sign in sign up
<<
Home , A Girl Named Sooner, Brooklyn Funk Essentials, Frank Fitzpatrick, Frank Ilfman, He Laughed Last, Hugh Hudson

Original Music Soundtracks for Motion Pictures and TV

V o l u m e 5 , N u m b e r 4

Jerry! Jerry! Jerry! page 34 HERRMANHERRMANnn’’ss JOURNEYJOURNEY Classic Classic FilmFilm RetrospectiveRetrospective 10 10 EssentialEssential ’50s’50s ScoresScores CD CD ChecklistChecklist FILMFILM MUSICMUSIC AGENTSAGENTS All All youyou everever wantedwanted toto knowknow U-571U-571 Scoring Scoring aa hithit

04 >

7 252 74 9 3 7 0 4 2 $4.95 U.S. • $5.95 Canada Limited Edition Original Soundtrack CDs • Now available: FSMCD Vol.3, No.4 TORA!TORA! TORA!TORA! TORA!TORA!

C omplete original score B y J E R R y GOLDSMITH A surprise CD attack! composed music for both accordingly. Goldsmith’s rich title theme is major theatres of World War II in 1970: He decorated with menace, but at its core is a scored the European battles in Patton and description of tragedy and tradition: Japanese Pacific action in Tora! Tora! Tora! A joint martial honor unbowed by the exigencies of American/Japanese production, Tora! was a diplomacy. painstaking and spectacular re-creation of the Eschewing the idea of battle music, notorious Japanese attack on Pearl Harbor that Goldsmith left the film’s climactic attack One-time catapulted the into war. unscored and saved his most violent orchestral Unlike the character-driven Patton, passages for the diplomatic and tactical pressing of however, Tora! Tora! Tora! concentrates on preludes to war. The score bristles with the 3,000 copies larger themes of war, nationalism, and the unique instrumentation and overlapping failure to communicate. Goldsmith rhythms so characteristic of Goldsmith’s had more than ample experience with both the period at 20th Century-Fox in the ‘60s. musical language of Asia (evidenced in The The result is a powerful work, full of Spiral Road, Morituri, The Sand Pebbles and majestic Asian writing and pulsating action The Chairman) and the war epic (demonstrated cues that capture the unsettling sound of in In Harm’s Way, Von Ryan’s Express and conflict. The CD includes every note written for The Blue Max), making him a perfect choice. the film, plus a suite of military band & dance He chose to score the implacable forces source music and a pair of unused variations of war and fate and the ancient cultural on the main theme, played on solo and underpinnings of the Japanese warriors so as a pop-flavored arrangement—all in stereo. vividly depicted in the film. The 16-page booklet is in full color, with a The split production actually presents wealth of behind-the-scenes pictures of the the Japanese more heroically than the elaborate, effects-laden production. bumbling Americans, and the score is written Climb Mt. Niitaka! Order yours today!

TORA! TORA! TORA! $19.95 plus shipping 1. Main Title 3:04 10. The 14th Part 2:38 17. Big Band Source 2:21 and handling 2. The Chancellery 1:02 11. Entr’acte 1:43 18. Hawaiian Radio 1:43 Use the handy order form 3. Little Hope 1:51 12. Pre-Flight Countdown 2:05 19. The Waiting Game 4. Predictions 2:41 13. On the Way 1:38 (with overlay) 5:45 between pages 40-41 or 5. Disagreement 2:00 14. The Final Message 4:50 20. Tora Theme (piano) 1:17 CALL TOLL FREE: 6. Imperial Palace 2:26 21. Tora Theme () 1:38 1-888-345-6335 7. Mt. Niitaka 1:13 Bonus Material Total Time: 54:45 8. The Waiting Game 5:45 15. Japanese Military 4:36 Next Month: 9. Sunday Morning 2:53 16. American Military 1:36 Produced by Lukas Kendall More music, more surprises! Inscrutable, aren’t we? CONTENTS APRIL/MAY 2000

cover story departments

24 Herrmann’s Journey 2 Editorial Join us for a retrospective of one of the ’50s most A Feast for the Ears. remarkable scores—as well as one of the composer’s most idiosyncratic. 4 News By Guy Mariner Tucker Arthur Morton remembered. 5 30 From Hitchcock to Harryhausen Round-up Here are the essential Herrmann soundtracks What’s on the way. from the composer’s peak period of 6 Now Playing productivity—and where to find the definitive Movies and CDs in performances on compact disc. release. Journey to the center of By Roger Hill 8 Concerts Herrmann’s fantastic concoction. Live performances page 24 around the world. 32 Hear Now, Benny! 11 Upcoming Film A selected checklist of works Assignments currently available on CD. Who’s writing what.

13 Mail Bag f e a t u r e s Oscar wrap-up.

17 Downbeat 20 Agent History X All’s Fair in War In Part 1 of our in-depth story, we look at the and Love. history of artists representation in the film music industry. 36 Score By Jeff Bond The latest CD reviews, including: Gladiator, Dive, dive, dive, into The Challenge, Erin the music of U-571. 34 Tora! Tora! Tora! Brockovich and Rules page 17 In the same year as Patton, Jerry Goldsmith of Engagement. marshaled his musical forces for another WWII film. The results were equally spectacular 46 Pocket Reviews but utterly different. Attention Deficit By Jonathan Z. Kaplan Disc Honors.

47 Score Internationale Who Can? CAM Can!

37 Marketplace

48 Reader Ads

Mailman Jon analyzes Goldsmith’s musical plan of attack. page 34

ON THE COVER: BENNY’S FAB ’50s. Herrmann photo courtesy Steven C. Smith; The Day The Earth Stood Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Vineyard Haven LLC., Still ©1951 20th Century-Fox Film Corp.; 7th Voyage 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. Of Sinbad ©1958 ; Vertigo © 1996 POSTMASTER: Send Address changes to , 8503 Washington Blvd, Culver City, CA 90232 Universal city studios.

F il m S c o r e M o n t hl y  A pr i l / M a y 2 0 0 0 e d i t o r I AL

v o lum e 5 n um b e r 4 A Feast for the Ears APRIL/MAY 2000 SouNDTRACK ENTHUSIASTs HAVE NEVER HAD editorial staff IT SO GOOD—SO WHY SO MUCH WHINING?

