THE ‘80s, CONT.

I take great exception to Patrick Goldstein’s claim that most symphonic film scores sound “hopelessly outdated.”

Imagine if Jerry Goldsmith’s symphonic score was removed from the film “Poltergeist.” Who would Goldstein have suggested score the film instead? Prince? What better fit than John Barry’s completely traditional score for “Out of Africa”? A concerto for electronic drum machines?

Incidentally, while Lionel Newman is an important force in the film music industry, his brother Alfred was responsible for a much larger body of film music.

CHRISTOPHER KLATMAN

Venice