{{infobox film| name

Coma | image Coma film poster.jpg | writer Robin Cook (novel),Michael Crichton (screenplay) | starring Geneviève Bujold,Michael Douglas,Elizabeth Ashley,Rip Torn,and Richard Widmark | director Michael Crichton | producer Martin Erlichman | cinematography Victor J. Kemper | editing David Bretherton | distributor Metro-Goldwyn-Mayer | released February 1, 1978|w runtime 113 min. | country United States | language English | budget | music Jerry Goldsmith| awards | }}

''Coma'' is a 1978 suspense film based on the novel of the same name by Robin Cook. The film rights were acquired by director Michael Crichton, and the movie was produced by Martin Erlichmann for Metro-Goldwyn-Mayer. The cast included Geneviève Bujold, Michael Douglas, Elizabeth Ashley, Meshach Taylor, Richard Widmark, and Rip Torn.

The film is in color with stereo sound and runs for 113 minutes. It is notable for the intense paranoia which pervades the film, similar to other films of the 1970s such as ''Invasion of the Body Snatchers,'' ''The Conversation'', ''The Stepford Wives'', and earlier, ''Rosemary's Baby''.

Plot

Susan Wheeler (Geneviève Bujold) is a surgical resident at Boston Memorial Hospital, a close analogue of Massachusetts General Hospital, which is affiliated with Harvard Medical School. Her closest friend, Nancy (Lois Chiles), goes to the hospital for a routine abortion but ends up in a chronic vegetative state. Aided by an alcoholic but observant maintenance man and a computer analyst whom she persuades to produce a report not required by his job, Wheeler begins an investigation and discovers a number of similar accidents, certainly more than would occur at random. All of them were healthy, young patients having elective surgery, such as abortions; all wound up mysteriously brain-dead while on the operating table—in Operating Room 8. Among the suspects are her boyfriend, Mark Bellows (Michael Douglas), who is the chief surgical resident; Dr. George Harris, the chief of surgery (Richard Widmark); Dr. George, the chief of anesthesiology (Rip Torn); a mysterious truck driver; and others. Her investigations take her to the mysterious Jefferson Institute, run by a "nurse" (Elizabeth Ashley) rather than a doctor, where she uncovers the truth when she discovers the remains of another of the victims, Sean Murphy (Tom Selleck). He is lying on an operating-room (or autopsy) table with organs missing, while a telephone auction is going on in the background.

She discovers that the patients had been rendered brain-dead while on the operating table by substitution of carbon monoxide for oxygen. The patients were transferred to the Jefferson Institute: a very impressive building from outside, provided with viewing rooms where family members could see their loved ones receiving standard hospital care: firm bed, clean sheets, tubes and wires, and beeping monitors. In reality, patients are only moved to the viewing rooms by prearrangement—no unannounced visits are allowed—and patients are kept, long-term, in a huge room, hanging from a high ceiling by wires attached to steel rods through the long bones, which allows them to be kept in a level, head-up, or head-down position by adjusting the traction wires. The same tubes and electrical wires are present as in intensive care: All inputs are controlled and all outputs are monitored by one huge computer in its own room.

The organs of these patients were being sold on the international black market, by a telephone auction. When the organs are sold, the patient is moved to an operating/autopsy room, where the organs are removed, packed in ice, and rushed by ambulance to Logan Airport for shipment to other hospitals, where surgical teams are waiting to transplant the organs into desperately ill (and wealthy) patients.

Just as Wheeler discovers all this, she is noticed on the institute's extensive security system, whereupon armed guards and dogs chase her around the building. By hiding in a suspended ceiling, Wheeler eventually escapes from the institute on top of an ambulance. She races back to Bellows and tells him the whole story of what she has found, but he does not believe her, which leads her to think that perhaps he is part of the conspiracy. She races out of their apartment and to Boston Memorial, where she breathlessly tells the chief of surgery, Dr. Harris, of her discovery. He offers her a drink: Scotch on the rocks, with something extra the audience never sees clearly. Dr. Wheeler promptly doubles over in pain.

Dr Harris diagnoses appendicitis. Since he is a brilliant surgeon and available at the moment, he schedules her for an appendectomy—stat—in ''Operating Room 8,'' the room with the carbon-monoxide fitting. On the way to the OR, she whispers to Bellows (who has come to the hospital looking for her) where she is going. Finally believing her, he goes into hidden areas of the hospital, where the oxygen and carbon-monoxide tanks are kept (surprisingly, the tanks are the same color, despite the standard color codes for compressed-gas tanks), and traces the CO tube through a maze of twisty, little passages and up and down ladders to OR 8, where he manages to turn off the carbon-monoxide flow, rescuing Wheeler. The final scenes in the film show Dr. Harris alone in the operating room, with a band of police officers outside; a voice says "We're waiting for you, Dr. Harris", implying that Dr. Harris ''et al.'' will soon receive their comeuppance.

