As for the film, Petulia, it’s worth a look, although it is terribly dated in style and content. Getting past those components, it is an interesting drama; Christie, Shirley Knight, and George C. Scott (the only performance in which he puts aside his bluster and acting school intoning) are terrific.

The best contribution is from Barry, however. I have loved this score since I saw the film in theaters when in high school (nearly wore the lp out).

Also, there’s something about “Charlie Proposes”. I don’t quite have the film music vocabulary as some of my peers, but there’s something about the notes in that cue: it doesn’t quite follow through the way you would expect. It grabs you by the ear and just when you think you know exactly where the progression is going, it sails slightly left to keep you entranced. I’m sure there’s a technical term for this. Maybe someone will enlighten me.

I don’t know quite why his style so drastically. I think it was something to do with the life threatening illness he had, which changed his outlook on life, but to be frank, this “second period” has never really floated my boat. Its not totally black and white – there are exceptions to my unwritten rule – Body heat, The Beyondness of Things, The Specialist – but overall, I like my Young Turk Barry, as opposed to the Elder Statesman variety!