Bandolero

Music by Jerry Goldsmith

 

 

 

 

 

 

Unpretentious western starring Dean Martin, Rachel Welch and James Stewart, Bandolero (1968) had music visibly influenced by spaghetti westerns. It was possibly the first American western to accept the sound inventions of Italian movies in his music and is one of the best moments of Jerry Goldsmith in this genre. Only the main theme with electric bass line, whistle and the infallible jews-harp, is worth the album. Across the River is instantly recognizable as a musical icon of soundtracks, so efficient it is. And the music goes on extremes, alternating tension and light moods. The obvious Mexican reference is heard in the romantic The Baith and Dee's Proposal. Other moments of action and suspense are pure Jerry Goldsmith and truly characteristic of the period movies as The Trap and El Jefe, which could be on Planet of the Apes soundtrack. The expanded edition of LaLaLand Records brings unreleased tracks, bonus tracks and a beautiful informative booklet. Among the bonus tracks there is the main theme without the whistling (karaoke version?) and a fun arrangement in pop/rock idiom.

 

 

100 Rifles

Music by Jerry Goldsmith

 

 

 

 

 

 

 

The effective experience of Bandolero would be expanded in 100 Rifles (1969) starring Rachel Welch, Burt Reynolds and Jim Brown. Again the Mexican spice is used broadly in the metals of the vibrant main theme. But in 100 Rifles, Mexican reference is more integrated into the writing. It is inserted as an element of the music, not just as an exotic effect. Multilayered and varied, full of percussive inventions and constant dynamism (Burn and Pillage), Goldsmith displays his muscular musical virtues to properly support the action as in Escape and Persuit and Burning the Stronghold. As great arranger, Goldsmith adds a heroic optimism feel to the main theme in Across the Plains and turns it into a Mexican ballad in Lyedecker and Sarita. The period represented by the two tracks (with its immediate functionality) was a kind of final cycle for westerns. Unfortunately the organic aesthetic of the genre found no place in the technological showcase of the contemporary cinema.