Cast

Geneviève Bujold as Dr. Susan Wheeler, the main protagonist, surgery resident at Boston Memorial Hospital

Michael Douglas as Dr. Mark Bellows, chief surgery resident at Boston Memorial Hospital

Elizabeth Ashley as Mrs. Emerson, RN, of the Jefferson Institute

Rip Torn as Dr. George, Chief of Anesthesiology at Boston Memorial Hospital

Richard Widmark as Dr. George Harris, the main antagonist, Chief of Surgery at Boston Memorial Hospital

Lois Chiles as Nancy Greenly

Meshach Taylor as Dr. William Kane, Chief Resident at Boston Memorial Hospital

Frank Downing, as Kelly, a maintenance man at Boston Memorial Hospital

Hari Rhodes as Dr. Morelind, hospital psychiatrist at Boston Memorial Hospital

Richard Doyle as Jim, a pathologist at Boston Memorial Hospital

Lance LeGault as Vince, the truck driver and killer

Betty McGuire as a nurse

Tom Selleck as architect Sean Murphy

Joanna Kerns as Diane

Ed Harris as one of two pathology residents who tell Susan how to kill a patient

See also

Organ theft

Organlegging

gas cylinder

References

External links

Category:1978 films Category:1970s thriller films Category:Psychological thriller films Category:Metro-Goldwyn-Mayer films Category:Films set in Massachusetts Category:Medical-themed films Category:Films directed by Michael Crichton Category:Screenplays by Michael Crichton Category:Films based on novels

de:Coma (Film) es:Coma (película) fr:Morts suspectes it:Coma profondo he:עילפון חושים nl:Coma (1978) ja:コーマ (映画) no:Coma nds:Coma (Film) pl:Śpiączka (film) pt:Coma (filme) ru:Кома (фильм, 1978)

name	Jerry Goldsmith
birth name	Jerrald King Goldsmith
birth date	February 10, 1929
birth place	Los Angeles, California
death date	July 21, 2004
death place	Beverly Hills, California
Alma mater	University of Southern California
occupation	composer and conductor
years active	1951 - 2004
spouse	Sharon Hennagin (1950-1970)Carol Heather (1972-2004)
academyawards	Best Original Score1976 ''The Omen''
emmyawards	Outstanding Music Composition for a Miniseries, Movie or a Special1973 ''The Red Pony''1975 ''QB VII''1976 ''Babe''1981 ''Masada'' Outstanding Main Title Theme Music1995 ''Star Trek: Voyager''
awards	Academy Award for Best Original Score1976 ''The Omen''Saturn Award for Best Music1984 ''Gremlins''
background	non_performing_personnel }}

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring.

He composed scores for such noteworthy films as ''The Sand Pebbles'', ''Planet of the Apes'', ''Patton'', ''Chinatown'', ''The Wind and the Lion'', ''The Omen'', ''The Boys from Brazil'', ''Alien'', ''Poltergeist'', ''Gremlins'', ''Hoosiers'', ''Total Recall'', ''Basic Instinct'', ''Rudy'', ''Air Force One'', ''L.A. Confidential'', ''Mulan'', ''The Mummy'', three ''Rambo'' films, and five ''Star Trek'' films. He was nominated for six Grammy Awards, nine Golden Globes, four BAFTAs, and seventeen Academy Awards, and received an Oscar for ''The Omen'' in 1977.

He collaborated with some of the most prolific directors in film history, including Robert Wise (''The Sand Pebbles'', ''Star Trek: The Motion Picture''), Howard Hawks (''Rio Lobo''), Otto Preminger (''In Harm's Way''), Joe Dante (''Gremlins'', ''The 'Burbs''), Roman Polanski (''Chinatown''), Ridley Scott (''Alien'', ''Legend''), Steven Spielberg (''Poltergeist'', ''Twilight Zone: The Movie''), and Paul Verhoeven (''Total Recall'', ''Basic Instinct''). However, his most notable collaboration was arguably that with Franklin J. Schaffner, for whom Goldsmith scored such films as ''Planet of the Apes'', ''Patton'', ''Papillon'', and ''The Boys from Brazil''.

Early life and education

Goldsmith, who was Jewish, was born 10 February 1929 in Los Angeles, California. His parents were Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer. He started playing piano at age six, but only "got serious" by the time he was eleven. At the age of thirteen he studied piano privately with legendary concert pianist and educator Jakob Gimpel (whom Goldsmith would later employ to perform piano solos in his score to ''The Mephisto Waltz'') and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.

At the age of sixteen, Goldsmith saw the movie ''Spellbound'' (1945) in theaters and was inspired by the soundtrack by veteran composer Miklós Rózsa to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College. There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.

Film and television scoring

1950s and work at CBS

In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin. There he began writing scores for such radio shows as ''CBS Radio Workshop'', ''Frontier Gentleman'', and ''Romance''. In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated, "It was about 1950. CBS had a workshop, and once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show. But you had to be an employee. They needed someone to do music, and I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. Then I could do these shows. About six months later, the music department heard what I did, liked it, and gave me a job." He later progressed into scoring such live CBS television shows as ''Climax!'' and ''Playhouse 90''. He also scored multiple episodes of the hit television series ''The Twilight Zone''. He remained at CBS until 1960, after which he moved on to Revue Studios, where he would later compose music for such television shows as ''Dr. Kildare'' and ''The Man from U.N.C.L.E.''.

His feature film debut occurred when he composed the music to the western ''Black Patch'' (1957). He continued with scores to such films as the western ''Face of a Fugitive'' (1957) and the science fiction film ''City of Fear'' (1959).

1960s

Jerry Goldsmith began the decade composing for such television shows as ''Dr. Kildare'' and ''Thriller'' as well as the drama film ''The Spiral Road'' (1960). However, he only began receiving widespread name recognition after his intimate score to the classic western ''Lonely Are the Brave'' (1962). His involvement in the picture was the result of a recommendation by veteran composer Alfred Newman who had been impressed with Goldsmith’s score on the television show ''Thriller'' and took it upon himself to recommend Goldsmith to the head of Universal Pictures’ music department, despite having never met him. That same year, Goldsmith composed the mostly atonal and dissonant score to the pseudo-biopic ''Freud'' (1962) that focused on a five-year period of the life of psychoanalyst Sigmund Freud. Goldsmith’s score went on to garner him his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to ''Lawrence of Arabia'' (1962). In 1963, Goldsmith composed a score to ''The Stripper'', his first collaboration with director Franklin J. Schaffner for whom Goldsmith would later score such motion pictures as ''Planet of the Apes'' (1968), ''Patton'' (1970), ''Papillon'' (1973), and ''The Boys from Brazil'' (1978).

