Jerry Goldsmith’s "Justine ジュスチーヌ" – A Wild Ride Through Sound and Screen
Alright, buckle up. Jerry Goldsmith’s Justine ジュスチーヌ is not your run-of-the-mill soundtrack album. This thing hits hard, man. Like a punch to the gut but in a good way. It’s got that Stage & Screen vibe, dripping with dramatic flair and cinematic gold. Released under Monument in Japan, it’s one of those hidden gems you stumble upon when you’re deep-diving into obscure scores—and holy crap, does this deliver.
First off, let’s talk about the opening track: “Theme From ‘Justine’ = ジュスチーヌ(愛のテーマ)”. Boom. Right outta the gate, Goldsmith throws down this lush, sweeping theme that feels like falling in love on a stormy night. The orchestration? Insane. Strings pull at your soul while brass sneaks in like some secret agent of emotion. You can almost picture the movie scenes in your head—dramatic close-ups, tears streaming down faces, all that jazz. But here’s the kicker—it sticks with you. Not just because it's pretty (which it is), but because there’s an edge to it, something raw and untamed. It’s romantic without being sappy, intense without overdoing it. That balance? Pure genius.
Now onto “Carnival Happening = カーニヴァル・ハップニング”, which flips the script completely. If the first track was smooth silk, this one’s jagged steel. Imagine chaos bottled up in music form—a carnival gone wild, neon lights flickering, people screaming their heads off. The percussion slaps so hard, it might as well be its own character. And the brass? Oh, sweet Jesus, the brass could wake the dead. There’s this relentless energy driving the whole piece forward, making you feel like you’re running from something or maybe chasing after it. Either way, your heart races. This isn’t background noise; it’s front-and-center insanity, and I mean that in the best possible way.
What makes this album stand out is how damn versatile it is. One moment you’re floating through dreamy melodies, and the next you’re thrown into a mosh pit of sound. Goldsmith doesn’t just compose—he commands every note, every instrument. And props to him for conducting too, because whoever thought “Yeah, let’s give this guy even more control” clearly knew what they were doing.
But here’s the twist—why the hell isn’t this album more talked about? Seriously. In a world where everyone’s hyping up Hans Zimmer or John Williams, Goldsmith’s work often gets overlooked. Maybe it’s the Japanese release or the niche genre, but screw that. Albums like Justine ジュスチーヌ deserve recognition. They remind us that music doesn’t have to fit neatly into boxes to be incredible. Sometimes, it thrives in the messy, unpredictable spaces between.
So yeah, if you’re looking for something that’ll grab you by the collar and shake you till your teeth rattle, check this out. Just don’t blame me if you start hearing “Carnival Happening” in your nightmares—or daydreams. Whatever.
