Even though it relies heavily on film scorer John Barry's by-now formulaic (if no less effective) methodology of fusing his distinctively luxuriant string arrangements with the music of whatever time or locale the score sets out to evoke (in this case, largely the Hollywood of the 1910s and '20s), the composer triumphed once again, garnering his second Academy Award nomination of the 1990s. Perhaps because of the years he spent dues-paying with English pop and jazz combos, Barry gets inside this period jazz and ragtime with both enthusiasm and, more importantly, taste, recalling similar effective efforts on Francis Coppola's The Cotton Club.

Music Box Records is pleased to present on the same CD two original motion picture soundtracks composed and conducted by Georges Delerue: The Conformist (1970) directed by Bernardo Bertolucci (1900, La Luna, Last Tango in Paris) and La Petite Fille en velours bleu (Little Girl in Blue Velvet) (1978) directed by Alan Bridges (The Hireling, The Shooting Party).

Cool, classic John Barry soundtrack for superb Michael Anderson spy thriller starring George Segal, Alec Guinness, Max Von Sydow, Senta Berger. Music first appears on LP from Columbia label in 1966. Inspired by fresh script from Harold Pinter, drawn from Adam Hall best seller, Barry avoids James Bond style of spy music, nods instead towards atmospheric West Germany locale, bleak theme of rising neo-Nazi movement. For the record, composer produces perfect album offering majority of his score in vivid stereo sound. Haunting main waltz-theme "Wednesday's Child" anchors, suspenseful cues play in contrast. Album also features Matt Monro in vocal version of theme. Intrada CD features album program in stereo from Columbia master tapes, courtesy Sony. For album fans, original artwork features on one side of booklet, all new artwork features on other side. Take your pick! John Barry conducts.

A unique film deserves a unique score. The famous song from “The Longest Day” was written and composed by Paul Anka. The rest of the score was composed, arranged, and orchestrated by Maurice Jarre. It was the minimum needed for this super production, which is considered as one of the most brilliant tributes to the freedom soldiers! In addition to “The Longest Day”’s score are featured the World War II cinema classics’ soundtracks: Denys de la Patellière’s “Un Taxi Pour Tobrouk” composed by Georges Garvarentz, René Clément’s “Is Paris Burning?” composed by Maurice Jarre, René Clément’s “La Bataille du Rail” composed by Yves Baudrier, René Clément’s “Mr. Orchid composed by René Cloërec, and René Clément’s “Forbidden Games” composed by Narciso Yepes.

2001: A Space Odyssey is a soundtrack album to the film of the same name, released in 1968. The soundtrack is known for its use of many classical and orchestral pieces, and credited for giving many classical pieces resurgences in popularity, such as Johann Strauss II's 1866 Blue Danube Waltz, Richard Strauss' symphonic poem Also sprach Zarathustra (inspired by the writings of Friedrich Nietzsche), and György Ligeti's Atmosphères.

Jules and Jim (French: Jules et Jim) is a 1962 French New Wave romantic drama film, directed, produced and written by François Truffaut. Set around the time of World War I, it describes a tragic love triangle involving French Bohemian Jim (Henri Serre), his shy Austrian friend Jules (Oskar Werner), and Jules's girlfriend and later wife Catherine (Jeanne Moreau). The film won the 1962 Grand Prix of French film prizes, the Étoile de Cristal, and Jeanne Moreau won that year's prize for best actress. The film ranked 46 in Empire magazine's "The 100 Best Films Of World Cinema" in 2010. The soundtrack by Georges Delerue was named as one of the "10 best soundtracks" by Time magazine in its "All Time 100 Movies" list.

Quartet Records, Paramount Pictures and Universal Music Group present the remastered, expanded release of the iconic score by the great Francis Lai (A Man and A Woman, Life for Life, House of Cards, Dark Eyes, Bilitis) for the unforgettable 1970 romantic classic Love Story, directed by Arthur Hiller and starring Ryan O’Neal, Ali McGraw, Ray Milland and John Marley. The film was nominated for six Academy Awards, including Best Picture, Director, Screenplay and O’Neal and McGraw’s performances, but won only in the Best Original Score category (the only Oscar ever won by the prolific French composer). The choice of Francis Lai was a personal obsession of producer Robert Evans, who pursued the composer until he accepted, despite Lai initially refusing to compose the score due to other commitments. But Evans’ intuition was spot-on. Today, Lai’s Love Story score remains one of the most memorable and richly lyrical works in the canon of romantic film scores. The main theme remains one of the most famous melodies in film history, covered countess times—including an especially memorable arrangement by Henry Mancini for RCA.