Following his success with ''Lonely Are the Brave'' and ''Freud'', Goldsmith went on to achieve even more critical recognition with scores to such films as the western ''Rio Conchos'' (1964), the political thriller ''Seven Days in May'' (1964), the romantic drama ''A Patch of Blue'' (1965), the epic war film ''In Harm's Way'' (1965) (in which Goldsmith also made a brief cameo appearance), the World War I aviation film ''The Blue Max'' (1966), the period naval war epic ''The Sand Pebbles'' (1966), the thriller ''Warning Shot'' (1967), the western ''Hour of the Gun'' (1967), and the controversial mystery ''The Detective'' (1968). Goldsmith's scores to ''A Patch of Blue'' and ''The Sand Pebbles'' garnered him his second and third Oscar nominations, respectively, and were both one of the 250 nominees for the American Film Institute’s top twenty-five American film scores. His scores for ''Seven Days in May'' and ''The Sand Pebbles'' also garnered Goldsmith his first two respective Golden Globe nominations for Best Original Score in 1965 and 1967. During this time, he also composed for many lighter, comedic films such as the family comedy ''The Trouble with Angels'' (1966), the James Bond parodies ''Our Man Flint'' (1966) and its sequel ''In Like Flint'' (1967), and the comedy ''The Flim-Flam Man'' (1967).

In 1968, Jerry Goldsmith caught massive critical attention with his landmark, controversial soundtrack to the post-apocalyptic science fiction epic ''Planet of the Apes'' (1968), which was one of the first film scores to be written entirely in an Avant garde style. When scoring ''Planet of the Apes'', Goldsmith used such innovative techniques as looping drums into an echoplex, using the orchestra to imitate the grunting sounds of apes, having horns blown without mouthpieces, and instructing the woodwind players to finger their keys without using any air. He also used steel mixing bowls, among other objects, to create unique percussive sounds. The score went on to garner Goldsmith another Oscar nomination for Best Original Score and now ranks in #18 on the American Film Institute’s top twenty-five American film scores. The music to ''Patton'' subsequently earned Goldsmith an Academy Award nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores. Goldsmith received an Academy Award nomination for his efforts though he lost to Nino Rota and Carmine Coppola for ''The Godfather Part II''. The score to ''Chinatown'' is often regarded as one of the greatest scores of all time and ranks #9 on AFI's top 25 American film scores. The score garnered Goldsmith an Academy Award nomination for Best Original Score, though he lost to fellow composer John Williams for his score to ''Jaws''. ''The Wind and the Lion'' was also one of AFI's 250 nominees for the top twenty-five American film scores. The score was successful among critics and garnered Goldsmith his first (and ultimately only) Academy Award for Best Original Score and a nomination for Best Original Song for "Ave Satani". It was also one of AFI's 250 nominees for the top twenty-five American film scores. the science fiction suspense ''Coma'' (1978), the science fiction thriller ''Capricorn One'' (1978), the disaster film ''The Swarm'' (1978), the period comedy ''The Great Train Robbery'' (1979), and his Oscar nominated score to the science fiction thriller ''The Boys from Brazil'' (1978), in which he utilized lively waltzes to juxtapose the horrific concept of the film, cloning Adolf Hitler.

In 1979, Goldsmith composed a score to the landmark science fiction film ''Alien''. His score featured an orchestra augmented by a shofar, didgeridoo, steel drum, and serpent (a 16th century instrument), while creating further "alien" sounds by filtering string pizzicati through an echoplex. Many of the instruments were used in such atypical ways they were virtually unidentifiable. His score was, however, heavily edited during post-production and Goldsmith was required to rewrite music for several scenes. The final score resulted in several pieces being moved, replaced, or cut entirely. Director Ridley Scott and editor Terry Rawlings also, without the consent of Goldsmith, purchased the rights to the "Main Title" from ''Freud'' (1962) which they used during the acid blood sequence. Despite the heavy edits and rewrites, Goldsmith's score to ''Alien'' earned him a Golden Globe nomination for Best Original Score and was one of AFI's 250 nominees for the top twenty-five American film scores. Having been the initial choice of Gene Roddenberry to compose the original ''Star Trek'' pilot "The Cage" yet being unable to do so due to scheduling conflicts, Goldsmith was the first pick of both Paramount Pictures and director Robert Wise to compose a score for ''The Motion Picture''. Goldsmith's initial main theme was not well-received by the filmmakers, director Robert Wise stating, "It sounds like sailing ships". Though somewhat irked by its rejection, Goldsmith consented to re-work his initial idea and finally arrived at the majestic ''Star Trek'' theme which was ultimately used. The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument long, created by musician Craig Huxley. The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues. An enormous pipe organ first plays the V'Ger theme on the ''Enterprise''s approach, a literal indication of the machine's power. His score for ''The Motion Picture'' earned him nominations for the Academy Awards, Golden Globes, and was one of AFI's 250 nominees for the top twenty-five American film scores.

1980s

Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of the successful ''Star Wars'' (1977) composing for such films as the ''The Omen'' sequels ''Damien: Omen II'' (1978) and ''Omen III: The Final Conflict'' (1981), the space western ''Outland'' (1981), the animated fantasy ''The Secret of NIMH'' (1982), and the episodic fantasy mystery ''Twilight Zone: The Movie'' (1983), which he composed in four different styles to accompany the four parts of the film.

