The year 1999 was a very strong year for film music. John Corigliano won the award for Best Original Score at the Academy Award ceremony in 2000 for his 1999-score for The Red Violin, but his music didn´t become the most famous work of the year. A lot of other musical compositions for film received much more attention than his composition for the Canadian drama film about a mysterious violin and its many owners. Fjallraven Kanken Sale Big One of the favorite scores of the year was Rachel Portman´s work for The Cider House Rules, an American drama film directed by Swedish director and screenwriter Lasse Hallström. The movie based on John Irving´s book The Cider House Rules and was nominated for multiple Academy Awards, including Best Picture and Best Score. Scarpe Air Jordan It also won two trophies, one for Best Adapted Screenplay and one for Best Supporting Actor (Michael Caine). Portman´s score is full of film music magic. It has one of Portman´s most beautiful themes: a lovely one for piano and orchestra that impressively connects the story with the visuals of director Hallström. In combination with the visuals the music succeeds, but also without the film, the soundtrack is a great listening experience. Gabriel Yared also composed a great score for 1999: The Talented Mr. Ripley. It is one of the film treasures of the year, an American psychological thriller directed by Anthony Minghella, at once an adaptation of Patricia Highsmiths novel of the same name. Nike Air Max 95 męskie It stars Matt Damon, Jude Law and Gwyneth Paltrow. Cate Blanchett also played a little role in the movie. Gabriel Yared´s score was nominated for an Academy Award and is one of his most exciting works: it has a great main theme, a suspenseful theme for Tom Ripley and a lot of more highlights that accompany the movie´s phenomenal shooted scences. Great stuff. Apart from The Red Violin, The Talented Mr. Ripley and The Cider House Rules, two further scores were nominated for Academy Awards: Thomas Newman´s American Beauty and John Williams´ score for Angela´s Ashes. nike air max 2017 pas cher Both are great works, although Williams chose the more traditional way in creating music for Alan Parker´s Irish-American drama film than Newman´s more forward looking and modern composition for Sam Mendes debut as a director.
1999 was also a very strong year for legendary composer Jerry Goldsmith, who wrote music for three movies that premiered in the year. The Mummy was one of them. And Goldsmith wrote a great adventure score for Stephen Sommers action horror adventure film, starring Brendan Fraser and Rachel Weisz. Zapatillas Air Max Nike The movie opened on May 7, 1999 and grossed $43 million during its opening weekend in the United States – a surprise hit. Worldwide it grossed $416 million. Of course, the box-office led to sequels.
One in 2001, which was called The Mummy Returns. The second one was called The Mummy: Tomb of the Dragon Emperor, which premiered in August 2008 – but without actress Rachel Weisz and both sequels without scores by Goldsmith.
His score for The Mummy is a thunderous one, an adventurous tour de force with a lot of great themes and even more powerful action cues. Nike Air More Uptempo The cue ´Night Borders´ is the best exxample for Goldsmith´s unique ability to create fantastic action music. Nike Air Max TN Femme It is one of the most thrilling action compositions the composer has ever written. The Mummy stands as one of the musician´s romantic and adventurous highlights of his late career. The second musical jewel Goldsmith composed for a film in 1999 was his score for The 13th Warrior. Fjallraven Kanken Infantil Although the film was one of the biggest box-office flops in history of film, it was an exctiting experience. Actor Antonio Banderas plays Ahmad Ibn Fadlan, a court poet to the Caliph of Baghdad, who has to leave Baghdad because of his amorous encounter with the Caliph´s wife and goes into exile as an ambassador to Northern Barbarians. He becomes a member of a group of Vikings and ´The 13th Warrior´, that has to fight against some dark figures, which are called Eates of the Dead. The movie based on the novel ´Eaters of the Dead´ by Michael Crichton and even Omar Sharif played a small role within the film.
Jerry Goldsmith´s score has many highlights: the thunderous ´The Fire Dragon´ or the cue `The Horns of Hell` show the composer´s mastery in creating action packed stuff. The score is darker than his work for The Mummy, but just as heroic. You can call it the darker brother-score to The Mummy, which is also very powerful and exciting. Both the score for Stephen Sommers blockbuster-hit as well as the score for The 13th Warrior were adventurous soundtracks with great heroic motifs and orchestral themes. Goldsmith´s third score for 1999 was a little different: it was a composition for a modern horror film, a remake of the 1963 horror film of the same name, based on the novel ´The Haunting of Hill House´ by Shirley Jackson from 1959. The new version of The Haunting was directed by Jan De Bont, who could gain Liam Neeson, Catherine Zeta-Jones, Owen Wilson and Lili Taylor as main stars. For the score for The Haunting, Jerry Goldsmith combined orchestral with electronic elements and wrote a great, scary score for the pulsating movie.