'Mission: Impossible' composer Lalo Schifrin dies at 93: Report
Schifrin received six Oscar nominations for movie scores that included the 1967 film "Cool Hand Luke" and "The Amityville Horror" in 1979.
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Indian Express
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India.com
an hour ago
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Lalo Schifrin, Legendary Composer Behind Iconic Mission Impossible Theme, Passes Away At 93
Grammy-winning composer of 'Mission: Impossible' Lalo Schifrin, who also composed film scores including 'Cool Hand Luke,' 'Dirty Harry' and 'Bullitt,' passed away on Thursday at the age of 93, reported Variety. The celebrated music composer's demise was due to complications from pneumonia, the news outlet said. This Argentine musician was among the first to apply a broad range of musical ideas to film and TV scores, from jazz and rock to more modern and complex techniques of orchestral writing. Schifirin was at the peak of his career in the 1960s and 70s, when he produced several film and TV scores that are now regarded as classics. In November 2018, Schifrin became only the third composer in the history of the Academy of Motion Pictures Arts & Sciences to receive an honorary Oscar. According to Variety. Schifrin was nominated six times for Oscars including score nods for 'Cool Hand Luke' (1967), 'The Fox' (1968) 'Voyage of the Damned' (1976) 'The Amityville Horror' (1979) and 'The Sting II' (1983), plus a best-song nomination for 'The Competition' (1980), but he was especially well-known for his TV themes. The famous 'Mission: Impossible' theme earned him two of his five Grammy Awards and three of his four Emmy nominations, bringing him lasting fame. It was used throughout the eight Tom Cruise "Mission" films that began in 1996. The first of two 'Mission: Impossible' soundtrack albums became a best-seller in 1968, and the theme reached no. 41 on the Billboard pop charts, reported Variety. According to the outlet, Schifrin wrote the music for more than 40 TV-movies and miniseries including the controversial 1966 'Doomsday Flight,' about a madman who hides a bomb aboard a commercial airliner; and the 1980s and '90s multi-parters 'Princess Daisy,' 'A.D.,' 'Out on a Limb,' 'A Woman Named Jackie' and 'Don Quixote,' reported Variety. Other TV series for which he wrote themes included 'Blue Light,' 'The Young Lawyers,' 'Planet of the Apes,' 'Bronk' and 'Glitter.' According to Variety, Schifrin's last major work was a collaboration with fellow Argentinian composer Rod Schejtman: "Long Live Freedom," a 35-minute symphony dedicated to their country that debuted April 5 at the Teatro Colon in Buenos Aires. Survivors, in addition to his wife Donna, include three children (William Schifrin and wife Lissa, Frances Schifrin and husband John Newcombe, Ryan Schifrin and wife Theresa) and four grandchildren, reported the outlet. (ANI)
NDTV
an hour ago
- NDTV
F1 Review: Brad Pitt Takes Us To The Heart Of Formula 1 But Stops Short Of Perfection
New Delhi: The formula is as simple as it is unambiguous. Director Joseph Kosinski makes the most of it. He taps the torque of two globally saleable entities - Formula One and Brad Pitt - to propel a plot centred on a former race track maverick offered a chance to find his way out of anonymity. When the man at the heart of the high-octane action is Pitt, a charismatic Hollywood powerhouse who has carried many a blockbuster on his shoulders over the decades, the pit stops are brief and the thrills are incessant. But is that enough to fuel a 156-minute movie? Well, adrenaline junkies, Formula One enthusiasts and Brad Pitt fans will have nothing but admiration for an action-packed movie that celebrates one of the world's most elite sporting disciplines. But even those that aren't instantly drawn by filmmaking craftsmanship, phenomenal camerawork and the spectacle of rubber hitting asphalt might find enough in this well-orchestrated mix to keep them glued to their seats. However, beyond the visceral and the cursorily thrilling, and in terms of the deeper allure of cinema and the heft of genuinely affecting human drama, F1 stops short of perfection. It encounters many a bump on its way to an exciting, if predictable, crescendo driven by the lead actor and a supporting cast that more than just supports the endeavour. Kosinski, like the two dependable pivots he employs, is himself no pushover in the game of flying on the wings of star power and narrative potency. He recently harnessed Top Gun and Tom Cruise, two other failsafe American showbiz forces, with memorable