Exciting Henry Mancini score finally gets released! 1981 action-filled Disney comicbook superhero tale directed by Charles Jarrott, starring Michael Crawford, Oliver Reed, Barbara Carrera inspires Henry Mancini to write one of his most exciting, energetic scores of his career. Mancini anchors with robust "Condorman" theme (including fun chorus), then tackles profuse action scenes with dynamic, propulsive action material for full orchestra. Powerful trombone lines, aggressive rhythms, fanfares for trumpets all get spotlight! Music for killer Morovich is especially aggressive. In contrast, Mancini creates one of his gentlest, most heartfelt pretty themes for Natalia, given particular prominence in beautifully-scored "Free Single Woman". Interestingly, due to licensing, not a note of this splendid score has ever been released before, not even as a single theme on one of the numerous Mancini compilations of the era. Now, through courtesy of Disney, Intrada presents entire score (plus several extras) in crisp, punchy stereo, direct from multi-track scoring session masters stored in mint condition in Disney vaults. Colorful artwork, too!

Produced by Francis Ford Coppola, Hammett is the fictional story about a time in real-life writer Dashiell Hammett's ("The Maltese Falcoln") life. Directed by Wim Wenders, the 1920's era noir mystery contained an equally noir score by veteran composer John Barry. Fresh off of Body Heat and Somewhere in Time, Barry had no problem writing the jazzy score, which contains an interesting combination of slinky jazz numbers and ethnic Chinese cues. Beginning with the "Main Titles", which is performed by a single piano and clarinet, Barry immediately draws the listener in to this dark seductive world. The theme is simple and elegant, yet has an underlying sensuality about it. That sensuality is never fully realized in full orchestral form - except for a small moment in "The Wrap Up / Finale" - but it's still a very enjoyable theme.

Although the film in question is largely forgotten, Jerry Goldsmith's music for the sci-fi opus Capricorn One looms as arguably the most influential and imitated action score of the late 20th century. An exhilarating work that evolves with masterful purpose and precision, its densely percussive arrangements remain synonymous with adventure and suspense decades after the fact. Where followers like Alan Silvestri and James Horner rely almost solely on sensory assault to convey danger and dread, Goldsmith sculpts the music of Capricorn One via complex orchestration and meticulous sound effects, building and expanding his central themes to create genuine drama. Tightrope-taut and brilliantly paced, the soundtrack is more vividly cinematic than its accompanying celluloid images themselves. It's a virtual master class in the art of film music.

On February 27, 2001, nearly a year after the first soundtrack's release, Universal/Decca released Gladiator: More Music From the Motion Picture. This CD contained an additional 18 cuts from the film (including remixes of earlier scores, such as "Now We Are Free"). Many tracks also use dialogue from the movie, such as Maximus Decimus Meridius' quote "Father to a murdered son, husband to a murdered wife… and I will have my vengeance."

Whenever he was asked to name his own personal favorite within his long and distinguished oeuvre, Jerry Goldsmith inevitably cited his work on 1977's obscure Ernest Hemingway adaptation Islands in the Stream. A lush, often melancholy score evoking both the serenity and the treachery of the sea, it is undoubtedly Goldsmith's most intimate effort, eschewing the larger-than-life drama and suspense of his best-known soundtracks. Islands in the Stream is above all a showcase for the composer's consummate ability to vividly communicate both the physical and emotional landscape in such simple yet precise strokes – employing little but a lone French horn, Goldsmith's main theme captures the immense loneliness and solitude of George C. Scott's protagonist, while gentle woodwinds suggest the ocean waves lapping the shore of his island home.

Nino Rota was an Italian composer, pianist, and conductor who is best known for his film scores, notably for the films of Federico Fellini and Luchino Visconti. Music compilation from Fellini's main films, sach as "Amacord", "La Dolce Vita", "8½", "La Strada", "Nights of Cabiria", "Boccaccio 70".

If Goldfinger proved that the James Bond franchise was box office dynamite, 1965's Thunderball cemented the British super-spy's international appeal–and further forged a set of pop culture cliches that both inspired and endured even Mike Meyer's modern, multi-chaptered Austin Powers spoofing. While Goldfinger also marked composer John Barry stamping his enduring influence on the series' music, this fourth installment finds his big band and jazz-inspired arrangements pulsing with confidence, stripped down rhythmic tension and exotic elegance. Tom Jones follows up Shirley Bassey's previous larger-than-life title track performance with a worthy rival of his own, its dramatic, Barry-composed melody interpolated throughout the composer's masterful score.

Original soundtrack of the 1990 Academy Award and Golden Globe winning film Dances with Wolves produced, directed, and starring Kevin Costner. The original score and songs were composed and conducted by John Barry. John Barry won the 1991 Academy Award for Best Original Score and the 1992 Grammy Award for "Best Instrumental Composition Written for a Motion Picture or for Television".