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FSMCD Vol. 13, No. 9 BUtterfield 8: Bronislau Kaper at M-G-M Vol. 1, 1954–1962 Supplemental Liner Notes Contents The Power and the Prize 1 Her Twelve Men 3 Somebody Up There Likes Me 5 Ada 8 Two Loves 12 BUtterfield 8 14 Mutiny on the Bounty 20 Liner notes ©2010 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com The Power and the Prize, Her Twelve Men, Somebody Up There Likes Me, Ada, Two Loves, BUtterfield 8 and Mutiny on the Bounty ©1956, 1954, 1956, 1961, 1961 and 1962, respectively, Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. FSMCD Vol. 13, No. 9 • Bronislau Kaper at M-G-M Vol. 1, 1954–1962 • Supplemental Liner Notes The Power and the Prize Director Henry Koster had the distinction not only score is rather brief—made more so because five cues of helming the first CinemaScope motion picture— Kaper composed did not survive the final cut. While 1953’s The Robe for 20th Century-Fox—but also the first Film Daily asserted that Kaper’s music “help[ed] in the black-and-white film in the new widescreen format, The success of the film,” neither Variety nor The Hollywood Power and the Prize (1956). Based on a novel by busi- Reporter took notice of the score. nessman Howard Swiggett, the film focuses on a ro- mance between American junior executive Cliff Barton (Robert Taylor) and widowed Austrian Holocaust sur- 1. Main Title Kaper’s piano concerto–style main vivor Miriam Linka (Elisabeth Mueller), set against the theme plays over the opening credits, subsiding on an backdrop of international financial dealings and corpo- introductory shot of the New York skyscraper housing rate boardrooms. the headquarters of Amalgamated World Metals. Sent to London by his boss, George Salt (Burl Ives), The next 15 minutes of the film play without mu- to negotiate a business deal, Barton also runs an errand sic—although Kaper did compose three cues for the for Salt’s wife (Mary Astor), who asks him to check up early reels of the picture, conductor (and M-G-M music on a charity for European refugees with which she is director) John Green did not even record them: “Cliff” involved. At the organization’s office, he meets Miriam likely underscored a phone conversation between Amal- and proceeds to woo her during his stay in England— gamated’s vice-chairman, Cliff Barton (Robert Taylor), despite the fact that he is engaged to Salt’s niece. Return- and his fiancee,´ Joan Salt (Nicola Michaels), while “Fa- ing to New York, Barton announces his intentions to ther” related to a conversation in the back of a taxicab marry Miriam: surprisingly, Joan Salt (Nicola Michaels) between Cliff and his dad (Cameron Prud’homme), a welcomes the news, but her uncle reacts angrily, con- Presbyterian minister. “I Understand” may have been cocting a plan to brand Miriam as a Communist and intended for a dinner sequence at the home of George expel Barton from his position at Amalgamated World Salt (Burl Ives)—Cliff’s boss and Joan’s uncle—during Metals. In the end, all turns out happily as Cliff ousts which Joan learns that Salt has ordered Cliff to travel to Salt, gaining control of the company (the “power”) and England, resulting in the postponement of her wedding. winning Miriam’s hand in marriage (the “prize”). (As there is no corresponding line of dialogue at this Overall, the film received positive notices, succeed- juncture, the cue may correspond to a scene cut from ing foremost as a touching romance, but also in its depic- the picture.) tion of machinations in the executive boardrooms of the 2. It Will Kaper provides a brief set of variations 1950s. In her first Hollywood role, Mueller (who direc- on the famous Westminster chimes to underscore estab- tor Koster discovered through photographs in a German lishing shots of London. film magazine) earned rave reviews from all quarters— 3. Fifth Floor Running an errand for Mr. Salt’s but she would only appear in one other American pro- wife (Mary Astor), Cliff checks up on a charity devoted duction. Ives elicited an equally favorable reaction in a to helping European refugees—and learns that the orga- somewhat villainous role that never resorts to cliches;´ nization acts as a front for an escort service. Jaunty mu- he took a sabbatical from his role as Big Daddy in the sic marks Cliff’s arrival at the charity’s office building, Broadway production of Cat on a Hot Tin Roof in order where he finds that it is located on the fifth floor—and to make the picture. Sir Cedric