success. His latest outing, too, has plenty of gas in the tank. It is another matter that all of it isn't fully utilised. Its engines, powered by the team of technicians behind Top Gun: Maverick, roar with intent and whip up a storm. F1 is fast-paced and packed with motor racing action staged on actual Formula One circuits. That allows for Formula One stars (Lewis Hamilton, who is one of the producers of the film, Fernando Alonso, and even Mercedes team principal and CEO Toto Wolff, among others) to put in unheralded appearances to enhance the authenticity of the setting. The races are mounted and captured with exceptional panache. The machines are centrestage and so are the faces of Pitt and Damson Idris (cast as a hotshot rookie racer), starkly delineated under their visors. Every shift in mood and intent is captured minutely in the clash of wills. The resolve in the drivers' eyes, the lines on their foreheads, the sweat on their eyebrows and the twitches on their countenances are on full view as sparks fly between a veteran racer and a gifted newcomer until the two men learn to place teamwork above personal ambition. F1 transports us into the very heart of the world of Formula One. Cinematographer Claudio Miranda (Kosinski's regular collaborator, Oscar winner for Life of Pi and DOP on David Fincher's Brad Pitt starrer The Curious Case of Benjamin Button, in which the star aged in reverse) delivers the goods on all fronts. With the frames composed and delivered to the accompaniment of Hans Zimmer's immersive and muscular score, F1 has no dearth of exhilaration. Pitt dives headlong into the enterprise and etches a believable, if somewhat facile, portrait of a man doing all he can to make up for a lost time. Javier Bardem exudes the sort of magnetism that holds its own against Pitt's. Kosinski, on his part, makes a fair fist of striking a balance between Pitt's compelling presence and the demands of the script (written by Ehren Kruger). But it is the structure and purpose of the movie - F1 is made in collaboration with FIA, the governing body of Formula One - that undermines it. This is a film that promotes a 'product' that has been around for three quarters of a century. Anything with that kind of history is bound to have had a chequered existence. But F1 has no space for a layered investigation into the spills and pitfalls that no international sport can be free from. Notwithstanding the impressive behind-the-scene skills that have gone into its making, F1 has a single dimension. Not all the kinesis and effervescence that its packs can pull it out of its formulaic arc. It feels all too pat and oddly low on dramatic spin. But one thing that F1 certainly isn't is stodgy. It pulsates with energy, and frequently hits top gear and generates speed and heat in abundance. It centres on a washed-up car racer Sonny Hayes (Pitt), whose Formula One career is cut short by an accident that continues to haunt him three decades on. With his dream of becoming a star stymied, he is a driver-for hire resigned to his fate. He takes part in races on obscure dirt tracks and speedways. He moves from venue to venue in his camper van, does odd jobs, gambles, drives a cab and endures three failed marriages. When all doors appear to be shut, an old mate, Ruben Cervantes (Javier Bardem), now the owner of a struggling Formula One outfit, throws Sonny a lifeline - a spot on the team alongside Joshua Pierce (Damson Idris). His brief is to break APXGP's losing streak. While the competition on the circuit is stiff, the conflict within Sonny does not acquire much depth or range. His past is well behind him, his inner demons have been tamed and he has rid himself of the chinks that once proved costly. So, when Sonny Hayes strides out to grab his second chance, his confidence levels are already so high that nothing he does over a series of races that offer him a shot at redemption takes the audience by any sort of surprise. Some romance is thrown in to break the monotony. Sonny hooks up with the team's technical director Kate (Kerry Condon). The latter raises the hope of some gender parity in a male-dominated world, but she isn't allowed to go the distance. F1 possesses a zippy, snappy rhythm but runs a touch ragged when the star of the show, effective as he is as the fulcrum of the project, tends to hog all the limelight. That, thankfully, isn't as frequent as it would have been had Kosinski not known how to skirt around the obstacle when it matters. The ride that F1 delivers is scintillating enough but overall impact of the film is a bit like the crashes that it is littered with - spectacular but inert.
