Jerry Goldsmith - RENT-A-COP (1988) - Soundtrack Suite скачать в хорошем качестве

Jerry Goldsmith - RENT-A-COP (1988) - Soundtrack Suite

A "bad cop, good hooker" film fresh off the factory line, Rent-A-Cop really has nothing distinct to tell about it. A former Chicago police detective is kicked off the force after a sting goes wrong (but it wasn't his fault, of course) and he is forced to work as a department store security guard while masked as Santa Claus. That would be Burt Reynolds wearing the costume. And then you've got a prostitute with a heart of gold who is the only person who can help the cop solve the case that involves him. That would be Liza Minnelli with the shrill voice. The cop hesitates, the hooker persists, they both suffer from the same danger, and they're forced to save their lives together and bring down the stereotypical eccentric 'vice lord' and his criminal gang of thugs. There's no need to belabor the self-explanatory romantic aspect of the story. One of the only things that worked reasonably well for Rent-A-Cop is the on-screen chemistry between Reynolds and Minnelli (or Burt and Liza, as the movie poster said in huge letters), re-uniting as a couple on the big screen for a second time. Other than their strangely funny and enjoyable pairing, the film's ridiculously predictable plot left no other redeeming element to the production (unfortunately, director Jerry London's career would be littered with such entries). The only other exceptional aspect of the film would turn out to be the score by Jerry Goldsmith. Rather than hearing Minnelli sing (or screech, depending on your preferences) throughout the picture, listeners got Goldsmith music that stands some distance apart from the other works by the composer in the late 1980's. At the time, the film seemed like a completely unexplainable abnormality in Goldsmith's career, because despite the odd diversion for The 'Burbs that would follow a year later (understandable given that it is a Joe Dante film), the composer had spent the decade toiling with fuller drama, suspense, science-fiction, and horror. Meanwhile, Rent-A-Cop seemed like a project destined for the music of Lalo Schifrin, Burt Bacharach, or Bill Conti, someone who could infuse the score with the jazzy romance it needed while also throwing in some hokey pop action for the light crime thriller parts. Perhaps not surprisingly, that's precisely what Goldsmith wrote for the topic, though he did so while staying comfortably within the realm of his usual stylistic techniques of using a blend of synthesizers and orchestra. The most memorable part of Rent-A-Cop is the clear evidence that Goldsmith succeeded in writing the only true Bill Conti theme of his career. In fact, the jazzy, pop-based light rock theme that he provides is the closest thing his fans would ever hear to a Goldsmith-written James Bond theme of that era, and the idea remained a personal favorite of the composer for some time. The performances by the Hungarian State Opera Orchestra, in a regular Goldsmith recording locale at the time, are not always perfect, but they're not as obviously bad an ensemble as some of the composer's fans have argued. After that album fell hopelessly out of print, Intrada acquired the rights to Rent-A-Cop to offer an expanded, limited successor in 2009. With the original master tapes in outstanding condition, the label was able to assemble the complete score in phenomenal sound quality, restoring many of the action sequences (including the climax) to the listening experience. Overall, Rent-A-Cop is a pleasing and lightweight album, and, especially considering that the 2009 album did not promptly sell out, a safe addition to any collection of Goldsmith music of the 80's. (http://www.filmtracks.com/titles/rent...)