This soundtrack is one of the best for the entire series of films about the Aliens. The composer does not look for easy ways, develops a theme from a triton, and then skillfully transposes it along the scales. Most of all, I managed to create a melodic, but at the same time mysterious, alien and frightening atmosphere with the help of simple acoustic instruments, without using any synthesizers. This is simply brilliant. All subsequent soundtracks no longer have that charm and atmosphere as a matter of Jerry Goldsmith’s creation.
Jerry Goldsmith finally received acknowledgement from Ridley Scott when this theme got included in the soundtrack of Alien:Covenant - along with the famous echo-flute motif :)
jerry goldsmith is just amazing!! and everyone who plays their instruments in these orchestras just blow me away with their talent!! a massive thank you to all of you!! the batman.
Этот саундтрек один из лучших для всей серии фильмов про ЧУЖИХ. Композитор не ищет легких путей, развивает тему из тритона, и затем искуссно транспонирует ее по ладам. Больше всего нравится как не используя всяких синтезаторов удалось с помощью простых акустических инструментов симфонического оркестра создать мелодическую, но в то же время загадочную, инопланетную и пугающую атмосферу. Это просто гениально. Все последующие саунтдтреки уже не имеют того шарма и атмосферности как дело рук творения Джери Голдсмита.
Wow, this is so wonderful music, I didn't really realize how much this piece of Music was so great until I hear it here... had tears of emotions while listening to this, loud...
I know the use of music in 'Alien' is very controversial (I'm divided about it myself and I've been a Goldsmith fan since the late 1970's). I do think that Goldsmith managed to ground the film emotionally with his music. The strings and brass are remarkable and the whole sense of the music is exceptional. The re-worked opening cue does make you realise this film is going to be more intense than anything you've seen before. That whole period (1975 to 1985), just taking Williams and Goldsmith's scores alone was a great period for film music.
Goldsmith . So under rated and yet certainly one of the great music composers for film of all time. I wonder how long I will have to wait until Hans Zimmer "writes" some of Jerry's music as his own. He's doing it right now to Morricone and the man is still writing scores. My faves: Herrmann, Williams, Goldsmith, Morricone, Rosza , well I got about 50 guys in # 6. Sorry Hans, I only consider composers not plagiarists.
Hans is an innovator. So shares that in common with Jerry Goldsmith. But to me Jerry is the greatest versatile film composer always trying to go the least predictaable route with the scoring.
The Goldsmith score that he wrote for the opener, then had to do a rewrite since it wasn't scary enough. He didn't want to give it away. But, the nice thing is they use this score in parts of the film..landing, take off, ending credits, etc...as well as after the revised alien opening score. Study John Williams and Jerry Goldsmith for movie scores and you will never sound like the crappy synth weird sound single note crap, you will sound like a composer.
Are you writing about big corporations from the military industrial complex who are rearing alien monsters that might end up destroying the entire world in order to fight their enemies? Sounds a lot like a weapon humans already possess, where they try to tame the tinyest of monsters, the atoms, just to be able to scare the enemy into not attacking. I think Alien is a much better representation for it, though...
This is very good music for a very good film (the sequels were far more predictable Hollywood fare). The music evokes oppressive loneliness in quite striking way.
+Adrian Edwards The original was excellent but if Ellen Ripley proved one thing, it was that a lone human could overcome the terror and outsmart a single Alien. Not just any human of course, we're talking Flt. Lt. Ellen Ripley; but still... So anyways, after the original, the next logical progression was to throw more into the mix. Enter Aliens. The second instalment included great insight into a species that was little understood in the first film and the increase in number as well as type, (Drones, Warriors & Queen in Aliens) represented an almost entirely new threat. One was bad enough but there we're hundreds in the second. Hadley's Hope was stated to home 60-70 families and there was an alien for each and every colonist. Or there about. Its natural to assume that there will have been a random number of colonists who managed to mount a resistance (evidenced by the carnage on display when the Marines first unlocked the main gate to the complex... Blast damage from seismic survey charges and so forth...) and who would have been wiped out by the Aliens within' the first week before implantation could begin. Obviously as a result, Aliens would be hard to top so for Alien 3, the chosen course was to return to what they knew would work... A bunch of people, poorly equipped and unprepared dealing with a single Alien; very much like the first film but with a colourful assortment of double-y chromo boys thrown into the mix. Number 3 was good for the greater insights into the nature of Weyland-Utani. If there was any doubt about the goals of the company in Aliens, Alien 3 wiped those away and left the true image of a greedy corporation hell bent on profits and dominance at any cost. As for the final one, it's up in the air I'll admit despite the fact that I thoroughly enjoyed the film. Then again, to make the film a success, it needed Ellen Ripley at the helm. Any other character could have ruined the franchise for good so naturally there had to be a few underhanded shenanigans in order to resurrect her after her death in number 3. The way the story progresses 200 years in the future though made sense. The company would have naturally gone over the entire prison and forge works with a fine tooth comb immediately after the incident in the lead works and there we're plenty of scenes where Ellen could have left her DNA and being that the Alien was in her, mixing with her DNA before the crash on Fiorina 161, it's not beyond the realms of possibility that they would have been able to find traces of her DNA and thus the aliens DNA.