In 1982, Goldsmith was hired to compose the music to the classic Tobe Hooper directed, Steven Spielberg produced fantasy horror ''Poltergeist''. He wrote several themes for ''Poltergeist'' including a gentle lullaby for the protagonist Carol Anne and her family's suburban life, a semi-religious theme for scenes concerning the souls trapped between the two worlds, and bombastic atonal bursts during scenes of horror. The score for ''Poltergeist'' garnered him a nomination for an Academy Award, though he lost again to fellow composer John Williams for ''E.T. the Extra-Terrestrial'' (1982). Goldsmith later returned in 1986 to compose the more synthetic score to ''Poltergeist II'', the first of its two sequels.

He did, however, still manage to compose for such non-fantasy productions as the period television miniseries ''Masada'' (1981) (for which he won an Emmy Award), the controversial war film ''Inchon'' (1982), the action classic ''First Blood'' (1982), and his Oscar and Golden Globe nominated score to the political drama ''Under Fire'' (1983) in which he used the ethnic sounds of a South American pan flute, synthetic elements, and the prominently featured solo work of jazz guitarist Pat Metheny.

Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel ''Psycho II'' (1983), the comedy horror film ''Gremlins'' (1984) (for which he won a Saturn Award for Best Music), the fantasy superhero adaptation ''Supergirl'' (1984), the fantasy adventure ''Legend'' (1985) (initially heard only in European prints and then years later in a 2002 director's cut), the action sequel ''Rambo: First Blood Part II'' (1985), the family fantasy ''Baby: Secret of the Lost Legend'' (1985), and the fantasy horror ''Poltergeist II'' (1986). His incorporation of synthesizers, orchestra, and the recorded sounds of basketball hits on a gymnasium floor also garnered him another Academy Award nomination for his innovative and critically acclaimed score to the dramatic sports movie ''Hoosiers'' (1986), though he lost to Herbie Hancock for ''Round Midnight''.

Goldsmith finished out the decade with noteworthy scores to such films as the medieval adventure ''Lionheart'' (1987), the science fiction comedy ''Innerspace'' (1987), ''Rambo III'' (1988), the science fiction horror ''Leviathan'' (1989), and ''Star Trek V: The Final Frontier'' (1989), his second ''Star Trek'' film score. Goldsmith's score to ''Leviathan'' (1989) is notable for having incorporated the use of recorded whale sounds during the main titles. His critically acclaimed comedy score to ''The 'Burbs'' (1989) is also noteworthy for the use of pipe organ, recorded dog barking sound effects, and for parodying the trumpet "call to war" triplets on an echoplex from his previous score to ''Patton'' (1970).

1990s

In 1990, Jerry Goldsmith received critical acclaim for his score to the romantic drama ''The Russia House'', which featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters. He also composed critically acclaimed music for the science fiction action film ''Total Recall'' (1990), which Goldsmith later regarded as one of his best scores. Other noteworthy scores of the era include ''Gremlins 2: The New Batch'' (1990) (in which Goldsmith also made a brief cameo appearance), the psychological thriller ''Sleeping with the Enemy'' (1991), the family comedy ''Mom and Dad Save the World'' (1991), the fantasy romance ''Forever Young'' (1992), the thriller ''The Vanishing'' (1993), and the family comedy ''Dennis the Menace'' (1993). In 1992, Goldsmith also composed a critically acclaimed score for the medical drama ''Medicine Man''. In concert, Goldsmith would later recount a story of how actor Sean Connery copied Goldsmith's signature ponytail hairstyle for his character Robert Campbell in the film. In the film's closing credits Goldsmith is listed as "hair designer".

In 1992, Goldsmith composed and conducted a score to the erotic thriller ''Basic Instinct''. The soundtrack, an unsettling hybrid of orchestral and electronic elements, garnered him yet another Academy Award nomination as well as a Golden Globe nomination and was later regarded by the composer as one of his most challenging works. In 1993, Goldsmith also wrote an acclaimed score for the classic sports film ''Rudy'', which has since been used in the trailers for numerous films including ''Angels in the Outfield'' (1994), ''Good Will Hunting'' (1997), ''Spirit: Stallion of the Cimarron'' (2002), and ''Seabiscuit'' (2003).

Goldsmith composed acclaimed scores for such films as the superhero adaptation ''The Shadow'' (1994), the thriller ''The River Wild'' (1994), the romantic comedy ''I.Q.'' (1994), the action film ''Congo'' (1995), the fantasy adventure ''First Knight'' (1995), the science fiction drama ''Powder'' (1995), the action film ''Executive Decision'' (1996), and his third ''Star Trek'' film installment ''Star Trek: First Contact'' (1996) which he composed with his son Joel Goldsmith. In 1995, Goldsmith also composed the theme for the UPN series ''Star Trek: Voyager'' for which he won an Emmy Award for Outstanding Main Title Theme Music.

In 1996, Goldsmith composed the critically successful score to the horror action film ''The Ghost and the Darkness'' which featured a traditional Irish folk melody interwoven with African rhythms. In 1997, he was hired to replace a score by Randy Newman for ''Air Force One''. Goldsmith, with the assistance of composer Joel McNeely, completed the brassy, heroic score in only twelve days. In 1997, Goldsmith also composed a percussive, jazzy score for the critically acclaimed crime drama ''L.A. Confidential''. His score garnered him nominations for the Oscars, Golden Globes, and was also one of AFI's 250 nominees for the top twenty-five American film scores. He also continued with scores for such films as the survival drama ''The Edge'' (1997), the science fiction horror ''Deep Rising'' (1998), and the action thriller ''U.S. Marshals'' (1998). In 1998, he also composed a score of combined eastern, orchestral, and synthetic elements for the Disney animated film ''Mulan'', which subsequently earned him his final Oscar and Golden Globe nominations along with songwriter Matthew Wilder and lyricist David Zippel.