Editor & Publisher lukas Kendall SENIOR Editor his is a great time to be a soundtrack recommended to everyone reading this maga- Jeff Bond fan. So much terrific music is avail- zine. See it in a theater with a friend and a MANAGING EDITOR T able, either as re-recordings or from full house, and pay attention to what makes Tim Curran original tracks (God bless cold storage). As the audience laugh. I fear they’re often laugh- Departments Editor a result, my CD collection is both deep and ing at our worst side. Jonathan Z. Kaplan wide: There’s a little bit of all kinds of movie We need to keep our hobby in balance DESIGN Director music. Whether it’s Raymond Scott (from with the rest of our existence. Just visit Joe Sikoryak Looney Tunes), or Gerard Schurmann (by an internet newsgroup like music.rec.mov- way of Horrors of the Black Museum), or the ies for a painful glimpse into the lives of Contributing Writers Propellerheads (who seem to be everywhere), tortured souls. No matter what album is John Bender they all get equal released, somebody’s gonna complain. It’s Jason Comerford time with the piles of not good enough. It’s not complete enough. Jason Foster Horner and Williams It doesn’t have “the best track.” When Roger Hall on my headphones. Rhino put out that spectacular 2-CD set James Torniainen A few years ago— of Ben Hur a few years back, at least one Guy Mariner Tucker before cable, VCRs fellow crossed his arms and said “There’s Simon Walmsley and isolated score 27 seconds missing. It is not definitive.” Jesus Weinstein tracks—relatively (I’m not making this up.) Cary Wong little film music was I’d like to suggest that we be thankful for copyeditor available. This was the rich banquet we have, rather than grouse Steve Gilmartin the era of “easy lis- about the crumbs that have slipped through Thanks to tening” film music our fingers. There’s never been more b.A. Vimtrup FSM’s designer (right) jockeys for position re-recordings that of current or past scores available to the with some mogul at the Grammys. rendered scores public, and there’s plenty for everyone. Enjoy. business staff u n r e c o g n i z a b l e . Discover. Share. The few genuine And if all else fails, try decaf. Associate Publisher soundtracks that did appear were usually Chelo Avila truncated to 20-30 minutes and often sported s someone who has been profound- EDITORIAL & SUBSCRIPTIONS reduced to cut costs. As a movie- ly affected and consistently enter- 8503 Washington Blvd mad kid, who smuggled a tinny reel-to-reel A tained by Bernard Herrmann’s Culver City, CA 90232 recorder into theaters for a fleeting souvenir work, I’m thrilled to introduce this month’s PH. 310-253-9595 of favorite films, the situation was desperate. issue of Film Score Monthly. Our cover boy is FAX 310-253-9588 After a brief theatrical run, it was impossible both a film music icon and a hugely influ- E-MAIL [email protected] to hear a favorite score for years—assuming ential fan favorite. Whether you were intro- you didn’t miss the occasional TV show- duced to Herrmann’s sound through the SALES & MARKETING MANAGER ing. (Which makes it a special privilege, for films of Orson Welles, Alfred Hitchcock or bob Hebert example, to have contributed to this month’s , on television or even on ADVERTISING FSM CD...Jerry! Jerry! Jerry!) radio, chances are the experience was indel- Given this wealth of music, I’m dismayed ible. He’s probably the most popular cross- 8503 Washington Blvd to hear so much griping and complaining over composer this side of , Culver City, CA 902326 within the sountrack community. I know and certainly the most divisive. Folks tend to PH. 213-382-8512 that listening to film scores, like any other love his work or hate it; but if you don’t know FAX 310-253-9588 hobby, is done for deeply personal reasons. his music that well, please take this opportu- Supervising Mail Order Handler It’s also a rather solitary pursuit, not given nity to get more acquainted. Benny’s written Mailman Jon to group events. A lot of us who are really a lot of noteworthy scores for a memorable “into” this stuff were (and perhaps still are) assortment of films, and his place in the pan- OUR WEBSITE loners. Accordingly, there’s a high percentage theon is assured. is updated five times weekly! of iconoclastic, opinionated and, shall we say, But you know, he never tried decaf. Point your browser at: undersocialized folks in our circle. But it’s a WWW.FILMSCOREMONTHLY.COM small sandbox, fellas. Don’t pee in it. Did you catch High Fidelity? While it’s an © 2000 Vineyard Haven LLC. enjoyable enough romantic comedy, the film Printed in the U.s.a. (and especially Nick Hornby’s novel) is highly