Hardwick and Charles that the “lift” is out of order. The tempo slows upon Coburn both garnered praise for their brief but highly a segue to Cliff struggling to ascend the last few steps effective performances, while Taylor is earnest and be- to the charity’s office, where he meets the executive lievable (if a bit too old for the part of an up-and-coming secretary, Mrs. Miriam Linka (Elisabeth Mueller), an young executive). Variety deemed Nicola Michaels (the Austrian widower and Holocaust survivor. daughter of studio executive Nicholas Schenck), who 4. Concerto in B-flat Minor Smitten with Miriam, had replaced Anne Francis in the role, as the only dis- Cliff returns to the office the next day and persuades her appointment in the cast. to dine with him. She rushes to a music shop, where she Because Miriam is a struggling concert pianist, com- pays five shillings for the use of a piano, on which she poser Bronislau Kaper casts his main theme for the practices Fred´ eric´ Chopin’s well-known Scherzo No. 2 picture as a miniature piano concerto. This melody— in B-flat Minor, Op. 31. The film’s legal cue sheet erro- associated throughout with the romance between Cliff neously identifies the work as a “concerto,” although and Miriam—dominates the score, the composer con- Kaper does usher in an orchestral accompaniment on a centrating almost exclusively on their relationship, transition to Miriam rushing back to her apartment in while virtually ignoring the corporate proceedings. The the rain. ©2010 Film Score Monthly 1 FSMCD Vol. 13, No. 9 • Bronislau Kaper at M-G-M Vol. 1, 1954–1962 • Supplemental Liner Notes In the Rain The music segues to the main theme Franklyn orchestrated nearly all of Kaper’s score, Skip as Miriam checks her watch while waiting for Cliff to Martin took up those duties for this one cue, likely due pick her up. When he arrives on the scene, Kaper hands to the jazz-based instrumentation.) off the melody from piano (Miriam’s instrument) to 10. Because The main theme enters tenderly on saxophone (attaching it to the American businessman). solo strings as Miriam agrees to follow Cliff to Amer- 5. Claridge Cliff and Miriam dine at Claridge’s Ho- ica once he secures her a visa, the music swelling for a tel. An elegant waltz plays quietly in the background transition back to New York. as Miriam relates her backstory, telling Cliff about her 11. Salt The next 15 minutes of the film play with- husband’s death in a concentration camp during the out score, as the professional relationship between Cliff war. After 32 bars of understated continental elegance, and Salt break down and Cliff fights through red tape the waltz’s second strain turns out to be a triple-meter in an attempt to get Miriam a visa. Kaper’s music fi- setting of the film’s main theme as Miriam steers the con- nally returns with neutral woodwind textures covering versation back to Cliff and explains that she has just quit a transition from a meeting between Salt and his British her job with the charity. Becoming more and more ani- counterparts to Salt’s arrival at Cliff’s apartment build- mated, she finally catches herself speaking too loudly— ing. The material from “Fifth Floor” returns, here no the music nearly stops at this point, then reprises the longer playful or energetic, underlining the contrast opening waltz theme, but soon returns to a more tender between the youthful Cliff trudging up five flights of setting of the main theme as Cliff suggests they leave stairs in the earlier scene and the elderly Salt ascending the restaurant. in an elevator and walking with a cane to the apartment 6. Miriam Cliff escorts Miriam back to her apart- door. The cue closes with a meandering unison string ment and they make a date for the following evening. line, settling on a low pedal, as Cliff admits Salt to his Kaper concludes the scene with a snippet of the main residence. theme, dominated by piano to indicate that Miriam is 12. Any Time Salt gives Cliff an ultimatum: resign on Cliff’s mind as he walks back to his hotel. by the end of the week or be forced out. The “Fifth Let’s Go Impressionistic string writing plays up Floor” material returns somberly on solo bassoon, then Cliff’s impatience as he calls on Miriam the next night oboe, for Cliff lost in thought after Salt’s departure, but but she fails to answer her buzzer; the main theme re- the main theme enters delicately on solo violin when turns when he gives up and departs in a waiting cab. Miriam phones from London.