This is utterly beautiful and in fact.... far too beautiful for that movie. I think Scott was right - this is overwhelmingly powerful and emotional, I think it's up there with the greatest works by Ravel. There's enough material in this theme to stretch out into an entire symphony all by itself. It's WASTED on a movie. ANY movie.
Wat I am not 100% but I think this was the soundtrack to the segment where the Nostromo arrived at the moon and separated from the cargo vessel prior to landing.
Simply awful conducting. Hand gestures are all wrong. Where's the baton? Imagine what Essa Pekka-Salonen could have done with this iconic Goldsmith cue?
A score of such shade and shadow, one of Maestro Goldsmith`s greatest soundtracks.
A score that doesn't get half as much love as it should.
Jerry Goldsmith is Genius!
This soundtrack is one of the best for the entire series of films about the Aliens. The composer does not look for easy ways, develops a theme from a triton, and then skillfully transposes it along the scales. Most of all, I managed to create a melodic, but at the same time mysterious, alien and frightening atmosphere with the help of simple acoustic instruments, without using any synthesizers. This is simply brilliant.
All subsequent soundtracks no longer have that charm and atmosphere as a matter of Jerry Goldsmith’s creation.
Jerry Goldsmith finally received acknowledgement from Ridley Scott when this theme got included in the soundtrack of Alien:Covenant - along with the famous echo-flute motif :)
While this theme was deemed too romantic and traditional for the title sequence of the film, I don't understand why it wasn't used in the end credits.
One the best songs from Alien (1979)
This is an insane film score. Jerry Goldsmith rules. The sounds that Arthur Morton orchestrated out of the orchestra were downright terrifying.
Great Skryabin influences! Jerry is one of my favorite composers ever
jerry goldsmith is just amazing!! and everyone who plays their instruments in these orchestras just blow me away with their talent!! a massive thank you to all of you!! the batman.
*do you trust him?*
Terrific ending with the timpanist last stroke of the drum perfectly placed
Orchestral music can be so damn powerful
I believe it's called a symphony when brass and orchestra instruments are combined. I may be wrong.
Этот саундтрек один из лучших для всей серии фильмов про ЧУЖИХ. Композитор не ищет легких путей, развивает тему из тритона, и затем искуссно транспонирует ее по ладам. Больше всего нравится как не используя всяких синтезаторов удалось с помощью простых акустических инструментов симфонического оркестра создать мелодическую, но в то же время загадочную, инопланетную и пугающую атмосферу. Это просто гениально.
Все последующие саунтдтреки уже не имеют того шарма и атмосферности как дело рук творения Джери Голдсмита.
Just superb! 😎
Wow, this is so wonderful music, I didn't really realize how much this piece of Music was so great until I hear it here... had tears of emotions while listening to this, loud...
This is a long time favorite of mine! Thank you for this wonderful video!
Loved this since I first saw the movie and the score , typical Goldsmith , hammers it home in every emotional level.
I know the use of music in 'Alien' is very controversial (I'm divided about it myself and I've been a Goldsmith fan since the late 1970's). I do think that Goldsmith managed to ground the film emotionally with his music. The strings and brass are remarkable and the whole sense of the music is exceptional. The re-worked opening cue does make you realise this film is going to be more intense than anything you've seen before. That whole period (1975 to 1985), just taking Williams and Goldsmith's scores alone was a great period for film music.
Chair de poule ! Grande musique pour un chef d'oeuvre de la science fiction !
fantastic...
Goldsmith . So under rated and yet certainly one of the great music composers for film of all time. I wonder how long I will have to wait until Hans Zimmer "writes" some of Jerry's music as his own. He's doing it right now to Morricone and the man is still writing scores. My faves: Herrmann, Williams, Goldsmith, Morricone, Rosza , well I got about 50 guys in # 6. Sorry Hans, I only consider composers not plagiarists.
Hans is an innovator. So shares that in common with Jerry Goldsmith. But to me Jerry is the greatest versatile film composer always trying to go the least predictaable route with the scoring.
0:50 dude....that part is my favorite
Paloma Pseudoautista Mine too. It gives me goosebumps! A wonderful piece of music in its own right and a great movie soundtrack.
Haunting. Sublime. Superb.
I hear so much emotion in this music now, years after I saw the movie. Now it sounds to me like a requiem for the USA.
