Phenomenal public success contrasts with private behaviors close to madness: Howard Hughes from the late 1920s to the late 1940s, from “Hells Angels” (spending a fortune on details) through the only flight of the Hercules, a huge, money-losing transport plane. Along the way, the public Hughes sees the big picture - in movies and in aviation, building TWA and leading it through a fight with Pan Am and the US Senate. In private, phobias and compulsions threaten him with self-imposed solitary confinement. How long can his imagination, drive, and the sympathies of Katharine Hepburn, Ava Gardner, and the men who work for him stave off these internal disorders?
The aviator Christian visits his ex-mistress Anne seven o'clock in the morning, to tell her that their affair is over, because his wife is pregnant and will soon move to Paris. Anne's new lover, François, happens to see Christian and Anne when they leave her house, and thinks that their affair is still going on. He tries to contact Anne, but she won't talk to him. At a pavement café François sees Christian and an unknown woman, which he assumes is the aviator's wife.
World premiere 2-CD release of complete Jerry Goldsmith soundtrack to Russall Mulcahy film with Alec Baldwin as famed and flawed crime fighter, co-starring John Lone, Penelope Ann Miller, Ian McKellen, Peter Boyle. Dark, edged action plus stunning period design inspire Goldsmith to create one of his most involved, exciting (and longest) scores of his later career. Powerful French horn main theme imposes but is mere stepping stone to ferocious action music, mysterious ideas, tender love theme. Latter melody is especially pretty on piano, amongst composer's most beautiful - and barely heard from on original 1994 album.
The script begins as a young Hughes directs one of Scorsese's favorite films, Hell's Angels. Hughes was so obsessed with perfection in the aerial sequences that he waits forever for perfect conditions
Libertador, Gustavo Dudamel's first soundtrack, and first composition to be released worldwide. Gustavo originally arrived to this project as musical advisor. Sometime later, Gustavo said he had come up with a melody that could work for the start of the film. He went to the piano and began playing the melody. When he finished playing, I think both of us realized that he had begun composing our soundtrack. Dudamel, who consulted with filmscore master John Williams in the preparations for this assignment, describes his soundtrack as atmospheric, post-Mahlerian music, full of tension, hope and struggle. The Simón Bolívar Symphony Orchestra and guests from the world of Venezuelan folk music lend the score a distinctive and irresistible Latin American flavor.