Home > Greatest Scores of the Twentieth Century, Reviews > THE WIND AND THE LION – Jerry Goldsmith

THE WIND AND THE LION – Jerry Goldsmith


Original Review by Craig Lysy

Director John Milius was a longtime admirer of President Theodore Roosevelt. By chance he came upon an article “Pedecaris Incident” by Barbara W. Tuchman in American Heritage magazine and found a fascinating story which involved President Roosevelt sending American troops to free an American citizen kidnapped in Morocco by a Berber warlord. He was intrigued by the tale and further investigatory reading of the 1924 biography Raisuli, The Sultan of the Mountains by Rosita Forbes inspired him to proceed with a film adaptation. He had always dreamed of filming a grand sprawling epic film and believed this story gave him his opportunity. Given that this was a passion project, Milius wrote the screenplay himself and related: “I consider ‘The Wind and the Lion’ my first real movie. I approached it as a David Lean film, to do it in that style, a large epic canvas, to see if I could pull off great movements of troops. The story is even written that way. Two guys, the Raisuli and Teddy Roosevelt, yelling at each other across oceans.” However, to get MGM Studios buy in, he had to romanticize the story by changing the kidnapped victim to a beautiful woman, and casting Raisuli as one of the dashing leading men of the day. Herb Jaffe was tasked with producing the film and a budget of $4.5 million was provided. Casting was problematic with Omar Sharif turning down the part of Raisuli and Faye Dunaway withdrawing due to illness. Eventually Sean Connery was cast as Sharif Mulai Ahmed Mohammed Raisuli joined by Candice Bergen as Eden Pedecaris. Joining them would be Brian Keith as President Theodore Roosevelt and John Huston as Secretary of State John Hay.

The story is set in Morocco circa 1904 C.E. where the imperialist great powers of Germany, France and the United Kingdom compete seek to establish hegemonic spheres of influence. A rogue local warlord Mulai Ahmed er Raisuli rebels against Sultan Mulai Abd al-Aziz IV of Morocco who he believes is corrupt, and has sold out to the Europeans. In an audacious move he kidnaps American Eden Pedecaris and her two children. He then purposely provokes war and humiliation of the Sultan by issuing an outrageous ransom demand. President Roosevelt sees this as an opportunity to demonstrate America’s military power by sending the U.S. fleet to Morocco with orders to rescue the hostages. Against this backdrop Eden and the children develop respect and admiration of Raisuli, convincing the American commander to come to his aid when he is betrayed during negotiations by the Germans and Moroccans. In the end, Eden and the kids are rescued, Raisuli freed and President Roosevelt thankful, sending a letter to Raisuli, who he admires which states “I (Raisuli) like the lion must remain in my place, while you, like the wind, will never know yours.” The film was a commercial success earning a $4.7 million profit. It also received generally favorable reviews from critics, while securing two Academy Award nominations for Best Sound and Best Film Score.

Milius had always admired Jerry Goldsmith’s film scores, particularly The Blue Max (1966), which he used to temp rack the film. It was always his intention to hire him, and although Goldsmith had initial reluctance, he came about and was very happy to be attached to the project. In an interview for Radio and Television of Belgium/France in 1986 he related: “This was the first big epic score that I wrote – people charging over the desert on horses and waving swords and knives… it was fun. I like being involved with ethnic music.”

As to his research and approach to the ethnicity of the film’s setting he related: “I did a lot of research on Moroccan music. There’s not a great deal of information about it. Most of it is written in French or Spanish, because Morocco was basically Spanish. So-called Moorish or Flamenco music is really based on music that came from that portion of the world and of course the Spanish and the French were in Morocco for a long time, so I gleaned a great deal of information from the instruments and this style of music, and adapted to my way of thinking and my own melodic lines, and I developed it.” To achieve the ethnic sound he was seeking, Goldsmith augmented his orchestra with additional instruments such as a darbuka drum, a shekeray, sword stick, metal castanets, metal beaters, fire bells, snare drums, bass drums, elephant drums, field drum, tenor drums, timbales, tom-toms, bongos and cymbals.

