1970年代、英国映画界は 「オリエント急行殺人事件 」と 「ナイルに死す」の映画化で2つの大成功を収めた。そのため、プロデューサーたちはアガサ・クリスティの作品をもっと映画化したいと熱望した。前2作のヒットを再現するため、ジョン・ブラボーンとリチャード・グッドウィンは 「The Mirror Crack'd From Side to Side」をオプション契約した。
Caldera Records proudly presents John Cameron's score for the Agatha Christie adaptation "The Mirror Crack'd."
In the 1970s the British film industry saw two of its biggest successes with its adaptations of "Murder on the Orient Express" and "Death on the Nile." Thus, producers were eager to bring more of Agatha Christie's works on the screen. To replicate their previous two hits, John Brabourne and Richard Goodwin optioned "The Mirror Crack'd From Side to Side."
Angela Lansbury played Miss Marple. At her side: Rock Hudson, Elizabeth Taylor, Tony Curtis, Kim Novak, Edward Fox, and Geraldine Chaplin. A large part of the script for "The Mirror Crack'd" is devoted to jibes and insults exchanged between movie stars, their producer, and director. It is 1953 and everybody is on edge as they arrive in the sleepy English village of St. Mary Mead, home of Miss Marple, to make a new film. The director hates the producer, who is intimate with the film's star, who hates her co-star, who is married to the director. Said co-star, Marina, knows she is past her prime, but is looking forward to cutting her teeth on a historical epic. Unfortunately, from the beginning nothing goes according to plan. And soon there is a body.
By 1980, John Cameron had long since cut his teeth in film. Among his biggest successes to that date were Ken Loach's "Kes" (1969), and "A Touch for Class" (1973), which had garnered him an Oscar nomination.
"The Mirror Crack'd" allowed him to showcase his versatility as a composer. His score consists of three elements: a theme for the film's main character, Marina; tense suspense music, and a jolly village tune that pays homage to the film's setting in 1953's England. Although the film takes place in that period, Cameron was wary of nostalgia. Rather than situating his score stylistically in the past, he sought to bridge the gap between the 1950s and 1980s. The use of the saxophone was a logical choice since it had been employed in the middle of the century and since then found increasing popularity in rock and soul music.
John Cameron crafted a colorful and memorable score to what has become a crime classic. We are pleased to make it available for the first time on an album and are grateful to StudioCanal for working with us on the project.
The 63rd CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke.
ジョン・キャメロンによるアガサ・クリスティーの映画化作品 「クリスタル殺人事件」のオリジナル・サウンドトラック。
トラックリスト1970年代、英国映画界は 「オリエント急行殺人事件 」と 「ナイルに死す」の映画化で2つの大成功を収めた。そのため、プロデューサーたちはアガサ・クリスティの作品をもっと映画化したいと熱望した。前2作のヒットを再現するため、ジョン・ブラボーンとリチャード・グッドウィンは 「The Mirror Crack'd From Side to Side」をオプション契約した。
アンジェラ・ランズベリーがミス・マープルを演じた。アンジェラ・ランズベリーがミス・マープルを演じた： ロック・ハドソン、エリザベス・テイラー、トニー・カーティス、キム・ノヴァク、エドワード・フォックス、ジェラルディン・チャップリン。『クリスタル殺人事件』の脚本の大部分は、映画スター、プロデューサー、監督の間で交わされる冗談や侮辱に費やされている。時は1953年、ミス・マープルの故郷であるイギリスののどかな村セント・メアリー・ミードに、新作映画製作のためにやってきた彼らは、誰もがイライラしていた。監督はプロデューサーを嫌っており、プロデューサーはこの映画のスターと親密で、そのスターは監督と結婚している共演者を嫌っている。その共演者のマリーナは、自分がもう旬を過ぎていることを知っていたが、歴史大作で歯を食いしばるのを楽しみにしていた。しかし残念なことに、最初から計画通りにはいかない。そしてすぐに死体が出る。
1980年まで、ジョン・キャメロンは映画界に身を置いていた。それまでの彼の最大の成功は、ケン・ローチ監督の『ケス』（別題：『少年と鷹』）（1969年）と、アカデミー賞にノミネートされた『ウィークエンド・ラブ』（1973年）だった。
「クリスタル殺人事件』では、作曲家としての多才ぶりを発揮した。彼のスコアは3つの要素で構成されている。映画の主人公マリーナのテーマ、緊迫したサスペンス音楽、そして映画の舞台である1953年代のイギリスに敬意を表した陽気な村の曲だ。映画の舞台は1953年のイギリスだが、キャメロンはノスタルジーには慎重だった。自分のスコアを過去の様式に位置づけるのではなく、1950年代と1980年代のギャップを埋めようとしたのだ。サキソフォンは19世紀半ばに採用され、その後ロックやソウル・ミュージックで人気が高まったので、サキソフォンの使用は論理的な選択だった。
ジョン・キャメロンは、犯罪ものの古典となったこの作品のために、カラフルで印象的なスコアを作り上げた。私たちは、この作品が初めてアルバムとして発売されることを嬉しく思うとともに、このプロジェクトに協力してくれたスタジオカナルに感謝している。
ステファン・アイクによる詳細なブックレットテキストとルイス・ミゲル・ロハスによるエレガントなアートワークが掲載。CDのマスタリングはリチャード・ムーア、プロデュースはステファン・アイケが担当。
Caldera Records proudly presents John Cameron's score for the Agatha Christie adaptation "The Mirror Crack'd."
