TunePlay - CODE OF SILENCE (1985) David Michael Frank скачать в хорошем качестве

TunePlay - CODE OF SILENCE (1985) David Michael Frank

Not every police thriller can be THE FRENCH CONNECTION. But what separates one from the dense pack of "also-rans"? A good script, certainly. But also a personal "point of view", "distinct sense of style", and "an attitude". SHAFT (1971), released the same year as CONNECTION, also scripted by it's Ernest Tidyman, and similarly filmed "guerilla style" on the streets of New York, would stake it's own claim via the prism of it's ethnic pride subtext, brought to the film (along with a visual elegance) courtesy of it's director - Pulitzer Prize winning photojournalist Gordon Parks. And CONNECTION's director William Friedkin would lodge another notch in his belt with 1985's TO LIVE AND DIE IN L.A., embuing it with a 1980's sense of (deliberately superficial) gloss in tandem with dark nihilism. Also released in 1985 was a, not as dark, but surprisingly critically very well received little thriller starring - of all people - action / martial arts star Chuck Norris. CODE OF SILENCE (sandwiched between the fanciful MISSING IN ACTION and INVASION, U.S.A.) would emerge as Norris' best film, in part due to an intelligent script by Mike Butler & Dennis Shryack (Clint Eastwood's THE GUANTLET and PALE RIDER) and in larger part to it's gritty "Windy City" street feel, brought to it by hometown Chicago director Andrew Davis. Having begun his career as an assistant cameraman on Haskell Wexler's MEDIUM COOL, Davis love of film, music and Chicago would converge on the docu-drama like STONY ISLAND, about the trials of a multi-ethnic blues/rock band attempting to "make it in the bigs". A cool visual style brought to STONY and to 1983's THE FINAL TERROR, would lead to him directing the narratively complex CODE OF SILENCE. In CODE's "A" story, a task force lead by Sgt Eddie Cusack (Norris) seeks to quell an escalating drug war between an Italian mob and an encroaching Colombian crime family (lead by character actor favorite Henry Silva); while the "B" subplot concerns an alcoholic member of Cusack's team accused of accidentally shooting an innocent Latino youth. While seeking the truth behind the unrighteous shoot, Cusack encounters a "code of silence" from other police every bit as rigid as that of the Colombian "Omerta". Wanting to eschew "touristy" landmarks, Davis shot in and around the REAL Chicago, from it's South Side, to back alleys and suburban neighborhoods - that which had never been captured on film before. He's aided and abetted in his "love pean" to the Windy City by composer David Michael Frank, who while trained in classical piano and composition at the Peabody Conservatory, would become one of contemporary music's busiest conductors (and the youngest on Broadway), heading up the music departments on hits such as GREASE, THE ME NOBODY KNOWS and PIPPIN. Moving to L.A. he'd begin composing for TV on shows such as COLUMBO, MORK & MINDY and DIFFERENT STROKES, before making the leap to features with CODE OF SILENCE, which to this day is still arguably his most lauded film work. In keeping with Davis' smooth and funky visual style, Frank creates a smooth funk-groove driven score for an up front rhythm section including legendary session players Neil Stubenhaus (bass), George Doering (Guitar), Mike Fisher (percussion) and Ernie Watts (Sax); augmented by a small orchestra along with keys played by Mike Lang, Michael Boddicker, Randy Kerber and Randy Waldman. Frank would re-team with Davis on ABOVE THE LAW (1988), which along with UNDER SIEGE (1992 - also directed by Davis) would emerge as Steven Segal's two most critically acclaimed films. James Newton Howard would score Davis' THE PACKAGE ('89), THE FUGITIVE ('93 - one of Harrison Ford's best) and A PERFECT MURDER ('98). And while Frank would never really crack the barrier into bonafied "A" list composer, a series of superlative scores ranging from full classical orchestra to "funky-fied rhythms" (SHOWDOWN IN LITTLE TOKYO - one of our favorites, I'M GONNA GIT YOU SUCKA', THE BABY-SITTERS CLUB and more) would solidify him as a favorite among film and film music aficionados. In fact CODE OF SILENCE (enjoying a brief limited vinyl release at the time of the film's debut) has over the years emerged as one of the most sought after / unavailable scores on Amazon and other buyer/seller markets. CEJ Our TunePlay suite is taken from an analog LP source, and such there is some mild distortion between tracks. 1) Main Title - "The City Stirs" (0:00 of 13:26) 2) Eddie's Theme (3:42 of 13:26) 3) The Bust (5:22 of 13:26) 4) Cat And Mouse (10:52 of 13:26) For more "TunePlay" mini movie music suites go to http://www.gullcottageonline.com/Tune... "Bear Mann" is the YouTube channel of The GullCottage/Sandlot, a film blog and growing reference library "Celebrating The Art of Cinema, ... And Cinema As Art" Visit us at: http://www.gullcottageonline.com All rights held by copyright owner. Presented here for educational and criticism purposes only.