The score is supported by a multiplicity of themes, most of which associated with Raisuli and his Berber tribesmen. The Berber Fanfare offers a resounding eight-note declaration by heraldic horns bravura, which introduces Raisuli’s Theme, or the other Berber identities to which it is intrinsically bound. The proud Raisuli Theme serves as the Sharif’s personal identity, and by extension the warriors under his command. Ferocious drums barbaro, resounding horns bellicoso, woodwinds furioso replete with shimmering metallica empower the score’s most forceful, fierce and richly ethnic theme fully emblematic of our hero. There a three secondary themes, which speak to the cultural identity of the Berbers. The string borne Berber Theme #1 is richly ethnic, vibrantly animated, and dance-like in its articulation, serving as the cultural identity of the fiercely independent native Berber tribes who inhabit the untamed Moroccan hinterland. The theme is kindred to Raisuli’s Theme and often joins in synergistic interplay. Berber Theme #2 is also dance-like in its articulation with first woodwinds animato and then strings energico dancing festivalesque over nativist drums. Berber Theme #3 emotes as a danza esotica, borne by nativist bongo rhythms, woodwinds orientali and shifting strings.

There are three primary Western identities; President Roosevelt’s Theme offers a repeating ten-note construct fully imbued with Western sensibilities that is reserved, contemplative, and I believe tinged with sadness, which I believe speaks to the weight of and isolation of his office. The juxtaposition with the Eastern sensibilities of Raisuli’s fierce theme could not be more pronounced. The American Theme offers martial snare drums, drum strikes and horns maestoso, which speak to American prestige and military power. Lastly, we have the timeless Love Theme, which offers the score’s only feminine construct and one of the finest in Goldsmith’s canon. Sumptuous strings romantico so full of yearning bring a quiver and a tear as they speak of the unspoken and unrequited love between Eden and Raisuli.

“Main Title” offers a magnificent score highlight, which supports the roll of the opening credits. In a masterstroke Goldsmith captures the film’s emotional core with a resounding introduction of the score’s main theme for the Sharif Raisuli. Drums barbaro thunder, joined by a swirling storm by woodwinds orientali and metallica. They unleash two declarations of the Berber Fanfare by horn bellicoso, which launch at 0:23 a powerful exposition of Raisuli’s Theme. The theme modulates to a more romantic rendering by sumptuous strings at 0:44. But the ferocity resumes, closing on final two declarations of the Berber Fanfare, which dissipate into nothingness as we enter the film proper where large waves crash upon the desert shoreline of Morocco. In “The Horsemen” the idyllic repose of the shoreline is shattered by the storm of Berber horseman riding forth, unstoppable. They surprise and overwhelm a French garrison just waking and unprepared. Goldsmith propels their ride texturally with a slow swelling percussive storm as they drive through the streets on Tangier on a ride of terror.

“The Horsemen Arrive” offers an astounding score highlight, which reveals music of unrivaled compositional complexity. The Berber Fanfare resounds with multiple ferocious declarations as they crash into the Pedecaris manor’s grounds. At 0:18 we segue into Berber Theme #1 propelled by strings orientali as Sir Joseph begins shooting his pistol to defend the household. Goldsmith whips his orchestra into a frenzied ethnic storm atop the theme as Sir Joseph is killed and Eden and the kids struggle to forestall the inevitable. At 1:30 horns orientali launch Berber Theme #2 as William flees into the house, watching in horror as they ransack it. A diminuendo of fear at 2:03 supports Raisuli gently coaxing Jennifer out of a cave, picking her up and placing her on his horse supported by a tender rendering of his theme. We conclude with several declarations of the Berber Fanfare by horns barbaro as Eden and the kids are all captured.

We segue into “The Raisuli” atop a gentle iteration of his theme as Eden looks upon him sitting contently with prayer beads by a fountain. At 0:42 an energetic and intensifying Berber Theme #2 supports his abortive mount and inglorious unmounting by a bucking horse, which elicits a laugh by Eden – a humiliation in Berber culture. An angry statement of his theme supports his mounting of a new stallion, transforming into a proud rendering by horns nobile as he regains composure and rides to Eden. As he approaches her, anger returns, shifting to plaintive woodwind figures at 1:44 when he slaps her and declares that he is Raisuli, and that she is never again to laugh at him. They all ride off carried by resounding declarations of the Berber Fanfare. At 2:05 we segue into “Mr. President” where we see President Roosevelt standing with his hand on a large globe over Morocco for a photo op. Goldsmith supports the moment with a circumspect rendering of Roosevelt’s Theme by woodwinds doloroso, which unfolds as a wonderful woodwind pastorale.

