I attended a film music concert at the Birmingham Symphony Hall, on 29th December, 2007. The last time I visited this venue was in June 1998 when John Williams conducted the 'London Symphony Orchestra'. This time, Paul Bateman conducted the 'London Concert Orchestra'. We sat in the stalls - right at the front! I couldn't see the whole orchestra in motion, which ruins the effect, because seeing them play in unison is beautiful. But, I guess the only real advantage of sitting there is to enjoy watching the beautiful violinists play. Ever noticed that they are always hot - like your dentist's assistant?

Right. Anyway, they played a variety of classics - here's a run through (apologies for my opinions on the films):

James Bond theme
This was much more string biased than what is normally played, and it wouldn't have been out of place in a 1980's Bond feature. I thought it was an amazing rendition, easily one of my favourite versions I've heard live and on re-recordings. Wish I had my MP3 recorder with me.

Goldfinger
Perhaps the most overrated Bond film. Ted Moore's photography is lifeless and Hamilton's direction is pedestrian, at times. A good portion of the 2nd act is Bond observing which makes it incredibly dull. Connery's Bond opus is From Russia with Love, in my opinion. They played the main titles.

Honor Blackman joins the stage, and shares anecdotes about her time on the film. She introduces the various themes throughout the night.

Indiana Jones
This was a real surprise; usually they play the 'Indiana Jones theme' coupled with 'Marion's theme', but this time they played the 'End Title' from Temple Of Doom! I thought it was an excellent performance - a faithful rendition. A genuine surprise.

633 Squadron
My favourite WW2 theme - it was a knockout performance. It's a cue that requires punch and the orchestra delivered it in spades. One of the highlights of the night. Don't care much for the film, though.

E.T.
They played the 'Flying theme', it was beautiful and touching. Perhaps this is my favourite Speilberg film today. Tomorrow, it's something else, like Close Encounters, and then in May 2008 it might be Indiana Jones IV…
…fingers crossed, eh?

Murder on the Orient Express
I've haven't seen the picture but, upon hearing the music, I have to see it now!

Born Free
Haven't seen it. Don't own the score, either.

Out of Africa
I've only seen the film once, but I remember enjoying it. Perhaps it's too melancholy for today's audience. John Barry's score is gorgeous. I'm a huge fan of Barry's romantic (lush) sound, from Moonraker onwards.

The Big Country
Wow! I just love the cyclonic strings. Classic western music, Moross will always be remembered for this. Paul Bateman conducted with Moross's baton, handed down to him by the daughter of Jerome. You can buy the original score (limited edition) - well worth the money.

The Magnificent Seven
A knockout performance which included the triumphant passage from the cue: "After The Brawl".

Lawrence of Arabia
This is probably my favourite film of all time. Lean is incredible. He rose through the ranks: he's been a writer, editor, producer and director. He learnt his trade with smaller films and gradually built up to the epic stories which he's primarily famous for. Lean, in my opinion, shot the definitive Dickens, Oliver Twist and Great Expectations - no one else has come close, not even Roman Polanski. Never cared too much for Noel Coward's flippant Blithe Spirit, I think the actors (Margaret Rutherford is incredible as the eccentric Madame Arcati) and Lean saved that film. Ryan's Daughter was unnecessary and too long, but he got back on track with HBO's Passage to India. People argue that Citizen Kane is the greatest film of all time, but look no further than Lawrence of Arabia, or any of Lean's early work. Lean was a master storyteller - more so than Orson Welles, even!
They played the overture. I thought the opening with the percussion was muddled especially the transition to the strings. Still, it was wonderful to hear it live.

Pirates of the Caribbean
I think the first Pirates was a good Hollywood blockbuster, but the second one is farcical betraying the rules set-up in the first one, so I avoided the third one. I don't really like the score (Pirates 1). It's typical Disney, faceless music. It's just Klaus doing an impersonation of Hans Zimmer. Out of the school of Bruckheimer, in the 1990s, only Mark Mancina really proved his worth and developed the Faltermeyer sound further, fusing it with reggae. I'd seriously check out the limited edition Bad Boys release. It's an exceptional score.

Gladiator
Hans Zimmer's music is a guilty pleasure. The score is derivative, but I go crazy when I hear the frenetic battle music. Cues like "Battlefield" and "Barbarian Horde" are mind-blowing. It was an incredible experience to hear the battle music in a live setting. This, Crimson Tide and parts of Batman Begins are the only scores I really like of Hans.

Harry Potter
Can't say I'm a huge fan of the series. The first one is dull and overlong, the 2nd one is better in terms of story, the 3rd one is visually interesting (I like its darker look) and the fourth one is the most compelling; I haven't seen the fifth one yet. The problem with the "Potter films" is that it lacks importance - I don't feel compelled by what's happening. Even worse is the villains: they are not threatening enough. There's no sense of dripping dread. I think they are too close to the books. "Hedwig's theme" was played.

Schindler's List
I like the film, but not much as Polanksi's The Pianist which is incredible - he lived through this holocaust which adds a layer of authenticity. It's a wonderful, thoughtful score by Williams without ever being emotionally manipulative.

The Godfather
I didn't quite like this because there was too much emphasis on the pop sound. It was a disco impersonation, and it didn't seem right. I much prefer the classical waltz.

Star Trek: The Motion Picture
I've always liked this cerebral entry, and I could never understand why people never understood the meaning of "V'Ger" in relation to the themes of the picture. Sure it's missing an emotional touch, but one thing this film has over the Meyer entries, it looks like a "Motion Picture". Meyer was deliberately going for the television look; he went back to the formula that made Star Trek such a hit. I'd love to hear Horner's Star Trek theme live, I prefer the nautical theme to Jerry's triumphant theme, but only just! Anyway, the overture was played. Unfortunately, Jerry wasn't represented very well on the night, just this one overture.

Star Wars
It begins with the main title leading into the introduction of the Star Destroyer before bounding into the 'End Titles'. I wish this concert suite was included on the Star Wars SE soundtrack release. Considering the number of memorable cues in the Star Wars films, I was a little disappointed that they played the concert version of the Star Wars theme and not something else.

Superman
The night ended with the Superman theme. I finally got to hear it live!
It was played very well; the orchestra definitely got a kick out of playing it. I've never been a fan of the concert version. My favourite version of the theme is the "End Title" as heard in the film with the timpani roll: up, up and away.

Some orchestras have trouble playing the energetic film music cues, especially when there is a sudden shift, say, like a major key change coupled with transitions to and from strings to percussion. In a controlled environment, usually, the playing is flawless, but played live, with not much practice, it sticks out like a sore thumb. On the rare occasion when I purchase re-recordings I don't expect note-for-note replications -- I look for the spirit of the author's intent and, I think, for the most part, the London Concert Orchestra played the music extremely well. Bravo!