Other than the memorable “stinger” for the actual crossing (something I remember from watching the film as a child), it’s this lovely melody that is used here in the main title that’s an advert of how Goldsmith can produce something from nothing. With so many big Hollywood stars in one film it was bound to be a bad film – save for the music!
Landmark natural history programming and a great theme that (again) I remember form childhood. This score left me feeling a bit divided: great to have the title and end themes but the underscore for the programmes themselves are a bit of an acquired taste. This track is only one of a handful I can listen to.
This track gets a funny look when I tell the family that it’s from Jaws! As heard on the MCA re-recording, this track is the one I was brought up with and is the more preferable version compared with the original version (and that’s saying something coming from me!)
Very different in feel from Barry Gray’s music for the original series. Wadsworth’s music for the second series isn’t as enjoyable but the title theme (heard here in this suite) is good. The mid-1970s keyboard synths can be a bit borderline in terms of taste though.
A short jazzy cue this one that captures Woody Allen’s style of slapstick humour.
Very definitely a Rózsa score. A bit grating though to hear the electronics in this cue. But there’s definitely the feel of the exotic you would expect of a Sinbad film. I think that this may be the only Rózsa-scored film I saw at the cinema.
I know nothing of the film but the piano melody of this track is what attracted me to this music. A simple theme, it could be an instrumental for a song.
I have always found the instrumentation for this score quite intriguing. A hypnotic structure to the music here adds to the unusual overall feel.
The title theme is the hook for this score. And it is the appearance of this theme throughout the score that is appealing rather than the majority of the rest of the score.
It seems fitting to finish as I began: with a memorable Goldsmith theme. The music just takes you along for the ride – another train journey? Not too sure on the choice of what sounds like a mouth harp: a prelude to his “dodgy synths” of the 1980s?