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Miranda Revue pluridisciplinaire du monde anglophone / Multidisciplinary peer-reviewed journal on the English- speaking world 22 | 2021 Unheard Possibilities: Reappraising Classical Film Music Scoring and Analysis Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring Robert Israel Electronic version URL: http://journals.openedition.org/miranda/38488 DOI: 10.4000/miranda.38488 ISSN: 2108-6559 Publisher Université Toulouse - Jean Jaurès Electronic reference Robert Israel, “Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring”, Miranda [Online], 22 | 2021, Online since 23 March 2021, connection on 26 April 2021. URL: http://journals.openedition.org/miranda/38488 ; DOI: https:// doi.org/10.4000/miranda.38488 This text was automatically generated on 26 April 2021. Miranda is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Cen... 1 Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Century Composer’s Journey in Silent Film Scoring Robert Israel 1 This piece aims to contextualize my contribution as ethnomusicologist, composer, orchestrator, arranger, conductor, choral director, producer, music contractor, and music editor for Turner Classic Movie’s presentation of MGM’s 1928 production of The Cossacks, directed by George Hill, with additional sequences directed by Clarence Brown. Working within a limited budget; doing research into the film’s historical era and the musical practices of the culture in which it takes place; finding source material, ethnic instruments, and musicians specializing in specific ethnic styles of music performance; and, other formidable challenges which I will outline here. It was not my goal to merely attempt a historic recreation of scoring practices of the 1920s, but to build upon classic scoring techniques from a contemporary point of view. Musical styles have changed vastly since the premiere of The Cossacks, but the fundamental aspects of combining music and moving image are relatively unchanged. 2 First, I will begin with some background on the problematic production process of the film, and some historical footnotes; I will touch upon scoring practices contemporaneous with The Cossacks. This is followed by a discussion positing songs and lyrics as providing subtext to filmic images in the effort to dimensionalize a viewer’s experience of the film, and an examination of some of the hazards and remedies of historical and ethnomusicological research, revealing the necessity of composing and arranging music which accurately represents the ethnic and cultural context of the film story. The piece ends with a few words on the actual composing and recording process, and on how everything is finally brought together. Miranda, 22 | 2021 Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Cen... 2 Tolstoy in Hollywood: from MGM (1927) to TCM (2013) 3 In the fall of 1927, one of Hollywood’s most famous screenwriters, Frances Marion, was summoned to the office of Irving Thalberg, who was the head of production at MGM Studios in Culver City, California. He gave her the assignment of drafting a treatment of Leo Tolstoy’s 1878 novel, The Cossacks. Having recently written for MGM an adaptation of Tolstoy’s Anna Karenina, her immediate reaction was to request a release from the project because she “couldn’t face the ordeal of distorting another Tolstoy novel;” Thalberg listened to her objections and, not being dissuaded, said, “Start tomorrow morning and bring me a rough treatment by Friday” (Marion 167-68). The original studio reader’s report from July of 1925 gives this assessment of The Cossacks: “The plot, if it could be said to have one, is too thin for pictures” (Beauchamp 412). In spite of this, and after going through three scenario treatments, and losing the opportunity to have Viktor Tourjansky direct the film, production moved forward with its second director George Hill and the fourth adaptation by Frances Marion. But it was doomed to continue to be rewritten countless times, and the end result is that the completed film could not have been more different from Tolstoy’s original story. Tolstoy’s protagonist, Dmitry Andreich Olenin, is a disillusioned Muscovite nobleman joining the military to live among the Cossacks in a village amid Chechen rebel hostilities, where he encounters a young couple seemingly falling out of love, himself taking an interest in the girl only to discover that he is merely an object of curiosity, that he will never be accepted as part of the Cossack village, and leaves shattered and dejected. In Marion’s adaptation, the protagonists are a young couple in love in a Cossack village at war with the Turks, and a touch of intrigue is provided by the arrival of a prince from Moscow (a mere supporting character) with orders from the Czar to marry a Cossack village girl. MGM had enjoyed a tremendous success with the pairing of John Gilbert and Renée Adorée in King Vidor’s 1925 classic The Big Parade, so it is no surprise that the studio believed they could produce another hit by bringing the two stars together in yet another romantic photoplay, and Russian-themed pictures had become all of the rage in Hollywood. 