apr i l / ma y 2 0 0 0  F i l m S core M ont h l y e v e n T S • C o n C E RTS R E C O RD LA b e L R O U N D-UP UPC O MI N G ASSIG N M e n TS NEWS TH e LAT E ST FILMS nothing else he added a solidity ’30s and early ’40s, including 1908-2000 to Goldsmith’s sound that helped Variations on a Theme of Vittoria, Arthur Morton make Goldsmith’s reputation for Tango and a ballet, The New Deal. Laura and The Lodger, while at producing technically powerful He is survived by his four Columbia he orchestrated George film scores. children, six grandchildren, one Duning’s score for Picnic (among In addition to his scoring, great-grandson and a brother. numerous other Duning works) orchestrating and song-writing FSM and the Orson Welles classic work in motion pictures, Morton Lady From Shanghai. His credits also wrote concert works in the as composer ranged from west- erns like The Nevadan to Gene Autry films, the If It’s Good, Blame the Composer comedy He Laughed Last and the A short anecdote on Arthur Morton WWII adventure Battle Stations. His last film composing credit y personal contact with Arthur Morton was limited to was for the 1961 comedy Swingin’ one phone conversation and one face-to-face encounter, Along—by the ’50s he had begun Mbut my admiration for his artistry knew no bounds. working in television and went Over the years, I kept noticing his name listed as the orchestrator on to write music for shows like on so many favorite scores, from George Antheil’s The Juggler to Black Saddle (1959), hundreds of Jerry Goldsmith’s you-name-it. Morton’s own original music for episodes of Peyton Place (1964), episodes of The Waltons was, I felt, worthy of Goldsmith himself in Medical Center (1969) and the its pastoral, melodic tenderness. omposer and orches- National Geographic documentary Back in the ’70s, at a time when Morton was so busy with both trator Arthur Morton specials. In 1963 he began a and composition, I telephoned to request an inter- C died Saturday, April long association with composer view for an oral history I had begun on the making of Charles 15, at his Santa Monica home Jerry Goldsmith Laughton’s 1955 film, The Night of the Hunter. A at the age of 91. He had been in by orchestrating key ingredient in this off-beat masterpiece of terror deteriorating health since suf- Goldsmith’s score was the musical score by the late Walter Schumann, fering a stroke in 1997. Morton to the comedy Take ranging from a barbaric motif characterizing Robert scored over 60 motion pictures Her, She’s Mine. Mitchum’s “Preacher” to a children’s chorus inton- and far more television episodes Thereafter Morton ing a lullaby over the main title. Schumann was during his 60-year career, but orchestrated nearly no longer around to speak for himself, but he had he was best known as one of the all of Goldsmith’s made sure that Morton received orchestration credit consummate orchestrators of scores until 1996’s on the RCA soundtrack LP, so I naturally hoped motion picture music, a service : First that Mr. Morton would consent to an interview. But he performed for giants of the Contact, which he Arthur, Arthur: when I broached the subject to the jovially gruff field like Jerry Goldsmith, John co-orchestrated Two of the 60+ films Mr. Morton, it was nothing doing. “All I can tell Williams, George Duning, David with Alexander Morton orchestrated. you about that score,” he told me, “is that when I Raksin, Alfred Newman and Courage. Morton first saw ‘Preacher’s Theme,’ I told Walter, ‘You’re Hugo Friedhofer. also alternated going to need four trombones.’ Other than that, if the with Goldsmith music was any good, blame it on the composer.” Midwestern Beginnings and Courage as a Some years later, I met Morton at a luncheon hon- Morton was born in Duluth, composer on the oring Hans J. Salter, and I told him that I had once Minnesota, in 1908 and stud- popular series The contacted him on the phone. ied music at the University Waltons in the early “I’ll bet I was rude, wasn’t I?” he replied. I of Minnesota. He worked his ’70s. laughed and recounted our previous conversation. S VE way though school by play- I confess to harboring hopes that I might some day I ing in a jazz band and writing A Modest persuade Mr. Morton to let me interview him after RCH A arrangements. Morton moved to Collaborator all. But in recent years, alas, the man’s health had been failing, BMI Hollywood in 1934 and his first Morton always downplayed his and I became too reticent to approach him again. SY feature film score was written in importance in the working rela- Just this past year, however, the Bear Family reissued the The RTE 1935 for Universal’s Night Life of tionship with Goldsmith due to Night of the Hunter soundtrack on CD, and the packaging included U the Gods. Thereafter he worked the completeness of Goldsmith’s something the original LP had not: a complete list naming every at every major studio, spending sketches—he often described in the orchestra. Upon discovering this hitherto hidden HOTO CO much of the ’40s and ’50s at 20th what he did as “taking the music information, I immediately checked the brass section and, sure P Century-Fox and Columbia. For from the yellow paper and put- enough, there they were—the names of four trombonists.

Fox he orchestrated films like ting it on the white paper.” But if —Preston Jones ORTON M

apr i l / ma y 2 0 0 0  F i l m S core M ont h l y EMI Dennis McCarthy), “Way of Forthcoming are reissues of all the Warrior” (DS9, McCarthy), the EMI-controlled James Bond “Bride of Chaotica” (Voyager, Record Label Round-Up soundtracks: Dr. No, From David Bell), and a Fred Steiner All the albums you’ll be waiting for Russia With Love, Goldfinger, suite featuring music from clas- sic episodes, “The Corbomite Thunderball, You Only Live Maneuver,” “Balance of Terror” Twice, On Her Majesty’s Secret and “What Are Little Girls Angel/EMI Best of Edgar Wallace com- Service, Diamonds Are Forever, Made Of.” ’s pilation disc, featuring Peter Live and Let Die, The Man concerto is scheduled for release Thomas, and With the Golden Gun, The Spy Hexacord Productions August 1; soloist is Christopher more. Who Loved Me, Moonraker and Film Music Art Studio and Parkening. Write Cinesoundz, Lindwurmstr presumably A View to a Kill. Sermi-Film Edizioni Musicali 147, 80337 Muenchen, Germany; The titles will be newly mas- have joined forces to form BBC Music A third CD has been added to the forthcoming Doctor Who FSM Classics: Sneak Attack CD series. The series will now consist of: Doctor Who at the urprised by this month’s CD release? So were we, but not the BBC Radiophonic Workshop, Sway that you might think. Rumors persisted for years that the Volume One: The Early Years; masters to Jerry Goldsmith’s other great WWII score of 1970 had Volume Two: New Beginning; been been lost or were unreleasable. Well, surprise—we found and Volume Three: The Leisure ’em and they sound terriffic! Hive. FSM Silver Age Classics is proud to present Tora! Tora! Tora! for http://ourworld.compuserve.com/ the first time anywhere, in all of its original glory. There’s the com- homepages/Mark_Ayres/NewStuff. plete score, as written, full of Asian splendor and naked, militaris- htm tic aggression. We’ve also included all of the stirring military band pieces and dance source cues as well as a special treat: two unused Brigham Young versions of the theme, played as piano solo and pop arrangement(!) University Remember, you can’t hear those anywhere but here. Forthcoming are The Next month, another surprise. Isn’t this fun? Send us your sug- Adventures of Don Juan gestions; contact info, pg. 2. and King Richard and the Crusaders. fax: +49-89-767-00-399, info@ tered and released with better Hexacord Productions; the Chapter III cinesoundz.de; www.cinesoundz.de packaging; however, there is label’s forthcoming first release Chapter III, in association no information as to previously will be the score to the 1970 with Turner Classic Movie Citadel unreleased music. Italian thriller Lo Strano Vizio Music/Rhino, will be reissuing Due this month is Ray Colcord’s Della Signora Ward (Nora 25 CDs containing soundtracks score to The King’s Guard, Fifth Continent Orlandi). and scores from the MGM films starring Eric Roberts. Also Music Classics www.hexacord.com in the Turner library, includ- available in the “Legendary Due in June is a remixed, ing many previously available Hollywood” series is Golden Age remastered CD edition of Hugo Hollywood only on vinyl. Forthcoming in Songs and Instrumentals, fea- Friedhofer’s Oscar-winning Due at the end of June are The this series are The Dirty Dozen turing vocal and instrumental score to The Best Years of Our Patriot (John Williams) and the (Frank De Vol), The Last Run/ renditions of the works of Max Lives. Due in July is Bernard MTV Real World soundtrack. (Jerry Goldsmith) Steiner and Erich Wolfgang Herrmann’s Battle of Neretva. and Logan’s Run/Coma Korngold. For ordering information, email Intrada (Goldsmith). [email protected]. The first release in the new www.chapteriii.com CPO Intrada Special Collection Forthcoming is a new recording GDI/Hammer series is Switchback (Basil Cinephile of Benjamin Frankel’s score to Forthcoming is the first-ever Poledouris), set for a July Due in July is Bloomfield Battle of the Bulge. release of Gerard Schurmann’s release. Due in June is Elia (Johnny Harris). complete score to The Lost Cmiral’s score to Decca Continent. The Last Express computer Cinesoundz Forthcoming is Jaws (John game, and a promotional issue Due in July is the soundtrack Williams), see FSM Vol. 5, No. 1 GNP/Crescendo of Michael Small’s score to to the German film In July, for more details. Godzilla 2000: Millenium Jaws The Revenge (calling featuring The Cowboy Junkies (Japanese production) is set Michael Caine completists!) Due & Brooklyn Essentials. East Side Digital for a spring/summer release. this fall is a commercial release Due in August is an Ennio Forthcoming but without a date Forthcoming is a second Best of of The Ballad of Lucy Whipple Morricone remix CD (various is a CD of Tron. Star Trek Volume II TV collec- (). artists, including Rockers HiFi, www.wendycarlos.com tion, featuring episode scores www.intrada.com Pizzicato Five and Nightmares “All Good Things...” (TNG, (continued next page.) On Wax). Forthcoming is the