Goldsmith concluded the decade with critically successful scores to such popular movies as the action film ''Small Soldiers'' (1998), his penultimate ''Star Trek'' film ''Star Trek: Insurrection'' (1998), the comedy horror ''The Mummy'' (1999), the horror film ''The Haunting'' (1999), and the action adventure ''The 13th Warrior'' (1999). In 1999, he also composed "Fanfare for Oscar" for the Academy of Motion Picture Arts and Sciences.

2000s and final scores

During the early 2000s, Goldsmith composed scores to the science fiction thriller ''Hollow Man'' (2000), the mystery film ''Along Came a Spider'' (2001), the drama ''The Last Castle'' (2001), the action/political thriller ''The Sum of All Fears'' (2002), and his last ''Star Trek'' film ''Star Trek: Nemesis'' (2002), which would also be the last film to feature the cast of ''Star Trek: The Next Generation''. Goldsmith also composed an original score to the simulator attraction ''Soarin' Over California'' which debuted 8 February 2001 at the Disneyland Resort, and the same attraction ''Soarin''' which opened 5 May 2005 in Epcot at the Walt Disney World Resort. It was later said that when Goldsmith first rode the ride, he left it crying and saying, "I'd do anything to be part of this project. I'd even score the film for free."

Goldsmith's final theatrical score, composed during declining health, was the critically acclaimed music for the live action/animated film ''Looney Tunes: Back in Action'' (2003), directed by long-time Goldsmith collaborator Joe Dante. His last collaboration was with another long-time collaborator, Richard Donner (for whom Goldsmith had scored ''The Omen'' in 1976), on the science fiction film ''Timeline'' (2003). However, due to a complicated post-production process, Goldsmith's score was rejected and replaced by a new score by composer Brian Tyler. Goldsmith's rejected score was later released on CD, 7 September 2004 through Varèse Sarabande, not long after his death in 2004. The album quickly became out of print and has since become a sought rarity among soundtrack collectors.

Concert works

Toccata for Solo Guitar

In the 1950s, Goldsmith composed "Toccata for Solo Guitar". The music was later performed and recorded by Gregg Nestor and released through BSX Records 5 January 2010.

The Thunder of Imperial Names

In 1957, Goldsmith composed the patriotic piece "The Thunder of Imperial Names" for concert band and narration, which first appeared on the CBS Radio Workshop episode "1489 Words". "The Thunder of Imperial Names" was later performed and re-recorded in 2006 by the United States Air Force Tactical Command Band under conductor Lowell E. Graham and narrated by Gary McKenzie.

Christus Apollo

In 1969, the California Chamber Symphony commissioned Goldsmith to compose a cantata based on the text "Christus Apollo" by science fiction author Ray Bradbury, with whom Goldsmith had previously worked on dramatic radio and later the film ''The Illustrated Man'' (1969). The piece, written in four parts, consisted of orchestra, choir, mezzo-soprano solo, and narration. Goldsmith composed the piece largely using the 12-tone system, later stating, "I feel there is a great relationship between impressionism and dodecaphonicism and that was the musical language I wanted for 'Christus Apollo'." For the 2002 Telarc album release, "Christus Apollo" was performed by the London Symphony Orchestra, the London Voices, mezzo-soprano Eirian James, and narrated by legendary actor Anthony Hopkins.

Music for Orchestra

In 1970, Goldsmith was approached by conductor Leonard Slatkin to compose a short piece for the Saint Louis Symphony Orchestra. The atonal, bombastic composition was written in three sections developed from one common 12-tone row including the "turbulent" first section, the "introspective" second section, and climaxing in a "very agitated" third section. Goldsmith later reflected that the piece was a result of much turbulence in his life, stating, "I was going through a divorce and my mother was seriously ill with cancer." Goldsmith continued, "All of my personal turmoil - pain, anger, and sorrow - went into writing 'Music for Orchestra' in strict dodecaphonic form."

Fireworks (A Celebration of Los Angeles)

In 1999, Goldsmith composed the energetic "Fireworks" (A Celebration of Los Angeles) to conclude his first concert series with the Los Angeles Philharmonic at the Hollywood Bowl. Looking back on the experience, Goldsmith later said, "After starting to write what was to be a big fireworks extravaganza, I realized that I was writing about the city where I was born and had lived my entire life. I decided instead to make the piece a grand celebration of my childhood, growing years, my years of maturity, and all the events that climaxed with my first appearance at the Hollywood Bowl."

Legacy

Jerry Goldsmith has often been considered one of the most innovative and influential composers in the history of film music. While presenting Goldsmith with a Career Achievement Award from the Society for the Preservation of Film Music in 1993, fellow composer Henry Mancini (''Breakfast at Tiffany's'', ''The Pink Panther'') said of Goldsmith, "...he has instilled two things in his colleagues in this town. One thing he does, he keeps us honest. And the second one is he scares the hell out of us." In his review of the 1999 re-issue of the ''Star Trek: The Motion Picture'' soundtrack, Bruce Eder highly praised Goldsmith's ability, stating, "...one of the new tracks, 'Spock's Arrival,' may be the closest that Goldsmith has ever come to writing serious music in a pure Romantic idiom; this could have been the work of Rimsky-Korsakov or Stravinsky -- it's that good." In a 2001 interview, film composer Marco Beltrami (''3:10 to Yuma'', ''The Hurt Locker'') stated, "Without Jerry, film music would probably be in a different place than it is now. I think he, more than any other composer bridged the gap between the old hollywood scoring style and the modern film composer."