4 Arthur Sherwood, the movie critic for The Outlook, in July of 1928, wrote, “It’s getting so that if a movie reporter can avoid more than one Russian picture a week . he, or she (and they), are lucky” (427). This appears to be validated by New York Times critic Mordaunt Hall, who wrote in a 1929 review of a Russian-themed story that, “there is an excellent idea, one dealing with Russian refugees in Paris, which is something so far new to the screen and a relief from the usual routine story.”1 Judging by a sample list of Russian-themed films produced between 1927–28 (I have counted fourteen productions including The Cossacks), one may ascertain that Sherwood’s opinion may not be too much of an exaggeration. 5 In the eighty-six years that had passed since that autumn day, when Thalberg gave Marion her task, little has changed in the way studio producers manage film production assignments. Instead of being summoned to an office for a meeting, I was contacted by telephone in the early part of 2013. The programming department at Turner Classic Movies in Atlanta, Georgia, called me in Los Angeles. We had originally discussed the possibility of my doing a music score for a large period piece that took place in Scotland. Having recently done research on Scottish folk songs for the 1927 Miranda, 22 | 2021 Visual Text and Musical Subtext: The Cossacks (George Hill, 1928): A 21st-Cen... 3 Laurel and Hardy comedy Putting Pants on Philip, it seemed a very timely offering. Things, however, changed quickly, and I was then commissioned to score The Cossacks. Dennis Millay, who was the Director of Programming at the network, was one of the producers whom I had worked with on many projects for TCM, and his care and support of every project was something that I had come to rely upon. He explained to me that in his research into the film, he learned from documents held at the studio archives collection that a score had been prepared in 1928 for The Cossacks, but that they could not locate any discs, let alone documentation that the score had ever been recorded; and no copy of the printed score could be located. I would have to start at the very beginning and conduct intensive research on the subject at hand. Researching Silent Film Scoring Practices 6 Although The Cossacks was written by one of Russia’s greatest authors, the film story’s cultural base is distinctly Ukrainian. The difference between Russian and Ukrainian cultures can be compared with the differences between Chinese and Japanese cultures, or American and British cultures—strong similarities do not mean that they are the same. Thus, Marion’s screen adaptation dictated the necessity for careful research of the ethnic aspects of the film. The distinct multiethnic flavors that are a part of The Cossacks—in the film Ukrainian, Russian, Romanian Gypsy, and Turkish cultures are explored—were key in creating a variegated fabric for the musical setting. Ernö Rapée, one of the prominent pioneers of film scoring, some of whose recorded scoring work includes the Fox Movietone presentations of Sunrise (F.W. Murnau, 1927), Seventh Heaven (Frank Borzage, 1927), Street Angel (Frank Borzage, 1928) and What Price, Glory? (Raoul Walsh, 1928), published a book in 1925 on the subject of music and motion pictures and offered this advice when providing music for a feature film: “Firstly, determine the geographic and national atmosphere of your picture” (13). 7 Focusing on the foundational ethnic element, it was during the course of my research into Ukrainian culture and its music that I was delighted and inspired to discover many fine composers, including the opera composer Semen Hulak-Artemovsky (1813–1873), Mykola Leontovych (1877–1921) and Kyrylo Stetsenko (1882–1922), who are still well known for their choral music compositions, and particularly the music of Mykola Lysenko (1842–1912), who is to Ukrainian music what Tchaikovsky is to Russian music. The excellent work of all of these composers has a meaningful place in my score to The Cossacks. I also researched traditional Ukrainian folk songs and went so far as to research Ukrainian wedding customs (more on this detail later). 8 It has been my experience that films that present themselves in strongly identifiable cultural backgrounds often benefit from the use of folk music representing the same culture.

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