F i l m S core M ont h l y  apr i l / ma y 2 0 0 0 Need help locating that hard-to-find CD title? Score Only Import

Announcing The Welcome to Intrada. We stock thousands of soundtrack INTRADA SPECIAL COLLECT CDs from around the world. Browse our online catalog for A new series of recordings for the the newest releases, rare and hard-to-find imports, as well discriminating soundtrack collector. Available exclusively as promotional and out-of-print titles. We guarantee your through Intrada! Volume 1 satisfaction with 20 years of experience—serving collectors, Switchback By Basil Poledouris fans, , film music professionals and newcomers! No stranger to composing music for expansive outdoor E-mail us or visit www.intrada.com to sign up for our pictures, Poledouris’ work for the Conan and free weekly e-mail bulletin of all the latest releases! Make Robocop series, Red Dawn, and Under Intrada your one-stop shop for soundtrack satisfaction. Siege 2 are forerunners to this large, exciting Special Offer to All Customers: orchestral work record- ed with the Seattle Place an order of $50 or more, and receive a Symphony. This release is another spectacular entry in Basil’s oeuvre. $19.99 FREE CD. See our website for details.

Don’t miss this Intrada bestseller: Jason and the Argonauts Shop online and visit our label at: www.intrada.com by Bernard Herrmann Our widely-praised E-mail: [email protected] recording (by Bruce Broughton and the Sinfonia Fax: 510-336-1615 Call: 510-336-1612 of ) was heralded by fans and critics alike. “Should go down with Charles Gerhardt’s The Sea Hawk as one of the great film music re-recordings.”(Jeff Bond, FSM); 2220 Mountain Blvd, Suite 220 Oakland CA 94611 “I think Benny would have been very pleased.” (Ray Harryhausen). $13.99 Connecticut Film Music Concerts Further reductions are Waterford, Connecticut, available for Group Bookings. Symphonic Night at the Soundtrack performances that Book tickets on-line at: Movies—Voyage to the Moon you can attend—all around the globe www.picnicconcerts.com (1902), Things to Come, 2001, Tickets also available from Star Trek: TMP (all with film). Ticketmaster Ticket Centres at selected HMV Stores and Tower Delaware Nationwide, and from Waitrose July 3, July 8, Aug. 12, Stores at Bromley, Finchley, Delaware S.O.; Wilmington, Harrow and Salisbury. Conan the Barbarian (Poledouris).