Well, yes. The 'chief' Alien is President of the USA.
Don't be so fucking dramatic.
Why? Because of the horn?
Que barbaridad!
The Goldsmith score that he wrote for the opener, then had to do a rewrite since it wasn't scary enough. He didn't want to give it away. But, the nice thing is they use this score in parts of the film..landing, take off, ending credits, etc...as well as after the revised alien opening score. Study John Williams and Jerry Goldsmith for movie scores and you will never sound like the crappy synth weird sound single note crap, you will sound like a composer.
how right you are!
Don't forget John Barry, top three choices of composers, they where the best, sadly lost two, Mr Williams still with us.
This on repeat whilst I'm writing
Are you writing about big corporations from the military industrial complex who are rearing alien monsters that might end up destroying the entire world in order to fight their enemies? Sounds a lot like a weapon humans already possess, where they try to tame the tinyest of monsters, the atoms, just to be able to scare the enemy into not attacking. I think Alien is a much better representation for it, though...
This is very good music for a very good film (the sequels were far more predictable Hollywood fare). The music evokes oppressive loneliness in quite striking way.
+Adrian Edwards The original was excellent but if Ellen Ripley proved one thing, it was that a lone human could overcome the terror and outsmart a single Alien. Not just any human of course, we're talking Flt. Lt. Ellen Ripley; but still... So anyways, after the original, the next logical progression was to throw more into the mix. Enter Aliens. The second instalment included great insight into a species that was little understood in the first film and the increase in number as well as type, (Drones, Warriors & Queen in Aliens) represented an almost entirely new threat. One was bad enough but there we're hundreds in the second. Hadley's Hope was stated to home 60-70 families and there was an alien for each and every colonist. Or there about. Its natural to assume that there will have been a random number of colonists who managed to mount a resistance (evidenced by the carnage on display when the Marines first unlocked the main gate to the complex... Blast damage from seismic survey charges and so forth...) and who would have been wiped out by the Aliens within' the first week before implantation could begin. Obviously as a result, Aliens would be hard to top so for Alien 3, the chosen course was to return to what they knew would work... A bunch of people, poorly equipped and unprepared dealing with a single Alien; very much like the first film but with a colourful assortment of double-y chromo boys thrown into the mix. Number 3 was good for the greater insights into the nature of Weyland-Utani. If there was any doubt about the goals of the company in Aliens, Alien 3 wiped those away and left the true image of a greedy corporation hell bent on profits and dominance at any cost.
As for the final one, it's up in the air I'll admit despite the fact that I thoroughly enjoyed the film. Then again, to make the film a success, it needed Ellen Ripley at the helm. Any other character could have ruined the franchise for good so naturally there had to be a few underhanded shenanigans in order to resurrect her after her death in number 3. The way the story progresses 200 years in the future though made sense. The company would have naturally gone over the entire prison and forge works with a fine tooth comb immediately after the incident in the lead works and there we're plenty of scenes where Ellen could have left her DNA and being that the Alien was in her, mixing with her DNA before the crash on Fiorina 161, it's not beyond the realms of possibility that they would have been able to find traces of her DNA and thus the aliens DNA.
True. ALIEN stands head and shoulders above it's sequels, in no small part due to Goldsmith's haunting and menacing score.
Nice analysis, made me want to sink my nose in Alien lore.
Brilliant
wowowowowowowowowoowowoowowowoowowowoowowowow love this
that opening chord......all minor seventh intervals......spooky
Its a hairs going up on the arm, moment....
❤
That horn at 1:54
This is utterly beautiful and in fact.... far too beautiful for that movie. I think Scott was right - this is overwhelmingly powerful and emotional, I think it's up there with the greatest works by Ravel. There's enough material in this theme to stretch out into an entire symphony all by itself. It's WASTED on a movie. ANY movie.
This sounds like the end credits outro music. Anyone confirm?
Wat I am not 100% but I think this was the soundtrack to the segment where the Nostromo arrived at the moon and separated from the cargo vessel prior to landing.
100% right, i know this very well
was also used in Alien Resurrection
CYMANITE The scene was absolutely breathtaking and this score made it even more so.
all 3 original movie score's are completely magical unlike anything ever created
Great theme.. but the right decision was made for the movie to reject this
at 3rd minute pure C. Debussy
Make this sound like a Disney cartoon ... the original one is far more grotesque and raw/dark .....
What are you talking about? This is the End Credits.
Jerry Goldsmith's score is great but this is meh.
Simply awful conducting. Hand gestures are all wrong. Where's the baton? Imagine what Essa Pekka-Salonen could have done with this iconic Goldsmith cue?
Blow me - he was fine. Essa my ass.
I have seen worse, some of the greatest conductors in history didnt use batons, Stokowski for example.