Philipe Gastone, a thief, escapes from the dungeon at Aquila, sparking a manhunt. He is nearly captured when Captain Navarre befriends him. Navarre has been hunted by the Bishop's men for ... See full summary »
A demon who seeks to create eternal night by destroying the last of the unicorns and marrying a fairy princess is opposed by the forest boy Jack and his elven allies in this magical fantasy. Two different versions of this picture feature soundtracks by either Tangerine Dream or Jerry Goldsmith. Written by
Keith Loh <firstname.lastname@example.org>
Composer Jerry Goldsmith's original score was removed by the studio after the first round of test screenings. In an effort to appeal to "the kids", executives commissioned Tangerine Dream to create a replacement. Until 2002, Goldsmith's original score was heard only with the film's European release. See more »
Towards the end of the director's cut, where Lily places her ring onto Jack's finger, you can clearly see the camera's lens in the ring's silver reflection. See more »
I can only say that this film, at least the European version, succeeds into the creation of a fantasy world that very very few other films have. And NEVER has a fairytale forest been realised so vividly and fantastically as here. The production design at Pinewood Studios is truly outstanding.
Of course, this film was a considerable flop. And looking at it, it isn't too hard to see why. A film that retains some semblance of morality - in this case the most basic, good versus evil - will not play to young audiences of the late 20th century. The tone of the film is perhaps too dark for young children, the overall theme of the film perhaps too juvenile for most adults. And so Legend finds itself in a cinematic limbo, a place without a core audience.
Of course, a cult audience has evolved around this film as it does around anything that misses its major target, and so Legend is a film that is either loved or loathed. Either way, Ridley Scott's stunning visual imaginings are realised with undeniable skill.
In addition to Scott's and his team's visual successes, this film - at least for European viewers - is embellished with one of the most beautiful scores ever written. Jerry Goldsmith has, during his transition from traditional to synthesied orchestra, created one of the richest scores ever bestowed on a film.
Quite what Warner Bros thought they were doing when they removed this score and cut chunks out of the film (and re-edited what was left) I will never understand. The film would and did flop in both versions, but that doesn't necessarily mean it shouldn't have been made.
If you are knew to this film, do yourself a favour and never watch the American version, unless it is the revamped widescreen version with the Goldsmith score back in place.
A visual dream, a beautiful score, a moral tale. Is there any wonder it flopped?
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