March 09, 2024

TOP 100 HENRY MANCINI FILMS: #50-41

#50-41 of the Top 100 Henry Mancini Films

Top 50! Can there be good here with titles in the mix that end in an exclamation point or a question mark? Only one way to find out: read on.

#50: Sunflower (1970)

Love and war, Italian style. Sunflower (1970) is pretty much everything you’d want from a foreign film: beautiful people, alien landscape, strange scenarios, and clever compositions. You leave the film with a newfound lust for life.

#49: Lifeforce (1985)

After the unbelievable success of the original Star Wars (1977) soundtrack in sales, industry accolades, and the works – 1980s Henry Mancini thought it was time for him to capture a sci-fi champion of his own. One that would stand the test of time and be remembered as a great work. After all, if the pianist of Peter Gunn, John Williams, could achieve such greatness – surely Henry Mancini, the man who practically invented consumer hunger for soundtrack purchasing, could craft a highly sellable sci-fi epic OST? Instead, he got Lifeforce (1985). Before the film was even complete, Mancini was over it. Re-edit after re-edit minimized Mancini’s material and weird music from random sources filled in the gaps. Lifeforce (1985) isn't Star Wars. It's sci-fi/horror that's more akin to a “Skinemax” after-midnight special with soft-porn-level sex scenes and (for the time) gruesome gore. Yet, the film ranks high – most likely due to a cult classic status and an impressive cast including Patrick Stewart, narrator John Larroquette, and the very-easy-on-the-eyes Mathilda May (who appears naked through most of the film). Frustrated with the picture's process and end result, Mancini called Lifeforce (1985): “the biggest fiasco that I’ve ever encountered.”

#48: That's Life! (1986)

By now, you may have sensed that I have a love/hate moviegoer relationship with Blake Edwards. I will say, take it or leave it, he’s an artist. On the surface, That’s Life! (1986) is another film about rich white people complaining about being rich white people. Vulgarity runs rampant throughout the picture and the movie is kept afloat by the genius acting of Jack Lemmon. Yet, when you least expect it, tenderness and humanity creep into the picture to point out that we’re all here to help each other. Twisted as it may be, it's a work of art.

#47: Visions of Eight (1973)

Visions of Eight (1973) is a wonderful, funny, and sad look at Munich’s 1972 Olympics – artfully told on all levels. This very well may be Mancini’s greatest soundtrack work for its artistry. Three of his eleven tracks on this soundtrack are simply amazing: “Pretty Girls”, “Theme for the Losers”, and “The Race.”

#46: Darling Lili (1970)

One of Julie Andrews's “rebranding” movies with Director Edwards, Darling Lili (1970) is perhaps the most enjoyable one due to stellar cinematography by Russell Harlan and superb WWI aerial dogfights. Mancini’s marches outshine Andrews’ musical numbers in the soundtrack. No cap.

#45: Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953)

While Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953) is a basic mess of a movie with poor acting and somewhat cheap production values, the film has Halloween-viewing value and is lighthearted and silly enough to enjoy. This was another film scored during Mancini’s self-proclaimed graduate school years at Universal. Read more about it in his bio written by yours truly.

#44: What Did You Do in the War, Daddy? (1966)

What Did You Do in the War, Daddy? (1966) is one of the aforementioned film titles that ends with a punctuation mark. I wanted to like What Did You Do in the War, Daddy? (1966). Really. It’s a great idea that’s only partially realized. That said, if you are confused as to why this film scored so high, please check out The System we used to rank the Henry Mancini films. I did my best to combine critics and fans' opinions on the films for their mathematical placement on the list.

#43: Abbott and Costello Meet the Mummy (1955)

This is the last of the Abbott and Costello Meet ___________ monster movies and their second to last film together. Not gonna lie: this is a hard watch. Abbott and Costello Meet the Mummy (1955) is low budget and it shows. The music is even so-so. But the nostalgia factor of this film being Abbott and Costello’s last iteration in this formula and its harmless Halloween charm make it a Top 50 contender here.

#42: Dear Heart (1964)

In my own personal Top 20 Henry Mancini films, Dear Heart (1964) is #3. I simply love this movie. The picture is filled with all kinds of silly complications, awkward moments, super-duper one-liners, and the overwhelming need for real love which is messy and all over the place – not contrived, well-orchestrated, and proper as any society dictates. Glenn Ford and Geraldine Page are simply perfect and Mancini’s theme makes me teary-eyed any time I let it.

#41: The Great Waldo Pepper (1975)

The Great Waldo Pepper (1975) is such a great movie! It has the perfect combo of aerial stunts, ironic one-liners, romance mixed with modernity, and the right amount of Redford charm. The script is tight and the performances are where they need to be. The music will make you want to get up and march around the room.

And with next week’s post, we move into the Top 40. More surprising movie placement happens including a legendary film that I’m personally shocked didn’t score in the Top 10…but that’s life (a figure of speech, not the Mancini film listed here)! I hope you join us again next week. Agree with the list so far? Disagree? Let us know with a comment below.

* Thanks to David P. Ramos for that impressive sketch of Hank hard at work, Scott Derby for the iconic Digging Star Wars logo, and Josh Taback for the much-needed art direction of the overall Top 100 “square art” layout.

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