Personal life

Goldsmith was married twice. He was first married to Sharon Hennagin in 1950 which ended in their divorce in 1970. He later married Carol Heather in 1972 and the couple remained together until his death in 2004. His oldest son Joel Goldsmith is also a composer and collaborated with his father on the score for ''Star Trek: First Contact'', composing approximately twenty-two minutes of the score. Jerry Goldsmith also conducted Joel's theme for ''The Untouchables'' and composed the theme for the pilot ''Hollister'', scored by Joel. Goldsmith's daughter, Carrie Goldsmith, went to high school with famed ''Titanic'' composer James Horner, who also composed music for Star Trek's second and third movies: ''Star Trek II: The Wrath of Khan'' and ''Star Trek III: The Search for Spock''. Carrie Goldsmith was working on a biography of her father, though the book has been suspended indefinitely for unspecified reasons.

Goldsmith passed away at his Beverly Hills home 21 July 2004 after a battle with colon cancer at the age of 75. He is survived by his wife Carol and his children Aaron, Joel, Carrie, Ellen Edson, and Jennifer Grossman.

List of movies and series

1950s

''The Lineup'' (1954) (TV series)

''Climax!'' (1954) (TV series)

''Black Patch'' (1957)

''Face of a Fugitive'' (1959)

''City of Fear'' (1959)

''Playhouse 90'' (1959) (TV series)

''The Twilight Zone'' (1959) (TV series)

1960s

''The Gambler, the Nun, and the Radio'' (1960) (TV movie)

''Full Circle'' (1960) (TV series theme)

''Pete and Gladys'' (1960) (TV series theme)

''Studs Lonigan'' (1960)

''Adam Harding'' (1960)

''Thriller'' (1960)

''Dr. Kildare'' (1961)

''The Expendables'' (1962) (TV movie)

''The Crimebusters'' (1962)

''Lonely Are the Brave'' (1962)

''The Spiral Road'' (1962)

''Freud'' (1962)

''The List of Adrian Messenger'' (1963)

''The Stripper'' (1963)

''A Gathering of Eagles'' (1963)

''Lilies of the Field'' (1963)

''Take Her, She's Mine'' (1963)

''The Prize'' (1963)

''Seven Days in May'' (1964)

''Shock Treatment'' (1964)

''Fate Is the Hunter'' (1964)

''The Man from U.N.C.L.E.'' (1964) (TV series theme)

''Rio Conchos'' (1964)

''The Satan Bug'' (1965)

''Voyage to the Bottom of the Sea'' (1965) (TV series: 2 episodes)

''In Harm's Way'' (1965)

''To Trap a Spy'' (feature film expansion of ''The Man from U.N.C.L.E.'''s pilot) (1965)

''Von Ryan's Express'' (1965)

''Morituri'' (1965)

''The Legend of Jesse James'' (1965) (TV series theme)

''The Agony and The Ecstasy'' (1965)

''A Patch of Blue'' (1965)

''Our Man Flint'' (1966)

''The Trouble with Angels'' (1966)

''Stagecoach'' (1966)

''The Blue Max'' (1966)

''Seconds'' (1966)

''The Sand Pebbles'' (1966)

''Warning Shot'' (1967) (TV movie)

''In Like Flint'' (1967)

''The Flim-Flam Man'' (1967)

''Hour of the Gun'' (1967)

''Sebastian'' (1968)

''Planet of the Apes'' (1968)

''The Detective'' (1968)

''Bandolero!'' (1968)

''Room 222'' (1969)

''100 Rifles'' (1969)

''The Illustrated Man'' (1969)

''The Chairman'' (1969)

''Justine'' (1969)

1970s

''Patton'' (1970)

''The Ballad of Cable Hogue'' (1970)

''Prudence and the Chief'' (1970) (TV movie)

''The Brotherhood of the Bell'' (1970) (TV movie)

''Tora! Tora! Tora!'' (1970)

''The Traveling Executioner'' (1970)

''Rio Lobo'' (1970)

''A Step Out of Line'' (1971) (TV movie)

''The Mephisto Waltz'' (1971)

''Escape from the Planet of the Apes'' (1971)

''Wild Rovers'' (1971)

''The Last Run'' (1971)

''Do Not Fold, Spindle, or Mutilate'' (1971) (TV movie)

''Crosscurrent'' (1971) (TV movie)

''The Homecoming: A Christmas Story'' (1971) (basis for ''The Waltons'')

''Lights Out'' (1972) (TV movie)

''Crawlspace'' (1972) (TV movie)

''The Culpepper Cattle Co.'' (stock music only) (1972)

''The Other'' (1972)

''The Man'' (1972) (TV movie)

''Anna and the King'' (1972)

''Pursuit'' (1972) (TV movie)

''Barnaby Jones'' (1973) (theme and pilot score)

''Shamus'' (1973)

''The Waltons'' (1973)

''Hawkins on Murder'' (1973) (TV movie and series theme)

''The Red Pony'' (1973) (TV movie)

''Ace Eli and Rodger of the Skies'' (1973)

''The Going Up of David Lev'' (1973) (TV movie)

''One Little Indian'' (1973)

''The Don Is Dead'' (1973)

''Papillon'' (1973)

''Indict and Convict'' (1974) (TV movie)

''Police Story'' (1974) (theme and pilot score)

''A Tree Grows in Brooklyn'' (1974) (TV movie)

''Winter Kill'' (1974) (TV movie)

''QB VII'' (1974) (miniseries)

''Chinatown'' (1974)

''S*P*Y*S'' (1974)

''Ransom'' (1975)

''Archer'' (1975) (TV series theme)

''Breakout'' (1975)

''The Reincarnation of Peter Proud'' (1975)

''The Wind and the Lion'' (1975)

''A Girl Named Sooner'' (1975) (TV movie)

''Adams of Eagle Lake'' (1975) (TV series theme)

''Medical Story'' (1975) (TV series theme)

''Take a Hard Ride'' (1975)

''Babe'' (1975) (TV movie)

''Breakheart Pass'' (1975)