U.S. Concerts July 1-6, Fort Wayne, Gettysburg (Edelman). June 23, Hollywood Bowl; July 1-4, , Gala Concert Tribute to John Gettysburg. Williams, Hollywood Bowl Hall July 1-2, South Bend S.O.; of Fame Award; July 13 & 15, Indiana, Gettysburg, Victor Roman Holiday; Italian Film Young Medley, The Cider House Music September 22, Movie Rules (Portman). Night. July 3, South Bend S.O.; July 4, Stockton S.O.; Gettysburg. California, The Magnificent Aug. 19, South Bend S.O.; Seven (Bernstein). The Cider House Rules, Victor July 4, Santa Rosa S.O.; Young Medley. Jefferson Tribute (Holdridge). July 15, San Diego Chamber Maine organist Robert Plimpton at Orchestra; French Medley arr. June 29, 30, July 1-3, the Spreckles organ pavillion at Chaplin Lives! John Addison; Aug. 19, San Portland S.O.; Gettysburg. To kick off L.A.’s Silent Film San Diego’s Balboa Park. Diego Chamber Orchestra; A Gala, the Chamber Passage to India (Jarre). Maryland will con- Orchestra will perform the Ron Goodwin July 8, Baltimore S.O.; duct two shows of film music newly restored score to Charlie Colorado Oregon Ridge, The Last with the Royal Philharmonic Chaplin’s classic technology July 8, Veil, Dallas S.O.; Starfighter (Safan), Star Trek Concert Orchestra—the first satire, Modern Times, Saturday, Richard Kaufman, cond., TV theme, Star Trek: TMP, August 5, 7:30 p.m. at Audley June 10 at 8:00 p.m. at UCLA’s Monica Mancini, soloist. The Rocketeer (Horner), “Moon End, a mile west of Saffron Royce Hall. The performance Tribute to Henry Mancini, The River” from Breakfast at Walden in Essex. The program will be conducted by composer/ Great Waldo Pepper, Too Little Tiffany’s (Mancini). conductor Timothy Brock, who will include his music from Time, Victor/Victoria, Sons of Disney’s The Trap, Hitchcock’s spent a year overseeing the res- Italy, , White Massachusetts Frenzy, various James Bond toration of Chaplin’s music. Dawn, Songs for Audrey, The Tanglewood concerts: movies, and Where Eagles Dare, Tickets for the Silent Film Gala Molly Maguires; July 12, Veil, July 8, World premiere of as well as “A Tribute to Ingrid are $25 for general admission, $60 Dallas S.O., Richard Kaufman, John Williams’ Tree Song Bergman,” “Miss Marple’s for priority seating, and $225 for cond.; Captain From Castille for and Orchestra, Theme,” “Battle of Britain the film and post-film dinner. For (Newman), Gone With the Prokofiev’s Violin Concerto Suite” and more. sponsorship and ticket information, Wind (Steiner), Prisoner of No.2, Tchaikovsky’s Francesco contact the Los Angeles Chamber Ticket prices: Promenade £14.95 Zenda (Newman), Inn of the de Romini. Orchestra at 213-622-7001, exten- (Concessions £13.00). Further Sixth Happiness (Malcolm Aug. 28, end of season con- sion 275. reductions are available for Family Arnold), It’s a Mad Mad Mad cert. Bookings. Mad World (Gold), The Caine Aug. 5, Film Night at ee roupé s The second performance Mutiny (Steiner), Romeo & Tanglewood, program to include S G ’ will be at Kenwood Lakeside Juliet (Rota), Giant (Tiomkin), music by John Williams, The Organ Perform on August 12 and will fea- Peyton Place (Waxman), Red Pony by Copland, and a That sounded dirty, but seri- ture music from Exodus, Friendly Persuasion (Tiomkin), tribute to Stanley Donen. ously the Spreckels Organ Force Ten From Navarone, “A Star Trek:TMP (Goldsmith) Society has commissioned Tribute to ,” The & Star Trek TV series theme Larry Groupé to compose an Big Country, E.T. the Extra- (Courage), The High and the July 23, S.O.; original work for Spreckels Terrestrial, “Songs of Sinatra,” Mighty (Tiomkin). Richard Kaufman, cond., Organ. The Spreckels organ Star Wars and more. June 30, Veil, Colorado Bobbi Page, vocalist; Captain is one of the largest organs in Ticket prices are: Deckchairs: S.O.; The Magnificent From Castille (A. Newman), the world. The premiere of his £18.95/£15.95; Concessions Seven (Bernstein), Bonanza The Quiet Man (Young), The new work Menagerie will be £16.50/£13.95; Promenade: £13.50; (Livingston & Evans). Natural (R. Newman), Peyton performed June 19, 2000, by Concessions: £11.75. Place (Waxman), Airplane!

A pr i l / M a y 2 0 0 0  F i l m S core M ont h l y R E C O R D L A b e L R O U N D - U P • C o n C E RTS

be filled out with various other Place (Franz Waxman; Royal (continued from page 6) newly Scottish National Orchestra). Crouch End Festival Chorus. recorded Barry rarities. This third edition will contain The Usual Suspects Virgin Records suites and themes from The Sony Classical Due July 18: Wonderland Matrix, RoboCop, Judge Dredd, Look for some of the rare and Slated for a spring release (Michael Nyman). Strange Invaders, Solar Crisis, obscure items mentioned in are the Perfect Storm (James The Cape and John Williams’ these pages from the soundtrack Horner) and Love’s Labours symphonic suite from Star specialty dealers in an area code Lost (). Please note: We here at FSM depend Wars Episode I: The Phantom near you: on the record labels for updated Menace. www.sonyclassical.com/music/ and/or amended release information. Nic Raine will conduct the Footlight Records 212-533-1572 soundtracks_idx.html And though we’d obviously prefer to City of Philharmonic Intrada 510-336-1612 present these release announcements and Crouch End Festival Varèse Sarabande with 100 percent accuracy, dates Screen Archives 540-635-2575 Chorus in a new recording of Due end of May: On the Beach slip, titles get pushed out months, Walkabout (, 1971). STAR 717-656-0121 (Christopher Gordon). June sometimes canceled altogether. When As the complete score is only Super Collector 714-636-8700 6: (Randy that happens, it’s beyond our con- 25 minutes long, the album will Edelman). June 23: Peyton trol. Just so you know… FSM

(Bernstein), E.T. the Extra- July 17, Stuttgart, Citizen Kane. Sinbad and Jason. Terrestrial (Williams), The Tennessee Germany, Southwest German Psycho. Taxi Driver. Untouchables (Morricone), June 25, Kingsport S.O.; Radio Orchestra; Lawrence Mancini Tribute—The Great King’s Row (Korngold). of Arabia (Jarre), Battlestar You’ve heard his music. Waldo Pepper, Hatari, White Galactica (Phillips). Now meet the man. Dawn, Thorn Birds, Victor/ Texas July 1, Bayer Ischer Victoria, Songs for Audrey. June 9, 10, 16, 17, Fort Rundefunk S.O.; Lorin Mazel, July 27, 28, Grand Worth; Dances With Wolves cond., Julian Rachlin, soloist; Rapids S.O.; Suites from (Barry), Lawrence of Arabia Carmen Fantasy (Waxman), The Godfather (Rota), Dr. (Jarre), Shakespeare in Love live Eurovision telecast. Zhivago, Lawrence of Arabia (Warbeck), Star Trek TMP. (Jarre). July 2 & 9, Dallas, Japan Metropolitan Winds of Aug. 6, Osaka Japan, Minnesota Dallas; Bruce Broughton, Kansai Philharmonic Pops July 23, 30, Aug. 6, guest conductor; The Boy concert, Peter Rubardt; A 13, 20, Dakota Valley Who Could Fly, Moonwalker, Mission: Impossible, Murder on S.O.; Burnsville, Bonanza Young Sherlock Holmes, the Orient Express (Bennett), (Livingston & Evans). Miracle on 34th Street Victor Young Medley, The (Broughton), Bride of Godfather, How the West Was Montana Frankenstein (Waxman), Won, Breakfast at Tiffany’s, Love Aug. 5, Montana Power Young Frankenstein, High Is a Many Splendored Thing Company concert & tele- Anxiety (Morris). (Newman), Gone With the Heart at Fire’s Center: cast, Butte; How the West Wind, 007 Medley (Barry), The Life and Music of Bernard Herrmann Was Won (A. Newman), Utah Superman (Williams). by Steven C. Smith Witness (Jarre), Wagon Train July 5, Kaysville, Choral Herrmann stands as a towering figure in film music: not (Moross). Arts Society of Utah; New Zealand only was he the most influential film composer of all Rawhide. June 25, Christ’s Church, time, who scored such classic films as Jane Eyre, Vertigo, New York New Zealand; June 29, North By Northwest and Mysterious Island, but he was an July 3, Buffalo, Buffalo Palmerston North; June 30, irascible, passionate personality famous for his temper Philharmonic; The Natural International Auckland; July 7, Wellington, and outbursts. This 1991 book is the definitive biography (R. Newman). New Zealand S.O.; soloist of the legendary composer, covering his film, television, Rachel Barton; Carmen Fantasy radio and concert work as well as his personal life. It is Pennsylvania June 28, Paris, Orchestre (Waxman). a brilliant illumination of the musician and the man and June 26, Robin Hood Dell, de Cologne; Mission: Impossible probably the best film composer biography ever written. Philadelphia S.O.; Symphonic (Schifrin), Raiders of the Lost Published by University of California Press. 416 pp., Night at the Movies: Ark March (Williams), Dances Wales hardcover. $39.95 Hitchcock—To Catch a Thief With Wolves. July 22, Cardiff S.O.; The (Lyn Murray), I Confess, Magnificent Seven, The Ten Available through FSM See pages 40-41. Strangers on a Train, Dial M Germany Commandments (Bernstein), Call Toll Free 1-888-345-6335 for Murder (Tiomkin), North July 7, 8, Opera House King Kong (Steiner), Rear Overseas 1-310-253-9598 by Northwest (Herrmann) (all Halle, Germany, Once Upon a Window (Waxman), Around the Fax 1-310-253-9588 with film). Time in the West. World in 80 Days. FSM Online www.filmscoremonthly.com

