an emotional level you can’t imagine the film without it. You don’t hear great film scores, you feel them, and as the above clip proves, Jarre’s best work didn’t need anything to accomplish this — not even the film.
The man was a giant when giants like Miklos Rosza, Henry Mancini, Elmer Bernstein and Bernard Hermann walked the earth. No small thing.
Maurice Jarre was 84.
Email this to a friend | Print |
Share on Facebook
| Tweet this
| 
Follow Us on Twitter
Subscribe via RSS
Got a Tip?
27 Comments
Lara's Theme is one of the most hauntingly beautiful songs ever. His son Jean-Michele Jarre made the hit album "Oxygene" in the 70s, which was a major electronics achievement at the time.
I'm a girl for Dr. Zhivago — one of my all time favorites. Seen it dozens of times and just last year at the Arclite. Lara's Theme is heartbreakingly effective. That final scene on the trolley car. Amazing,
Oh, no. I just woke up here and read the title to your article. But then I thought, well, he must have been up there in years. 84 ain't bad at all. And to leave a legacy as he has done, is a lot better than 'not bad'. It's magnificent.
For me, Lawrence of Arabia is his finest and most interesting work. I never tire of experiencing that epic film and that epic score.
Despite the fact that it was done during the "synthesizers every single minute" mid 80s, I think his work in "Witness" was one of his best scores. The lovely strains during the barn raising scene and the suspense music while Harrison Ford was running for his life through the farm were amazing.
For me, it was, always has been, "Lawrence". The most complete, sweeping, epic, yet personal film I've ever seen. And the music–right up there with Aram Khachaturian's "Ballet of Spartacus" for the most romantic (yet not treacly) composition of this century.
I agree that Lara's Theme is nearly the equal, and Lean did an enormously effective job of showing how a decent man can try to help out (and try to believe in) the horrors of Communism, by way of the Caucasian tragedy.
Agree that the music can't take you out of the movie; it must serve the film, which few scores do these days. Counter-example, see: "Atonement". The stupid overbearing typey-typey-typewriter "theme" yanked me out of the movie near as bad as a steroidal bouncer.
God rest you, Maurice Jarre. Rarely will we see the like.
–Alex Pournelle
P.S. Harry, erm, John–keep up the good work. Hope to meet you at a screening (Cinematheque?) in the future.
I don't have much experience with Jarre beyond Lawrence of Arabia (and Top Secret!). I will have to rectify that situation ASAP.
A few years ago, I worked briefly as an extra. I was extra-ing on an episode of a TV show called Close to Home. We were waiting in the holding area to be called onto the set where I overheard a fellow extra talking about film scores. I engaged her in conversation and she asked me, "Have you ever heard of Maurice Jarre?" I said yes and she high-fived me!
(I was 23 at the time and she probably assumed I wasn't into this stuff.)
I used to be on the road a lot — driving back and forth from WI to NC every two weeks and must've listened to the end credits of WITNESS a million times.
It's a testament to how bad ANTONEMENT is that the score might've been what sucked the least, but boy did it suck…
And thanks, Alex. I miss the Cinematheque mucho.
Dr. Z is a favorite and it helped shape my political world view as a kid. It shows what a nightmare the Soviet revolution was. The music is really stunning. I love both Lawrence and Dr Z in different ways. They don't make movies like that anymore.
One thing I miss about L.A. is that they show movies like that in the theaters on occasion. I'm envious.
Have to throw in a link to Lara's Theme for those who need to hear it. http://www.youtube.com/watch?v=4Yd2PzoF1y8
It's one of those songs that stay with you forever.
…Agree, Atonement did suck largely, not the least reason was bein' a big ol' weepy pile of fetid overwrought melodrama. Like "There Will Be Blood", I really REALLY wanted to like it, but was cruelly disappointed.
Are you no longer out here in the Land of Large Taxes? I must've missed when you pulled the the pin on the former slice of heaven known as Los Angeles. Sorry to know I'm unlikely to run into you at C&O Trattoria or the Cinematheque.
–Alex
Hear, hear! One of the few non-weather reasons I still live in LA.
And, yes–no one makes movies like them anymore, do they? Why is that? Technically, they're capable. The 65mm cameras still exist, the stock is still available (Sort of), the technicians are still alive, and there are a few writers capable of the sweeping-yet-intimate scope required. But–we get attempted enormo-failures like AUSTRALIA, to be admired for the trying but not for the lack of accomplishment.
Why's that?
Tough choice, indeed..