“Morning Camp” reveals William waking the next day in the Berber camp. Goldsmith scores the scene texturally with random sounds by bouzouki lute, a fire bell rung and immersed in water, piccolo orientali, and two bassoons. At 0:56 Eden is brought luggage filled with clothes supported by the playfully energetic Berber Theme #3 as she tries to dress while preserving modesty with all the men gawking. At 1:35 William approaches Raisuli with a sense of both awe and fear. Goldsmith supports with a warm and gentle rendering of Raisuli’s Theme, which blossoms for perhaps the score’s finest exposition as his servant assists with dressing him. At 2:40 the mood is shattered as an angry Eden refuses to be bound, defiantly mounts a horse, and orders the kids to do the same. She then angrily threatens resistance if she or the kids are harmed. The scene is scored from the perspective of the Berbers, supported by a farce by woodwinds comici and strings.

“The Riff” offers a beautiful confluence of music and cinematography. Raisuli leads the party across sweeping vistas of the Riff, a vast savannah under Raisuli’s dominion. Goldsmith supports with a string borne lyrical traveling motif. At 0:32 a solo flute tenero and then strings emotes Raisuli’s Theme as he answers Eden’s query of his name: “I am Mulai Ahmed Mohamed Raisuli, the Magnificent. Sharif of the Riffian Berbers. I am the true defender of the faithful, and the blood of the prophet runs in me, and I am but a servant of his will.”

His theme transfers to horns after repartee between the two sours the moment. In “Source” we change scenes to the Palace of the Bashaw in Tangier where American diplomats fail to persuade the him to intervene and rescue Eden and her children. Alexander Courage supports the scene ambiance with cue 15, CD-2, source music of nativist drums. We shift back to Raisuli at 1:17 in the “The Well” with a more galloping rendering of the traveling motif as they arrive at his family well. In “Mercy” Raisuli exacts justice on the four men caught stealing from his well. He beheads two, burns their ships, and dispenses mercy to the remaining two men. The Raisuli Theme is draped in grim auras and swells powerfully as Raisuli beheads the two men and burns their ships, closing with the Berber Fanfare as they ride off.

“Hot Time in the Old Town Tonight; The Battle Cry of Freedom” reveals President Roosevelt campaigning for reelection at a train station where he gives a speech promising to build the Panama Canal and to exact justice for the Moroccan kidnapping of American citizens. Courage supports the scene with cue 16, CD-2, with traditional Americana source music. “The Camp” reveals Berber riders engaging in horseback games supported by the energetic strings orientali and the festive percussion of Berber Theme #1. At 0:27 we shift to a gentle rendering of the Raisuli Theme, which supports nightfall, evening prayer and dinning. In “The Tent” Eden is granted the honor of sleeping in the Sharif’s tent. Plucked mandolin emotes Berber Theme #2 to set the ambiance. Discord enters as a prelude to Raisuli’s arrival at 0:35 carried by a gentle rendering of his theme. Shrill woodwinds support his cutting curtains with his sword to provide them privacy. Woodwinds delicato adorned with twinkling glockenspiel create a pleasant ambiance, which sours with some comedy when Raisuli lays down on a carpet two feet from her, and she pushes his sword towards him. We conclude with a gentle rendering of his theme. In the film there is a discontinuity with the album as Milius transplanted a nascent, fleeting statement of the Love Theme into the mix. I believe this was a creative error, as at this point of the story she has no romantic feeling for him.