''The Hemingway Play'' (1976) (TV movie)

''The Last Hard Men'' (stock music only) (1976)

''Logan's Run'' (1976)

''The Omen'' (1976)

''High Velocity'' (1976)

''The Cassandra Crossing'' (1976)

''Twilight's Last Gleaming'' (1977)

''Islands in the Stream'' (1977)

''MacArthur'' (1977)

''Damnation Alley'' (1977)

''Contract on Cherry Street'' (1977) (TV movie)

''Coma'' (1978)

''Capricorn One'' (1978)

''Damien: Omen II'' (1978)

''The Swarm'' (1978)

''The Boys from Brazil'' (1978)

''Magic'' (1978)

''The Great Train Robbery'' (1979)

''Alien'' (1979)

''Players'' (1979)

''Star Trek: The Motion Picture'' (1979)

1980s

''Caboblanco'' (1980)

''The Salamander'' (1981)

''Omen III: The Final Conflict'' (1981)

''Masada'' (1981) (TV miniseries, first half only - second half scored by Morton Stevens)

''Outland'' (1981)

''Raggedy Man'' (1981)

''Night Crossing'' (1981)

''Poltergeist'' (1982)

''The Secret of N.I.M.H.'' (1982)

''The Challenge'' (1982)

''Inchon'' (1982)

''First Blood'' (1982)

''Psycho II'' (1983)

''Twilight Zone: The Movie'' (1983)

''Under Fire'' (1983)

''The Lonely Guy'' (1984)

''Gremlins'' (1984)

''Supergirl'' (1984)

''Runaway'' (1984)

''Baby: Secret of the Lost Legend'' (1985)

''Rambo: First Blood Part II'' (1985)

''Explorers'' (1985)

''Legend'' (1985)

''King Solomon's Mines'' (1985)

''Link'' (1986)

''Amazing Stories'' (1986) (TV series: episode "Boo!")

''Poltergeist II: The Other Side'' (1986)

''Hoosiers'' (1986)

''Star Trek: The Next Generation'' (theme only, re-arranged by Dennis McCarthy) (1987)

''Extreme Prejudice'' (1987)

''Innerspace'' (1987)

''Lionheart'' (1987)

''Rent-A-Cop'' (1988)

''Rambo III'' (1988)

''Criminal Law'' (1988)

''Alien Nation'' (rejected) (1988)

''The 'Burbs'' (1989)

''Leviathan'' (1989)

''Warlock'' (1989)

''Star Trek V: The Final Frontier'' (1989)

1990s

''The Russia House'' (1990)

''Gremlins 2: The New Batch'' (1990)

''Total Recall'' (1990)

''H.E.L.P.'' (1991) (TV series theme)

''Not Without My Daughter'' (1991)

''Sleeping with the Enemy'' (1991)

''Mom and Dad Save the World'' (1991)

''Medicine Man'' (1991)

''Basic Instinct'' (1992)

''Forever Young'' (1992)

''Mr. Baseball'' (1992)

''Gladiator'' (rejected) (1992)

''Hollister'' (1992) (TV movie theme)

''Love Field'' (1993)

''The Vanishing'' (1993)

''Dennis the Menace'' (1993)

''Rudy'' (1993)

''Six Degrees of Separation'' (1993)

''Malice'' (1993)

''Matinee'' (1993)

''Angie'' (1994)

''Bad Girls'' (1994)

''The Shadow'' (1994)

''The River Wild'' (1994)

''I.Q.'' (1994)

''Congo'' (1995)

''First Knight'' (1995)

''Star Trek: Voyager'' (1995) (TV series theme)

''Powder'' (1995)

''City Hall'' (1995)

''Executive Decision'' (1996)

''Two Days in the Valley'' (rejected) (1996)

''Chain Reaction'' (1996)

''Star Trek: First Contact'' (1996) (additional music by Joel Goldsmith)

''The Ghost and the Darkness'' (1996)

''Fierce Creatures'' (1996)

''Air Force One'' (1997) (additional music by Joel McNeely)

''L.A. Confidential'' (1997)

''The Edge'' (1997)

''Deep Rising'' (1998)

''U.S. Marshals'' (1998)

''Small Soldiers'' (1998)

''Mulan'' (1998)

''Star Trek: Insurrection'' (1998)

''The Mummy'' (1999)

''The Haunting'' (1999)

''The 13th Warrior'' (1999)

2000s

''Hollow Man'' (2000)

''Soarin' Over California'' (2001) (simulator ride)

''Along Came a Spider'' (2001)

''The Last Castle'' (2001)

''The Sum of All Fears'' (2002)

''Star Trek Nemesis'' (2002)

''Looney Tunes: Back in Action'' (2003)

''Timeline'' (rejected) (2003)

Awards and nominations

AFI

The American Film Institute respectively ranked Goldsmith's scores for ''Chinatown'' (1974) and ''Planet of the Apes'' (1968) #9 and #18 on their list of the 25 greatest film scores. He is one of only five composers to have more than one score featured in the list, including Elmer Bernstein, Bernard Herrmann, Max Steiner, and John Williams. His scores for the following films were also nominated for the list:

''Alien'' (1979)

''L.A. Confidential'' (1997)

''The Omen'' (1976)

''Papillon'' (1973)

''A Patch of Blue'' (1965)

''Patton'' (1970)

''The Sand Pebbles'' (1966)

''Star Trek: The Motion Picture'' (1979)

''The Wind and the Lion'' (1975)