The overtures to both "Dr. Z" and "Lawrence" were wonderfully evocative- you were primed and receptive before the films even started. Lean made an excellent choice there.
I remember reading in something- perhaps the liner notes to the soundtrack?- that when Jarre discovered the celestina, he knew he'd found the perfect instrument for "Lawrence". Just the right sound for the mystery of the desert.
"Lara's Theme" is simply gorgeous. That's all I have to say.
Rest in peace.
The word "breathtaking" is over used by film critics. But that's what the music in both of those film is.
I have my theories on why that is. I may do an article on it. I think it boils down to a couple things. Financing, the nature of the industry today vs then and a general lack of talent to write a script like that. Most screenwriters today are not concerned with adult stories. Or they don't see things on a grand scale. Too many writers today were weaned on TV and I think too much exposure to film and TV instead of books stunts the imagination. A lot of writers today are derivative of stuff they've watched. Whereas in the old days, writers came from books and plays. They had to visualize it all from their imagination.
Writers who can go off some place and free associate without regurgitating other movies are very rare. And unfortunately, they don't hire people by their talent. They hire them by whether they have done something that they liked before. It's a very screwed up system. Extremely dysfunctional.
Everyone from a pimply faced intern to the top brass can say no to a screenplay, but only one person in a studio can say yes. And there are so many hands a story can pass through and all these sub-literate morons get to add their notes. In the old days there were fewer people in a studio and it was more compartmentalized so less people could screw it up.
Yeah, I think I'll write about this. It's actually pretty interesting. To writers, anyway.
I'd have to go with "Lawrence" as my favorite as well. But also have to put a plug in for his work on "Jesus of Nazartheth", the mini-series, and, believe me..it's good… "Dreamscape" (at least it was excellent back in the day… have to see it and listen to it again.)
Allow me to put forth a couple of other Jarre scores to be considered and appreciated:
Ice Station Zebra (1968): A strong nautical theme that made the ride to the North Pole that much more enjoyable and mysterious.
Topaz (1969): Hitchock found in Jarre an excellent substitute for long-time collaborator Bernard Hermann with this thriller.
Cimarron Strip (1967): Rousing opening score for this rousing, under-appraciated TV western starring the equally under-appreciated Stuart Whitman.
One of my favs (like the movie, too) is Crossed Swords. You can find several hard to find CDs at Intrada, Screen Archives, and Varese Sarabande.
John Barry, Lalo Schiffrin, John Williams…
" a girl for Zhivago". John, I'm with ya 100%. Picked up the DVD (finally). Sometimes, I will just put it on for background noise. Even gets a tingle going up my leg, once in a while. The trolley scene…how tragic. Jarre's scores were perfect for Lean's sweeping vistas.
Mad Max: Beyond Thunderdome, the aforementioned Cimmeron Strip, The Train, Is Paris Burning? Time is passing…
When it comes to Dr. Zhivago, melodramas and musicals my gay friends call me "gay."
What hurt my enjoyment of Atonement was reading the book first. It was terrific and I was so disappointed that most of the Dunkirk section didn't make it in the movie. It was an okay movie, but it could have been much better.
ICE STATION ZEBRA (OVERTURE)
http://www.youtube.com/watch?v=y0Y67cYrnfA&fe...
ICE STATION ZEBRA (MAIN TITLES)
http://www.youtube.com/watch?v=VFZb2kFmZ6I
ICE STATION ZEBRA (END TITLES):
http://www.youtube.com/watch?v=Yeu69krDAdI&fe...
CIMARRON STRIP (OPENING CREDITS)
http://www.youtube.com/watch?v=b8VpOQfI20E
CIMARRON STRIP (CLOSING CREDITS)
http://www.youtube.com/watch?v=o7m_k4UvCX0
Thank to YouTube, Western Encore, and Mr. Jarre!
I don't think it's been mentioned, but the score to Ryan's Daughter was pretty good, too. Much better than the actual movie. My favorite is Lawrence of Arabia. Everything in that movie is perfection.
Wow. Somehow I missed hearing about this until today. Jarre had so many great scores. Many have already been mentioned in this thread. But, other great themes include Villa Rides!, Dead Poets Society (great score to a ponderous movie), The Bride, Night of the Generals, A Walk in the Clouds, Crossed Swords, Jacob's Ladder. What a loss!
I will miss Maurice & his music as much as that other dear departed movie music master Jerry Goldsmith.THese guys left us with an eternal soundtrack ……
You must be logged in to post a comment.