Reviews

I feel that Darrell Calker's music scores during his employ with Walter Lantz's studio represent some of the most musical and profound in all of animation... or any films for that matter.

Woody Dines Out, The Hollywood Matador, The Dizzy Acrobat, Goodbye Mr. Moth and Pantry Panic are just a small example of the superb original writing style Mr. Calker utilized. You might hear a great jazz violin, vibraphone, piano or guitar soloists featured in any of his original music.

His blending of instruments, color, harmonies, tempos and timing to the animation are impeccable. He knew the art of reinforcing the visual with the mystique of a finely crafted music score.

In far too many instances, the music is rarely given the credit it deserves. And yet, it's the music that often makes the difference in whether the completed effort works at all. And there's no greater area of music importance then in the imaginative world of animation.

I agree with the earlier comment, there should be a CD release of Darrell Calker's music contribution, much like the Carl Stallings CD's Warner Bros. put out.

Young William Friedkin grabbed you attention from the open credits. The mood set by the great music score from Don Ellis coupled with the opening scenes in Marseilles tells you, "we're going on a journey". Similar to the opening scenes shot in Iraq for his next film "The Exorcist". It showed this director knew how to open a story.

Remember this, it was the early 1970's. Those young directors like Sam Peckinpah, Martin Scorsese and Friedkin were telling their stories with a whole new palate of possibilities. Not created on a back lot or sound stage.

I agree with some earlier comments about blurred character development. NYC is as much of a character in the French Connection as any of the performers. And it did spawn a TV series. (Kojak certainly copied much of the NYC backdrop tones)

It's to easy to compare films as though they're on a level playing field. The mega-money, crew size, special effects can make almost anything look fairly believable...

Impacting me in 1971, Don Ellis's score, The car chase below the "EL", The Three Degrees in the nightclub singing "Everybody's Going To The Moon" NYC in all it's over-sized madness. William Friedkin told the story and used his palette wisely.

Masterful storyteller & filmmaker, Sam Peckinpah, created a masterpiece in THE WILD BUNCH. And as high artistic expression sometimes goes, he suffered for it.

Producer, Phil Feldman's choice to edit out critical scenes in the original release (the flashback scenes and Mapache's battle with Pancho Villa) along with Warner Bros. choice to downgrade the level of publicity and their release method (rather then a grand "first run" theater release, they chose a "straight to secondary theater" type of distribution). Greatly misunderstood when the film was originally released, the Director brought us to look into the souls of men. Now, it seems, Peckinpah has finally received the attention he so deserves for this work of art.

This film possesses the complete package of; excellent direction, with a solid story/script, the beautiful music score by Jerry Fielding, deep character development (as only the masters can obtain), Lucian Ballard's cinematography, editing, the cast and level of acting, make for one powerful cinema experience. It might just be the high water-mark of excellence for all who were associated with the making of this film.

And the true test, it holds up. In fact after over one hundred viewings, it seems to only get better. Thank you Sam and company.