“No Respect” reveals Raisuli receiving President Roosevelt’s succinct response to his ransom demand – “Pedecaris alive or Raisuli dead”. We open atop reserved Berber Fanfare, followed by a grim interlude as Raisuli processes the dispatch, which elicits humiliation as Eden again laughs. At 0:33 we segue powerfully into “The True Symbol” as we change scenes to Yellowstone, which Goldsmith supports with an exciting Coplandesque set piece, one of the finest expositions of the score. A diminuendo supports Roosevelt’s arrival carried by a stately rendering of his theme at 1:06 as he revels in his killing of a deer and cougar. Goldsmith’s conception was to have an extended exposition of Roosevelt’s Theme as he expressed in a soliloquy his admiration of the grizzly bear he also killed, as he believed it was a better symbol of America than the eagle. Milius however dialed the music out of the film beginning at 1:25. I believe the music would have added poignancy to the scene.

In “Seat of the Sultan” the Berber Theme #2 rendered as a danza esotica supports the American delegation’s arrival with the intention to curry favor with the Sultan by the gifting of two caged lions. At 0:41 a diminuendo supports Vice Counsel Dreighton as he begins discussion of retrieving the hostages. His efforts quickly end however when it is revealed that Raisuli is the Sultan’s uncle and he will not act against him. Now frustrated, Dreighton threatens military action, to which the Bashaw seems singularly unimpressed. “The Palace” reveals Raisuli arrival at his desert palace caried by a majestic rendering of his theme. At 0:58 the theme softens and transfers to woodwinds delicato as William discusses with Jennifer their new life, displaying his new knife and how he begins to fancy himself as a brigand. In “Roosevelt’s Birthday” he celebrates his birthday surrounded by family, friends and diplomats who sing diegetically the traditional song “For He’s a Jolly Good Fellow”, which is not provided on the album. “The Fleet’s In” reveals the arrival of the American naval squadron at the port of Tangiers supported by a stately sounding of the American Theme by snare drums and horns maestoso. “Marine Drums” offers traditional snare drums militare, which supports the carriage ride of fleet officers to the American consulate. Later, after lengthy discussions the Admiral decides on military intervention and they all toast to World War should the Europeans try to interfere, again supported by a reprise of the snare drums militare.

“The Blue People” features a daring escape by Eden and the kids from the palace, aided by a guide. As they dress and sneak out of the palace Goldsmith sow tension texturally with a violin tremolo, shimmering metallica and twinkling piano. A stinger at 0:37 supports Eden knocking out a guard with a flower pot, with a comic bassoon and kindred woodwinds supporting their trek to the courtyard. As they and their guide mount their horses a harpsichord joins the swelling tension motif, which explodes into a drum empowered the Berber Theme #2 that propels their ride to freedom. The transfer of the melodic line to flute and kindred woodwinds supports sunrise and their trek to the ocean. Another transfer to beleaguered violins supports their forging ahead by foot as the horses cannot carry them through the deep sand. At 3:07 the bleak tension motif reprises as they arrive at a bay with a large number of blue turbaned Berbers encamped. It becomes apparent that they have been betrayed as the guide rides off and the men begin closing in only to be held back by a knife wielding William. A drum strike, random drums and sound effect moaning reveal the guide’s riderless horse returning to camp. We close with menacing drum strikes and swelling tension as the men sense trouble.

“Raisuli Attacks” offers an astounding score highlight where Goldsmith’s action writing is peerless. Raisuli appears on the hilltop, supported by the first five notes of the Berber Fanfare. As a pirate prepares to strike Eden down, he is shot by Raisuli as repeating declarations of the Berber Fanfare resounds. At 0:43 strings furioso adorned with metal castanets unleash a new Berber theme that supports Eden’s fierce fighting off of the pirates with a glaive. At 1:18 the melodic line shifts to trumpets barbaro as Raisuli engages in mounted sword fights with the pirates, slaying several. A howling chord resounds at 1:33 as Raisuli impales a pirate. Yet Goldsmith is not done and unleashes a ferocious orchestral torrent as Raisuli single-handily slays the pirates one by one in a masterful display of swordsmanship and riding. At 2:03 his theme resounds on French horns eroica and strings furioso as he pursues a fleeing pirate in the surf, his victory declared by statements of the Berber Fanfare. A menacing diminuendo supports Raisuli’s glare at a now frightened Eden. At 2:37 Goldsmith informs us that it is not anger propelling Raisuli’s ride towards her as the Love theme buttressed with horns carries his progress. We climax romantically as he sweeps her off her feet and they ride off. We segue at 3:10 into “Guests of Raisuli” supported by glockenspiel chimes and a contemplative rendering of the Love Theme by solo flute delicato as Eden looks out from the palace walls. Raisuli joins her and states that they will be given the freedom of his house and will want for nothing. When she asks about her fate, he states that he does not kill women and children. Exasperated she cries out that he has been bluffing, and then starts crying, stating that she too has been bluffing too. The Love Theme on flute delicato with soft chords of disquiet support their dropping of pretenses as we see in both their eyes romantic interest.

