was literally left speechless when I saw Fokker D-7s with inverted engines and 1916-style insignia, Dr-1s with radial engines and smoke canisters on their landing gear struts, machine-guns that looked like Space Cadet props spouting flame without benefit of ammo tracks, every pilot wearing an Uhlan uniform and Battle of Britain style goggles, Gypsy Moths pretending to be Albatros D-3s, a Stampe presented as an RE-8—the anachronisms and goofs compounded. When I asked Delang about it later, he merely shrugged, rolled his eyes, and sighed resignedly. When I challenged the art director on something so glaring as a D-7 with curve-sided crosses, he shrugged, too. "That kind of cross photographs better," he said. Ah, but how about those machine-guns with no ammo feed tracks? Another shrug. "No big deal. People just watch the muzzle flashes." So much for the definitive World War I aviation movie. Music The producers chose Jerry Goldsmith to compose the score after offering the job to Ron Goodwin, who was working on another score. With Goldsmith, they requested a Germanic composition. Goldsmith was even introduced to the project with scenes incorporating a "temp track" from Richard Strauss's Also sprach Zarathustra. Goldsmith said of this experience "I admit it worked fairly well but my first reaction was to get up and walk away from the job. Once you've heard music like that with the picture, it makes your own scoring more difficult to arrive at." Goldsmith used a large orchestra, some cues requiring over 100 musicians, with large brass and percussion sections as well as a wind machine. On 4 April 1966, he conducted the soundtrack with the National Philharmonic Orchestra led by Sidney Sax at Shepperton Studios in London. These recordings were released on LP by Mainstream Records in 1966, and re-released on LP by Citadel Records in 1976. The soundtrack was released on CD by Varèse Sarabande in 1985 and by Sony in 1995 (with seven cues of source music from the movie arranged by Arthur Morton). The score was once again released, this time complete and in correct film order with accurate track listings, by speciality-label Intrada in 2010. On March 4, 2014, LaLaLand Records reissued the score on a 2-disc set, including all source music and alternatives. Mike Matessino performed the restoration and remastering, making this the definitive release of this score, with vastly improved sound. André Previn chose an extended passacaglia from