I remember going to a concert at Maida Vale Studios in London and Jerry Goldsmith, who was about to conduct a suite from ISLANDS IN THE STREAM, said that the director of the movie (Franklin J. Schaffner) on listening to the score remarked, “Well you finally wrote a tune” meaning, I suppose, that Goldsmith had written a beautiful and haunting piece for the movie. This was a remark which I recalled when listening to FOREVER YOUNG for the first time some years after the concert, thinking about how lush and sweeping Goldsmith’s score was, and now we have the entire, or near damn it, complete score courtesy of those lovely people at La La Land Records. FOREVER YOUNG has always been, and will always remain, one of my favourite Jerry Goldsmith scores from the 1990s and that is saying something as the composer produced a lot of excellent works at this time, RUDY, SLEEPING WITH THE ENEMY, BASIC INSTINCT, MALICE and THE RUSSIA HOUSE. It was during this period of his career that I felt the composer mellowed a little and created some of his most appealing themes and scores; by this I mean he began to score movies that had more emotive storylines and he seemed to excel – if that is at all possible when scoring more intimate and romantic ventures – plus he created charismatic and tempting compositions that were haunting and alluring. The 1990s was the fourth decade that the composer had worked in Hollywood and he had come such a long way since the early days of television back in the late 1950s. His technique had developed over the years and by the early part of the 1990s he was one of, if not the most important film music composer in the world, with a following of thousands.
In FOREVER YOUNG we hear small snatches of the composer’s styles that have been employed in past triumphs such as wistful and soaring atmospheres that are akin to those he created for THE BLUE MAX in the invigorating and gloriously driving but also emotive cue ‘Reunited’ with its surging strings and lush sound. Plus the delicate, intimate and intricate tone poems that were so touching and emotive in A PATCH OF BLUE etc in cues such as ‘Will You Marry Me?’, ‘Never Leave Me’, ‘Time to Leave’ and ‘I Was Wrong’. The composer’s subtle and charming touch not only enhancing the images but becoming an important and integral part of the movie itself. The absorbing ‘Love Theme’ is one of the composers most appealing and the use of alto sax carried along by strings augmented by melancholy sounding horns, enhanced and punctuated by piano is stunning, FOREVER YOUNG is a stand out score in a career and also in a long list of musical magnificence that Goldsmith put together during his long and illustrious career. This edition of the soundtrack contains a staggering 21 previously unreleased cues and is a must have soundtrack, and an essential purchase for any Goldsmith devotee or indeed any discerning fan of movie scores. Packaged wonderfully by La La Land Records with notes by Daniel Schweiger.