“Troops Assembled” reveals Captain Jerome arriving by skiff in Tangier harbor to inspect the assembled regimen supported by the snare drums militare of the “Marine Drums” cue. As they begin to march, we segue into the “Marine Drums (Quick Time)” cue, which emotes at a faster tempo. The marcia militare carries them into the streets of Tangier towards the Bashaw’s Palace. Their posture is aggressive, pushing through anyone in their way. They reach the palace line up in formation and in a deadly volley gun done the Palace guards facing them. Then then charge and overwhelm the rest of the guards and take the Bashaw prisoner at sword point. Victory is celebrated with a segue into “Semper Fidelis” with the traditional John Philip Sousa march. “Love’s Old Sweet Song” Secretary Hay arrives at the shooting range carried by J.L. Molloy’s folk song, to confront President Roosevelt over his illegal war in Morocco. He is appalled to find him shooting at images of the Tsar and Kaiser, and rebuffed by Roosevelt regarding Morocco. He leaves calling his behavior, madness.

“The Legend” reveals Raisuli reminiscing about his past, his ill-tempered youth, his betrayal and imprisonment by his brother, his eventual escape from the death camp, and ascendency to become Lord of the Riff. Goldsmith supports with his story-telling with a contemplative rendering of his theme, draped in impressionistic auras, which shift to and fro among the woodwinds, culminating proudly at 2:07. A diminuendo on the theme supports his pride of becoming Lord of the Riff. At 3:13 thunderous drums bellicoso and repeated statements of the Berber Fanfare supports the arrival the next day of the Sharif of Wazan, who brings news from the Americans. In “Lord of the Riff” the Americans have made a very generous offer, Raisuli relents, and agrees to personally deliver Eden and the kids. Mandolin ushers in a proud rendering of Raisuli’s Theme on trumpets empowered with the Berber Fanfare as he and the Sharif ride out. At 0:46 the Love Theme emotes by flute delicato as Raisuli relates to the Sharif his perplexity in understanding Eden. At 1:14 Raisuli’s Theme returns for a powerful rich and extended exposition that carries their departure

“The Capture” reveals Raisuli arriving at the beachside encampment at night, which is in reality a trap where he will be ambushed. Goldsmith sow tension and unease with eerie impressionistic textural writing and fragments of the Berber Fanfare. The music crests with snare drum surges as they are greeted by the German Commander who orders them to disarm. When the Raisuli refuses hundreds of troops appear on the rooftops, forcing his acquiescence as he and his men are a kill zone. In “The Raiding Party” there is an album-film discontinuity. Goldsmith composed a stark and ambient percussion cue to support the nighttime stealth assembly Sharif’s raiding party. Milius decided to overlay the music from “Morning Camp” cue atop Goldsmith’s composition. For me both renderings worked in supporting the scene.

“Times Remembered” reveals discord between William who feels they must save Raisuli, and Eden who says it is not their job. William reminisces and we see a montage of flashbacks, which reveal his awe and admiration of the man. Goldsmith supports with a heartfelt rendering of the Love Theme by solo oboe tenero with guitar accompaniment. In “Demands”, Eden in an audacious move surprises Captain Jerome with a knife point to his throat, and orders his troops to disarm. She then demands that they honor President Roosevelt’s agreement and free Raisuli. The Captain agrees and they all move out on a casual stroll to see the German Commander. Goldsmith sow tension with ambient, random percussion with shrill piccolo shrieks, which Milius discarding all but the cue’s ending, using instead a reprise of the “Fleet’s In” cue so as to showcase the American Theme. For me the music and imagery were incongruous and a creative error by Milius. We see that they are tense, uneasy and fearful, not proud and emboldened as expressed by the American Theme.