Academy Awards

Goldsmith received a total of 17 Academy Award nominations, making him one of the most nominated composers in the history of the Academy Awards. Despite this Goldsmith only won the Oscar on one occasion, for his score to the 1976 film ''The Omen''. This makes Goldsmith the most nominated composer to have only won an Oscar on one occasion. |- | 1962 | ''Freud'' | Best Music Score—substantially original | |- | 1965 | ''A Patch of Blue'' | Best Music Score—substantially original | |- | 1966 | ''The Sand Pebbles'' | Best Original Music Score | |- | 1968 | ''Planet of the Apes'' | Best Original Score—for a motion picture [not a musical] | |- | 1970 | ''Patton'' | Best Original Dramatic Score | |- | 1973 | ''Papillon'' | Best Original Dramatic Score | |- | 1974 | ''Chinatown'' | Best Original Score | |- | 1975 | ''The Wind and the Lion'' | Best Original Score | |- | rowspan=2 | 1976 | ''The Omen'' | Best Original Score | |- | "Ave Satani" (from ''The Omen'') | Best Original Song | |- | 1978 | ''The Boys from Brazil'' | Best Original Score | |- | 1979 | ''Star Trek: The Motion Picture'' | Best Original Score | |- | 1982 | ''Poltergeist'' | Best Original Score | |- | 1983 | ''Under Fire'' | Best Original Score | |- | 1986 | ''Hoosiers'' | Best Original Score | |- | 1992 | ''Basic Instinct'' | Best Original Score | |- | 1997 | ''L.A. Confidential'' | Best Original Dramatic Score | |- | 1998 | ''Mulan'' (shared nomination with Matthew Wilder and David Zippel) | Best Original Musical or Comedy Score |

BAFTA Awards

|- | 1974 | ''Chinatown'' | Best Film Music | |- | 1975 | ''The Wind and the Lion'' | Best Film Music | |- | 1979 | ''Alien'' | Best Film Music | |- | 1997 | ''L.A. Confidential'' | Best Film Music |

Emmy Awards

|- | 1961 | ''Thriller'' (shared nomination with Pete Rugolo) | Outstanding Achievement in the Field of Music for Television | |- | 1966 | ''The Man From U.N.C.L.E.'' | Individual Achievements in Music | |- | 1973 | ''The Red Pony'' | Outstanding Achievement in Music Composition | |- | 1975 | ''QB VII'' (ABC Movie Special) | Outstanding Achievement in Music Composition for a Special | |- | 1976 | ''Babe'' | Outstanding Achievement in Music Composition for a Special | |- | 1981 | ''Masada'' | Outstanding Achievement in Music Composition for a Limited Series or a Special (dramatic underscore) | |- | 1995 | ''Star Trek: Voyager'' | Outstanding Main Title Theme Music |

Golden Globes

|- | 1964 | ''Seven Days in May'' | Best Original Score | |- | 1966 | ''The Sand Pebbles'' | Best Original Score | |- | 1974 | ''Chinatown'' | Best Original Score | |- | rowspan=2 | 1979 | ''Alien'' | Best Original Score | |- | ''Star Trek: The Motion Picture'' | Best Original Score | |- | 1983 | ''Under Fire'' | Best Original Score | |- | 1992 | ''Basic Instinct'' | Best Original Score | |- | 1997 | ''L.A. Confidential'' | Best Original Score | |- | 1998 | ''Mulan'' (shared nomination with Matthew Wilder and David Zippel) | Best Original Score |

Grammy Awards

|- | 1966 | ''The Man From U.N.C.L.E.'' (shared nomination with Lalo Schifrin, Morton Stevens, and Walter Scharf) | Best Original Score from a Motion Picture or Television Show | |- | 1975 | ''QB VII'' | Album of Best Original Score Written for a Motion Picture or a Television Special | |- | 1976 | ''The Wind and the Lion'' | Album of Best Original Score Written for a Motion Picture or a Television Special | |- | 1977 | ''The Omen'' | Album of Best Original Score Written for a Motion Picture or a Television Special | |- | 1980 | ''Alien'' | Best Album of Original Score Written for a Motion Picture or a Television Special | |- | 1981 | "The Slaves" (track from ''Masada'' soundtrack) | Best Instrumental Composition |

Saturn Awards

|- | 1978 | ''The Boys from Brazil'' | Best Music | |- | rowspan=2 | 1979 | ''Magic'' | Best Music | |- | ''Star Trek: The Motion Picture'' | Best Music | |- | 1984 | ''Gremlins'' | Best Music | |- | rowspan=2 | 1986 | ''Link'' | Best Music | |- | ''Poltergeist II: The Other Side'' | Best Music | |- | 1999 | ''The Mummy'' | Best Music | |- | 2000 | ''Hollow Man'' | Best Music | |- | 2003 | ''Looney Tunes: Back In Action'' | Best Music |

See also

Film scores

List of film score composers

List of Star Trek composers and music

References

Further reading

Thomas, Tony: ''Music For The Movies'' (1973)

Thomas, Tony: ''Film Score'' (1979)

Brown, Royal S.: ''Overtones And Undertones'' (1994)

Büdinger, Matthias: "A Patch Of Goldsmith". In: ''Soundtrack'' vol. 8, No. 69, p. 46-48

External links

Jerry Goldsmith Online

StarTrek.com Creative Staff Profile

Jerry Goldsmith at Soundtrackguide.net

Jerry Goldsmith at The Danish Filmmusic Society (DFS)

Jerry Goldsmith Discography at SoundtrackCollector.com

Category:1929 births Category:2004 deaths Category:American film score composers Category:American Jews Category:Best Original Music Score Academy Award winners Category:Musicians from California Category:American people of Romanian-Jewish descent Category:Deaths from colorectal cancer Category:Emmy Award winners Category:American musicians of Romanian descent Category:Jewish American composers and songwriters Category:Jewish composers and songwriters Category:People from Los Angeles, California Category:Saturn Award winners Category:University of Southern California alumni Category:Cancer deaths in California

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