In the 1970s the British film industry saw two of its biggest successes with its adaptations of "Murder on the Orient Express" and "Death on the Nile." Thus, producers were eager to bring more of Agatha Christie's works on the screen. To replicate their previous two hits, John Brabourne and Richard Goodwin optioned "The Mirror Crack'd From Side to Side."
Angela Lansbury played Miss Marple. At her side: Rock Hudson, Elizabeth Taylor, Tony Curtis, Kim Novak, Edward Fox, and Geraldine Chaplin. A large part of the script for "The Mirror Crack'd" is devoted to jibes and insults exchanged between movie stars, their producer, and director. It is 1953 and everybody is on edge as they arrive in the sleepy English village of St. Mary Mead, home of Miss Marple, to make a new film. The director hates the producer, who is intimate with the film's star, who hates her co-star, who is married to the director. Said co-star, Marina, knows she is past her prime, but is looking forward to cutting her teeth on a historical epic. Unfortunately, from the beginning nothing goes according to plan. And soon there is a body.
By 1980, John Cameron had long since cut his teeth in film. Among his biggest successes to that date were Ken Loach's "Kes" (1969), and "A Touch for Class" (1973), which had garnered him an Oscar nomination.
"The Mirror Crack'd" allowed him to showcase his versatility as a composer. His score consists of three elements: a theme for the film's main character, Marina; tense suspense music, and a jolly village tune that pays homage to the film's setting in 1953's England. Although the film takes place in that period, Cameron was wary of nostalgia. Rather than situating his score stylistically in the past, he sought to bridge the gap between the 1950s and 1980s. The use of the saxophone was a logical choice since it had been employed in the middle of the century and since then found increasing popularity in rock and soul music.
John Cameron crafted a colorful and memorable score to what has become a crime classic. We are pleased to make it available for the first time on an album and are grateful to StudioCanal for working with us on the project.
The 63rd CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke.
The Mirror Crack’d
1. Front Titles (2:38)
2. Murder (3:58)
3. Ella, Don’t Spoil it (0:34)
4. Memories... Murder (2:04)
5. The Gloved Hand (0:54)
6. Barbiturates (0:43)
7. Switched Drinks (0:58)
8. The Intended Victim (1:43)
9. Close-up on Ella (0:16)
10. Inspector Craddock Drives (0:28)
11. The Inspector Calls (0:36)
12. Anonymous Letters (2:09)
13. The Coffee, It’s Poisoned! (1:31)
14. Ella Poisoned (0:51)
15. Why Should Anyone Want to Hurt Me? (0:41)
16. Marina’s Farewell Night Cap (2:42)
17. Of Course, the Vicar! (0:48)
18. Rubella (0:44)
19. She’s Given the Performance of Her Life (1:56)
20. End Titles (2:31)
21. Theme for Marina (3:07)
22. Ella, Don’t Spoil it (alternate version) (0:34)
23. The Coffee, It’s Poisoned! (alternate version) (1:30)
Bonus:
24. Conversation between John Cameron and Stephan Eicke (7:05)