“A Bid for Freedom” offers another action cue tour de force. The pugnacious German commander refuses to let them see Raisuli and pushes Eden to the ground, which ignites a gun battle with the Germans who vastly outnumber the Americans. The gunfire is heard by the Sharif of Wazan who leads a charge of their mounted troops. There is now a film album discontinuity. In the film the charge is empowered by horn bravura declarations of the Berber Fanfare joined with Raisuli’s Theme. The German artillery cause grievous loses, yet the Berbers ride on unstoppable, eventually overrunning the Germans. The album cue joins (opens) and syncs with the film version with Eden’s freeing the bound Raisuli, supported by a molto romantico rendering of the Love Theme. Thunderous drums propel Raisuli whose gun jams. He picks up a Berber Sword and a powerful declaration of his theme carries him into battle. A chivalrous German Captain opts not to shoot him, instead drawing his saber and charging on horseback. Horn wails, drums, trilling woodwinds animato and strings furioso support the fight. A descent motif at 1:38 supports the German falling into a large puddle. Raisuli returns the favor by not killing him, instead marking him with a blade cut on his face. Raisuli then mounts the Captain’s horse supported by a triumphant declaration of his theme at 1:46. Thunderous drums and metallica unleash the Berber Fanfare as Raisuli leads a withdrawal. At 2:09 William has fallen and Raisuli rides to him carried by the Love Theme, and sweeps a rifle from his hand. William looks up in awe as Raisuli departs carried by the repeating first phrase of the Berber Anthem. The film version ends with a diminuendo with all music after 2:52 dialed out of the film. The album version sustains the diminuendo with echoes of the Berber Fanfare.

“The Letter” reveals President Roosevelt being informed that Mrs. Pedecaris is safe and sound. He orders that Captain Jerome and all the men be awarded medals of honor. He is then presented a letter from Raisuli, which he sits down to read under his now stuffed trophy grizzly bear, which he killed in Yellowstone. In Raisuli’s voice he states; “To Theodore Roosevelt: You are like the Wind and I Like the Lion. You form the tempest, the sand stings my eyes and the ground is in parched. I roar in defiance but you do not hear. But between us there is a difference. I like the Lion must remain in my place, but you like the wind, will never know yours. (Signed) Mulai Ahmed Mohammed el Raisuli the Magnificent, Lord of the Riff, Sultan to the Berbers.”

Goldsmith supports with a contemplative rendering of Roosevelt’s Theme by strings and woodwinds, with interplay of the American Theme. Raisuli’s Theme enters at 1:41 on oboe and shimmering strings as we see Raisuli and the Sharif of Wazan as silhouettes against a fiery sunset. He states to Raisuli that they have lost everything, to which Raisuli replies, “Is there not one thing in your life that’s worth losing everything for?” The film ends with their laughter. The album cue ends with a grand horn flourish, which was dialed out of the film. The film segues directly into the “End Title” with a reprise of the astounding Main Title music. Lastly, “I Remember” offers an album highlight where we are graced by sumptuous exposition of the Love Theme as a concert piece.

I would like to commend the collaboration of Douglass Fake and Lukas Kendall for finally, after 32 years, bringing justice to Jerry Goldsmith’s masterpiece score. The score’s analog-to-digital transfer, remix and digital mastering were superb, producing exceptional audio quality and an excellent listening experience. This film at long last presented Goldsmith an epic story for him to showcase his compositional gifts on a grand canvass. His conception of the score was brilliant, with his music fully capturing the cultural identity of the Berbers, and brilliantly contrasting them with the American thematic identities. Also, the supremely romantic yearning of the unrequited love theme brought heart to the film, and in my judgment offers one of the finest in Goldsmith’s career. Compositionally, the score’s array of exotic instruments utilized, and complexity of his writing resulted in what I believe to be his finest ethnic score, fully worthy and deserving of his Academy Award nomination. In scene after scene Milius’ vision was fully realized by the exceptional confluence of storytelling, cinematography and music. I believe this score to be one of the finest in Goldsmith’s canon, and a sparkling gem of the Silver Age. I highly recommend you purchase this truly exceptional two CD album for your collection, as it offers an enduring testament to Goldsmith’s genius.

