Leonard Rosenman 9/30/55 Film Soundtrack OST LP 1977 James Dean East of Eden US

	£		20
	$		27

Here I have for sale Leonard Rosenman's Original Motion Picture Soundtrack to "9/30/55".

Leonard Rosenman ?– Richard Thomas 9/30/55 - Music From The Original Motion Picture Soundtrack

Label: MCA Records ?– MCA-2313
Format: Vinyl, LP, Album
Country: US
Released: 1977
Genre: Stage & Screen
Style: Soundtrack

Vinyl: NEAR MINT. Clean on visual inspection. Plays nicely with no sticking, jumping or skipping.
Cover and sleeve: NEAR MINT. Colours are unfaded and no tears on the sleeve. Very minor edge wear.


This album has never had a CD release!

"September 30, 1955", originally titled 9/30/55, is a 1977 film written and directed by James Bridges.

"A funny, solemn, dead-on-accurate film."

Tracklist:
A1. Newcastle, September 30, 1955   0:36
A2a. Main Title - Theme From "9-30-55" (East Of Eden)   2:19
A2b. Narration By Richard Thomas     
On The Way To Criss Cross Meadow   2:55
A3a. A. Stolen Liquor And State Police     
A3b. B. In The Jailhouse Now (Vocals – Webb Pierce)    
A3c. Prayer By The River     
A4. Hasty Retreat From Criss Cross Meadow   2:10
A5. James Dean And Eden Revisited (Orchestrated By – Leonard Rosenman)   9:39

B1. Theme From "9-30-55" (East Of Eden) – Orchestrated By – Billy Byers   3:19
The Goulish Syndrome   2:24
B2a. A. Assault On The Cemetery     
B2b. B. Making Believe (Vocals – Kitty Wells)
B2c. C. Tragedy Befalls Billie Jean     
    Life Imitates Art   9:19
B3a. A. Jimmy J. Visits Billie Jean / Narration By Richard Thomas     
B3b. B. Billie Jean's Disenchantment     
B3c. C. Jimmy J. Smashes The Mirrors     
B4. A New Rebel In Search Of A Cause   3:13


Phonographic Copyright (p) – MCA Records, Inc.
Copyright (c) – Universal City Studios, Inc.
Produced For – MCA Records
Recorded At – Filmways/Heider Recording
Remixed At – Filmways/Heider Recording
Edited At – MCA Recording Studios
Mastered At – MCA Recording Studios

Credits
Edited By [Editorial And Final Assembly] – Terry Brown
Engineer [2nd] – Ira Leslie, Mike Carber
Liner Notes – James Bridges
Mastered By – Larry Boden
Music By, Composed By, Conductor – Leonard Rosenman
Orchestrated By – Ralph Ferraro (tracks: A1 to A4, B2 to B4)
Producer – Sonny Burke
Recorded By, Remix – Grover Helsley

Notes
Recorded and remixed at Filmways/Heider Studios, Hollywood.
Editorial and final assembly at MCA Recording Studio, Universal City.
Mastered at MCA Recording Studio, Universal City.





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Story:

Set in Conway, Arkansas, the film portrays the reaction of the citizens of the town when they hear that James Dean has died in a car crash. Jimmy J. (Richard Thomas), a young man who idolizes Dean, is particularly affected.


Cast:
Richard Thomas as Jimmy J.
Susan Tyrrell as Melba Lou
Deborah Benson as Charlotte
Lisa Blount as Billie Jean
Tom Hulce as Hanley (credited as Thomas Hulce)
Dennis Quaid as Frank
Mary Kai Clark as Pat
Dennis Christopher as Eugene
Collin Wilcox as Jimmy J.'s Mother
Ben Fuhrman as Coach Haynes

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A review of the film from the NYT:

We seem to be in the grip of a whole new batch of movies that are as much meditations on the meaning of various aspects of American popular culture as they are demonstrations of that culture—"Saturday Night Fever," "American Hot Wax," "Handle With Care" now James Bridges's funny, solemn, dead-on-accurate "September 30, 1955."

The film is all about the sturm und drang precipitated on that day, nearly 23 years ago, in one small Arkansas college town when word is received that James Dean has been killed in a car crash in California.

Actually the town takes the news rather well. "After all," says one typical young woman, "he was only a movie star," But for Jimmy J. (Richard Thomas), the death means the loss of someone whose only released film, "East of Eden," defined his own amorphous personality and still unfulfilled life. For a few hours Jimmy J. goes to pieces in the manner he imagines James Dean might have, given the same more or less tacky circumstances.

Like Mr. Bridges's "The Paper Chase," the new film is full of affection and carefully observed detail of place and period. But also like the earlier film it lacks the edge of satire that can make the difference between a good film and a great one, between a film that is somehow in thrall to its sentiments instead of being in charge of them.

Mr. Bridges likes Jimmy J. so much that he sees more in him than many of the rest of us probably can. Is it because he knows that at the end of the film, after Jimmy J. goes roaring off to California on his James Dean-like motorcycle, Jimmy J. will grow up to be a writer and director of movies, like Mr. Bridges? If so, he knows more than I do.

My conviction from the film is that Jimmy J. will land in Hollywood; work at odd jobs and, eventually, settle down as the manager of a supermarket. It is thus apparent that I find the film's implications sadder and more depressing than Mr. Bridges, who, I assume, is drawing on his own life and knows what's going to happen next.

"September 30, 1955" was filmed in Arkansas and even has the look of a movie of the 50's, when film makers were starting to go on location in the interests of accuracy. It is beautifully cast and acted with self-absorbed intensity by a number of young performers who are very, very funny, especially by Deborah Benson, as the college's pretty, square, homecoming queen, a girl who loves Jimmy J. a lot, but who loves conventional behavior even more, and by Lisa Blount, as Jimmy J.'s ex-girlfriend, someone who shares his nutty adoration of James Dean and who must pay a high price to grow up.

The problem with "September 30, 1955" is that Jimmy J. never does grow up. Essentially he is a figure of comedy, a fellow desperate for direction and out of touch with reality.

Mr. Bridges and Mr. Thomas, who was John-Boy on TV's "The Waltons" for so many years, insist on treating him as a figure of magic and mystery, as if he were a poet in his own right. To model one's life on that of a movie star to the extent that Jimmy J. does suggests arrested development — though it does say something important (and scary) about the influence of what are sometimes called the popular arts.

It is the latter that makes "September 30, 1955" so interesting, as well as the ways in which Mr. Bridges recalls—comically—Jimmy J.'s attempts to relate the humdrum events of his life with those of the melodramatic movie fiction he so admires. Jimmy J. himself is a cipher to me but the movie around him is extremely stylish, even to the manner in which it takes on in modified form—the shape of juvenile-delinquent films of the 50's. Mr. Bridges is a sophisticated, knowing film maker, but I wish he had built his movie around a tougher, more knowing character we might have believed in.


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