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The Man with Bogart's Face

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The Man with Bogart's Face The Man with Bogart’s Face y 1976, when he published his released in 1980 to not much business was nominated for the Academy Award first novel, The Man With Boga- but did garner some decent reviews. five times. He was also extremely busy Brt’s Face, writer/producer Andrew Variety was very positive, saying, “… a writing for television, including The Big J. Fenady was an industry veteran continuous flow of laugh lines. It adds Valley, several classic scores for the having toiled in films and TV since the up to a lot of fun.” After its release, it original Star Trek series, Then Came 1950s, producing and/or writing prolifi- had a life on TV and cable and was Bronson, Mannix, The Partridge Fam- cally throughout the ensuing decades. released on DVD by Image Entertain- ily, The Dream Merchants, Beyond His first novel had a catchy title, a fun ment. Witch Mountain, to name but a few. premise, and got nice advance reviews. Booklist said, “An easy-to-read must Fenady’s choice for composer could For The Man With Bogart’s Face, Dun- for Bogart fans. Play it again, Fenady.” not have been a better one – the great ing came up with a really fun score, in- Kirkus said, “A funny valentine for the George Duning, who was nearing the cluding its wacky and very funky main industry – Fenady has a memory bank end of his impressive career. He would title song – which went on to win the like Films on File.” And Publisher’s score only two more films after Boga- very first Razzie Award for Worst Song. Weekly said, “Lots of bodies, alive and rt’s Face, after which he retired. Duning Very typical of its period, the song is dead, make this detective tale enter- was born in Richmond, Indiana in 1908 just what you’d want it to be. But the taining spoofery for Bogart fans, with and attended the Cincinnati Conserva- rest of the score is Duning in Duning sexy fun and violent games. tory of Music, where his mentor was the territory – noirish cues, action cues, wonderful composer, Mario Castelnuo- and, like every score he ever wrote, his Not long after the book was published, vo-Tedesco. After graduating, Duning cues are filled with his wonderful mel- Fenady received a note from actor played trumpet for the Kay Kyser band. odies. Duning had his sound and his Robert Sacchi, a dead ringer for Bog- In the Navy, he served as conductor harmonic language and there was no art. The note read, “You can’t make a and arranger with Armed Forces Radio. one really like him. He died in 2000. movie from your book without first see- He got a contract with Columbia Pic- ing me, for I am Bogart.” And so it came tures in 1946, signed by music super- This release was mastered from a to pass when Fenady finally wrote a visor Morris Stoloff. He was extremely mono tape that came from the com- screenplay and got Melvin Simon Pro- prolific and his work at Columbia pro- poser. While the sound was not opti- ductions to fund and distribute. The duced some great scores all throughout mal, mastering engineer James Nelson movie went into production on May the 1950s, including Salome, The Man labored mightily to clean it up as best 14, 1979, with Fenady producing his from Laramie, Tight Spot, 5 Against the he could, and he’s done a great job script, and the English director Robert House, Picnic, The Eddy Duchin Story, doing so. Day (The Haunted Strangler, Corridors Nightfall, Full of Life, Jeanne Eagles, of Blood, Two-Way Stretch, Tarzan the 3:10 to Yuma, Operation Mad Ball, On a personal note: In my acting days Magnificent, and many others) helming. The Brothers Rico, Cowboy, Me and I appeared on several episodes of The The location for Sam Marlowe’s office the Colonel, Bell, Book, and Candle, Partridge Family, and watching my was in a building at the corner of Larch- Strangers When We Meet, Two Rode scenes with music by one of my favor- mont and Beverly Blvd. – a building that Together, The Devil at 4 O’Clock, and ite composers was absolutely thrilling Fenady just happened to own. on and on. At his height he was writing to me. And when I met him, I told him ten scores a year. He had a very long so and he was delighted. He was a Also in the cast were such expert play- association with director Richard Quine. wonderful man and a great, great film ers as Victor Buono, Yvonne De Carlo, He also worked for other studios, turn- composer. Herbert Lom, Mike Mazurki, Michelle ing in great scores for Houseboat, The Phillips, George Raft, Sybil Danning, World of Suzie Wong, Who’s Got the — Bruce Kimmel Jay Robinson, Franco Nero, and Misty Action, Any Wednesday, The Wreck of Rowe. Despite the catchy title and ex- the Mary Deare, Critic’s Choice, and cellent cast, the low-budget film was Toys in the Attic, among others. He .
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