For those of you unfamiliar with the score, I have embedded a YouTube link to a 15 minute suite: https://www.youtube.com/watch?v=uGsK9RuNfxw

Buy the Wind and the Lion soundtrack from the Movie Music UK Store

Track Listing:

  • Main Title (1:27)
  • The Horsemen (1:16)
  • The Horsemen Arrive (The Horsemen) (3:08)
  • The Raisuli/Mr. President (3:00)
  • Morning Camp (3:17)
  • The Riff/The Well (2:27)
  • Mercy (1:23)
  • The Camp (1:41)
  • The Tent (1:45)
  • No Respect/The True Symbol (3:37)
  • Seat of the Sultan (1:38)
  • The Palace (2:24)
  • The Fleet’s In (1:40)
  • The Blue People (4:57)
  • Raisuli Attacks/Guests of Raisuli (True Feelings) (5:38)
  • The Legend (3:58)
  • Lord of the Riff (2:38)
  • The Capture (2:08)
  • The Raiding Party (1:25)
  • Times Remembered (0:53)
  • Demands (1:57)
  • A Bid for Freedom (Something of Value) (3:49)
  • The Letter (2:30)
  • End Title (1:27)
  • I Remember (Love Theme from The Wind and the Lion) (2:40)
  • Main Title (1:26) – Original Album Presentation
  • I Remember (Love Theme from The Wind and the Lion) (2:40) – Original Album Presentation
  • The Horsemen (3:08) – Original Album Presentation
  • True Feelings (2:29) – Original Album Presentation
  • The Raisuli (2:09) – Original Album Presentation
  • The True Symbol (2:31) – Original Album Presentation
  • Raisuli Attacks (3:12) – Original Album Presentation
  • Lord of the Riff (2:38) – Original Album Presentation
  • The Tent (1:44) – Original Album Presentation
  • The Palace (2:24) – Original Album Presentation
  • The Legend (3:56) – Original Album Presentation
  • Morning Camp (3:16) – Original Album Presentation
  • The Letter (2:30) – Original Album Presentation
  • Something of Value (3:48) – Original Album Presentation
  • Source (Arab) (arranged by Alexander Courage) (3:22) – Source Music
  • Hot Time in the Old Town Tonight/The Battle Cry of Freedom (written by T. Metz, Joe Hayden, and G. Root, arranged by Alexander Courage) (1:22) – Source Music
  • Come Where My Love Lies Dreaming (written by Stephen Foster, arranged by Alexander Courage) (2:24) – Source Music
  • Nelly Boy (written by Stephen Foster, arranged by Alexander Courage) (1:56) – Source Music
  • Love’s Old Sweet Song (written by J. L. Molloy, arranged by Alexander Courage) (1:59) – Source Music
  • Sweet Betsy From Pike & Old Paint (traditional , arranged by Alexander Courage) (2:12) – Source Music
  • Marine Drums (arranged by Alexander Courage) (3:01) – Source Music
  • Marine Drums (Double Time) (arranged by Alexander Courage) (2:03) – Source Music
  • Marine Drums (Double Time) (arranged by Alexander Courage) (0:39) – Source Music
  • Marine Drums (Quick Time) (arranged by Alexander Courage) (0:33) – Source Music
  • Semper Fidelis (written by John Philip Sousa, arranged by Alexander Courage) (0:50) – Source Music

Running Time: 120 minutes 55 seconds

Intrada MAF-7101 (1975/2007)

Music composed and conducted by Jerry Goldsmith. Performed by the Graunke Symphony Orchestra. Orchestrations by Arthur Morton and Alexander Courage. Recorded and mixed by XXXX. Edited by XXXX. Score produced by Jerry Goldsmith. Album produced by Douglass Fake and Lukas Kendall.

  1. Adrien Malemprez
    March 8, 2021 at 6:58 am

    Hello. Thanks for the review.

    I’m studying Jerry Goldsmith’s works and I’m wondering where did you find the interview with the Radio and Television of Belgium/France (RTBF?) in 1986.


    Adrien Malemprez

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