F i l m S core M ont h l y  septem b er 1 9 9 9

Ruy Folguera Picking Up the Pieces David Hughes & John Murphy Chain of (Woody Allen, Sharon Stone). Fools, Mary Jane’s Last Dance. Upcoming Assignments David Michael Frank The Last Patrol. Who’s writing what for whom? Rhys Fulver Delivery. —I— Frank Ilfman Intruder. —G— Pat Irwin But I’m a Cheerleader. Craig Stuart Garfinkle Gabriella. Imposter (Miramax, d. Gary —A— Richard Gibbs Queen of the Damned. Fleder), Navy Divers (Robert De Niro). Mark Adler The Apartment Complex, —D— Jerry Goldsmith The Hollow Man (d. Paul Sterling Chase. Jeff Danna O (modern-day telling of Verhoeven), Witchblade, Chameleon 3. —J— Eric Allaman Breakfast With Einstein, The Othello). Joel Goodman Cherry (romantic comedy, Sunshine (Ralph Fiennes). Last Act, Is That All There Is? One Kill Carl Davis The Great Gatsby (A&E). Shalom Harlow). Adrian Johnston Old New Borrowed (Anne Heche, Eric Stoltz). Don Davis Gabriel’s Run (TV). Adam Gorgoni Roads and Bridges ( exec. Blue, The House of Mirth (Gillian John Altman Beautiful Joe, Town and Jordan: To the Max (Michael prod. ), Candyman 3: Anderson). Country (Warren Beatty), Vendetta (HBO, d. Nicholas Meyer). t H e H o t S h e e t n ew assignments

