Synthesized Accompaniment

I watched The Long Good Friday again about a month ago for the first time in years. I had forgotten how much movie music from the late seventies and early eighties relied so heavily upon pop-oriented synthesizer sounds, regardless of whether they fit the mood of what was on the screen or not. Listening to the opening and closing themes of The Long Good Friday, it seemed downright odd to choose such music for a gangster film until I thought of other eighties movies, like To Live and Die in L.A. and Manhunter, that also have heavy-handed synthesizer pop loudly ushering in the closing credits, despite wrapping up tragic loss or disturbing violence just moments before.

The funny thing is, watching the closing scene (several times over, no less), all I could think was, "Thank God!" I mean, seriously, there comes a time when you're just thrilled that every goddamn score under the sun in the late seventies/early eighties didn't sound like another John Williams rip-off.  The pop music may sound odd given what it's playing behind on the screen but it's such a signifier of its time and place, I wouldn't change it for the world.

Oh yeah, and this guy?

Damn!  Honestly.  Just, damn!