—B— Craig Armstrong Moulin Rouge Proof of Life. Van Dyke Parks Harlan County, The BT Under Suspicion. (Ewan McGregor and Nicole Kidman). Joel Goldsmith Witchblade, Chameleon Ponder Heart. Birthday Girl, A Tyler Bates (Sylvester 3. Trevor Rabin Coyote Ugly (Jerry Story of a Bad Boy (co-composed with Stallone). The Perfect Storm. Bruckheimer production). Chris Hajian), Forever Mine. Wendy Blackstone Back Roads Nathan Larson Tigerland (d. Joel Graeme Revell Dune (Sci-Fi Channel Rick Baitz Life Afterlife (HBO feature T. Bone Burnett O Brother Where Art Schumacher). miniseries). documentary). Thou. Dan Licht Hearts and Bones. The Yards. Lesley Barber You Can Count on Me, Boys and Girls David Mansfield Ropewalk. Bless the Child, The History of Luminous Motion. (Freddie Prinze, Jr.). David Newman Bedazzled, The Affair Glass House (Diane Lane and Leelee Venus and Mars Mychael Danna Bounce (B. Affleck). of the Necklace. Sobieski). (Disney),Hair Shirt (Neve Campbell), Shanghai Noon. Michael Nyman Wonderland. Pearl Harbor (dir. Michael Hangman’s Daughter, Red Dirt. Tyler Bates Beyond City Limits. Christophe The Broken Hearts Jordan IMAX movie), The Replacments Day of the Dead, Extreme Alaska. Frederic Wilde,13 Days, League, Cheer Fever, Coming Soon (Keanu Reeves, Gene Hackman), Relative Mark Governor Blindness (d. Anna Chi). From Hell, The Long Run. (Mia Farrow). Values. Stephen Graziano Herman, U.S.A. Benoit Jutras Journey of Man (IMAX). Marco Beltrami Squelch (d. John Dahl), The Joe Delia Tao of Steve, Time Served, Harry Gregson-Williams Earl Watt (Pate Crow 3: Salvation, Texas Rangers. Ricky 6, Fever. Bros.). —K— Edward Bilous Minor Details, Mixing Patrick Doyle Never Better; Love’s Ed Grenga Catalina Trust (d. Will Conroy). Jan A.P. Kaczmarek Lost Souls. Mia. Labours Lost (Kenneth Branagh, musical Andrew Gross Viva Las Nowhere (James Camara Kambon 2Gether, The White Chris Boardman Bruno (d. Shirley MacLaine). comedy Shakespeare). Caan); Unglued (Linda Hamilton). River Kid (). Simon Boswell Alien Love Triangle, The Anne Dudley The Body, Monkeybone, The Larry Groupé Sleeping With the Lion, Michael Kamen X-Men (d. Bryan Singer). Debtors (Michael Caine, Randy Quaid). Bacchae. Four Second Delay, Peter York, The Laura Karpman Annihilation of Fish. Christopher Brady Castle in the Sky Contender (Joan Allen, Gary Oldman), Brian Keane The Babe Ruth Story (HBO). (Disney animated), Hal’s Birthday. —E— Gentleman B. Rolfe Kent Don’t Go Breaking My Heart Michael Brook Getting to Know You, Randy Edelman The Gelfin, Passion of Jay Gruska Belly Fruit. (Anthony Edwards). Crime & Punishment in Suburbia, Tart. Mind. Gary Koftinoff Forgive Me Father. Paul Buckmaster Mean Street. Steve Edwards Cowboys and Angels, —H— Before Night Falls Luck of the Draw (). Richard Hartley Peter’s Meteor, Mad —L— (Johnny Depp). Danny Elfman The Gift. About Mambo, Victory. Kenneth Lampl Fight the Good Fight (Burt Evan Evans Tripfall (Eric Roberts, John Chris Hajian Naked States (feature docu- Young, d. Bret Carr), Games Without —C— Ritter); Newsbreak (Michael Rooker, Judge mentary), Raw Nerve, Yonkers Joe. Frontiers (John Mulcahy, d. David Knappe), Sam Cardon Olympic Glory, Return to Reinhold). Todd Hayen The Crown, The Last Flight. The Tour (d. Tim Joyce). the Secret Garden. John Hills Abilene. Russ Landau One Hell of a Guy, Waylon Wendy Carlos Woundings. —F— Peter Himmelman A Slipping-Down Life & Buzz. Gary Chang Locked in Silence (Showtime). Shayne Fair & Larry Herbstritt Tequila (Guy Pearce, Lili Taylor). Brian Langsbard First of May (indepen- Stanley Clarke Marciano. Bodyshot. Lee Holdridge Family Plan (Leslie Nielsen), dent), Frozen (Trimark). George S. Clinton Sordid Lives. George Fenton Numbers (d. Nora Ephron, No Other Country, Africa. Daniel Lanois All the Pretty Horses. Elia Cmiral The Wishing Tree (Showtime), starring John Travolta). James Horner The Grinch Who Stole Chris Lennertz Lured Innocence (Dennis Six Pack (French). Allyn Ferguson Back to the Secret Garden Christmas (Jim Carrey). Hopper, Talia Shire), Absolute North (ani- Serge Colbert Red Tide (Casper Van Dien). (German theatrical, Hallmark release). Richard Horowitz Pavilion of Women. mated musical). Michel Colombier Dark Summer, Pros and David Findlay Dead Silent (Rob Lowe). Atlantis (Disney Michael A. Levine The End of the Road Cons, Screwed. Frank Fitzpatrick Lani Loa (Zoetrope). animated feature), Treasure Planet (d. Keith Thomson), The Lady With the Eric Colvin Model Behavior. Nathan Fleet First Time Caller (d. (Disney animated feature) Unbreakable Torch (continued next page) Bill Conti Inferno (Jean-Claude Van Damme). Alessandro Zavaglia, romantic comedy). (Bruce Willis, Julianne Moore), The (Glenn Close, d. David Heeley). Stewart Copeland Made Men (indepen- Claude Foisy 2001: A Space Travesty Vertical Limit (Chris O’Donnell). Christopher Libertino Spin the Bottle dent), Sunset Strip. (Leslie Nielsen). Steven Hufsteter Mascara. (d. Andrew Michael Pascal).

F i l m S core M ont h l y 11 A pr i l / M a y 2 0 0 0 UPC O MI N G FILM ASSIG N M e n TS

Hal Lindes Lucky 13. —R— Neil Smolar The Silent Cradle, Treasure Frank London On the Run, Sancta Trevor Rabin Whispers (Disney). Island, A Question of Privilege, Mortale, The First Seven Years. Robert O. Ragland Lima: Breaking the Deadly Arrangement. Martyn Love The Venus Factory Silence. Darren Solomon Lesser Prophets (John (Australia). Kennard Ramsey Trick Baby. Turturro). John Lurie The Crew, Animal Factory. Alan Reeves To Walk With Lions, Ocean William Stromberg Other Voices Evan Lurie Happy Accidents, The Whole Oasis. (comedy). She-Bang. Graeme Revell Titan A.E., Red Planet. Mark Suozzo Sound and Fury, Well- David Reynolds Warlock (sequel), George Founded Fear. —M— B, Love Happens. Mader Row Your Boat, Claudine’s William Richter Social Misfits, The Broken —T— Return, Morgan’s Ferry (Kelly McGillis), Machine. Michael Tavera One Special Delivery Steal This Movie (Abbie Hoffman biopic). Stan Ridgway Error in Judgment (d. Scott (Penny Marshall). Hummie Mann Thomas and the Magic Levy), Spent (d. Gil Cates Jr.). Stephen James Taylor Blessed Art Thou, Railroad, Good Night Joseph Parker Can You Dig It? J. Peter Robinson Waterproof. John Henry. (Paul Sorvino), A Thing of Beauty, After Apparently, the world was Jeff Rona The In Crowd. Joel Timothy Waiting for the Giants. the Rain. not enough—David Arnold Marius Ruhland Anatomy. Raymond Torres-Santos Richport, David Mansfield Songcatcher, The Gospel will score the new version of David G. Russell The Nest, Wicked Millennium, Menudo...My Loving of Wonders (Mexico, d. Arturo Ripstein). Shaft, starring Samuel L. Spring. White Bread (Jenny McCarthy) Years. Lee Marchitelli Iris Blonde (Miramax). Jackson in the title role and Black Scorpion:The Series (exec. prod. Colin Towns Vig. Anthony Marinelli Slow Burn (Minnie directed by John Singleton. Roger Corman). Ernest Troost Beat (Courtney Love). Driver, James Spader), Fifteen Minutes Isaac Hayes will return to Brian Tyler Panic (William Macy, Neve (Robert De Niro, Ed Burns). perform his Oscar-winning —S— Campbell), Shadow Hours, Terror Tract, Gary Marlowe Framed, Mondschatten theme. Craig Safan Delivering Milo. A Night in Grover’s Mill. (Moonlight Shadow, d. Robby Porschen). Richard Savage A Whole New Day. Bruce Turgon Night Club. Jeff Marsh Burning Down the House, Lalo Schifrin Jack of All Trades. Chris Tyng Bumblebee Flies Away, 7 Wind River (Karen Allen). Ridge (indie feature), Simon Magus Gaili Schoen Déjà Vu (independent). Girlfriends. Phil Marshall Rupert’s Land, Gotta (Samuel Goldwyn), The Thing About David Schwartz The Little Assassin. Dance, Kiss Toledo Goodbye, Vince. Shergar, The Long Road —V— Temptation. Tom Morse Michael Angel. Home, Married 2 Malcolm (U.K. Joseph Vitarelli Sports Pages (d. Richard Brice Martin Poor Mister Potter, Mark Mothersbaugh Camouflage, Sugar comedy). Benjamin). Saving the Endangered Species, & Spice (New Line), Rugrats Paris: The Ilona Sekacz Salomon and Gaenor. Down but Not Out: Living in Chronic Movie, Rocky & Bullwinkle (Jason Patrick Seymour Simian Line (William Hurt). —W,Y— Pain, The Girls Room. Alexander, Robert De Niro). Disney’s The Kid (replac- Michael Wandmacher Supercop 2 (Michelle Cliff Martinez Wicked (d. Michael Steinberg). Jennie Muskett 100 Girls. ing Jerry Goldsmith; Bruce Willis, dir. John Yeoh), Farewell, My Love, Drunken John Massari 1947, Breathing Hard. Turtletaub), One Night at McCool’s, Master 2 (Jackie Chan). John McCarthy Boy Meets Girl. —N— Getting Over Allison, The Emporer’s Steven Warbeck Pavarotti in Dad’s Stuart McDonald Diaries of Darkness. David Newman NuttyProfessor II:The New Groove (Disney animated), Jackie’s Room, Dance, Quills. Mark McKenzie 2. Klumps, Duets (Gwyneth Paltrow). Back (Lifetime Network). Joey Waronker (drummer for Beck, REM) Gigi Meroni The Good Life (Stallone, Michael Nyman Kingdom Come. (Sundance Grand Chuck & Buck. Hopper), The Others, The Last Big Jury Prize) State and Main. Don Was American Road (IMAX). Attractions. —O— Mike Shapiro All Over Again (indie drama). Mark Watters Cynthia Millar Brown’s Requiem. Urban Legend: Final Cut. Shark The Spreading Ground (Dennis Meet Frankenstein, Tom Sawyer. Marcus Miller The Ladies Man. Hopper), Surf Shack. Wendy & Lisa The Third Wheel (Ben Randy Miller Picture of Priority (indepen- —P— James Shearman The Misadventures of Affleck). dent), Family Tree (Warner Bros.), Pirates Van Dyke Parks Trade Off. Margaret. Michael Whalen Slay the Dreamer, Vlad, of the Plain (Tim Curry). Shawn Patterson Herd, Tales From the Edward Shearmur Things You Can Tell Lost Liners (PBS special). Sheldon Mirowitz Say You’ll Be Mine Goose Lady, Magic Trixie. Just by Looking at Her (Cameron Diaz). Alan Williams Angels in the Attic, (Justine Bateman), Autumn Heart (Ally Jean-Claude Petit Messieurs les Enfants, Lawrence Shragge Frontline (Showtime). Princess and the Pea (animated feature, Sheedy), Legacy. Sarabo, Sucre Amer. What Lies Beneath (Harrison score and songs; lyrics by David Pomeranz), Fred Mollin Pilgrim (Tim Truman). Basil & Zoe Poledouris Cecil B. Demented Ford, Michelle Pfeiffer, d. Robert Zemeckis), Who Gets the House (romantic comedy), Deborah Mollison The Boys of Sunset (John Waters). Cast Away (Tom Hanks, Helen Hunt, d. Santa and Pete (Hume Cronin, James Earl Nicholas Pike Delivered. Zemeckis). Jones), Going Home (Jason Robards). Robbie Pittelman A Killing, The Dry Marty Simon Captured. John Williams The Patriot. How to Get Listed Season (independent). Michael Skloff Cherry Pink (d. Jason Debbie Wiseman Tom’s Midnight Garden, Due to the high volume of mate- Michael Richard Plowman The Hot Karl. Alexander). The Lighthouse, The Guilty. rial, this list only covers feature John Powell Fresh Horses (DreamWorks), Gabriel Yared Lisa. scores and Chicken Run, Outpost, Le Visitor. FSM selected high-profile television and Jonathan Price Rustin (indie drama), Dog Mike Slamer & Rich McHugh Shark in cable projects. Composers, your Story (action). a Bottle. updates are appreciated: contact Michael Small Elements (Rob Morrow). managing editor BC Smith Mercy (Peta Wilson).

apr i l / ma y 2 0 0 0 12 F i l m S core M ont h l y Foxes—and with such magnifi- REA D ER cent packaging. I have enjoyed RANTS, many of your other releases, but RAVES & that has been the standout so far. As you may have inferred, I am more oriented toward the so- MAIL BAG called “Classic” film composers. he created a character all on its suite from The Wild Bunch and This brings me to my second- Oscar Wrap-up, own. This character wasn’t an The Outlaw Josey Wales. Mr. ary reason for writing. I noticed Semicolons and More actor—it wasn’t even human. Elliot concluded the first half of recently in your Mail Bag column ost of the people who It wasn’t just the violin itself as the evening with a suite from a discussion of the definition Mwere angered that John an object either. It was the spirit Jerry Goldsmith’s Masada. It of what constitutes a “Classic” Corigliano’s score for The Red that was present even before the seems, in retrospect, that this film music composer. Among the Violin won the Oscar believed violin was constructed; it was concert was not actually intended more pervasive characteristics of that should the life experience that the violin as a tribute to Mr. Fielding—oth- the Hollywood composers of the have taken it for American witnessed through centuries of erwise there would have been ’30s, ’40s and ’50s was not only Beauty. history; it was the emotions that more of his music played. I think the fact that they (most of them) The Red Violin was these experiences evoked within the tribute was decided on due to were classically trained by older Corigliano’s third film score. His the violin. his then recent death. concert masters, but that most of previous two were Revolution (Al The score for The Red Violin, Maestro Williams brought them tended to belittle their own Pacino, dir. Hugh Hudson) and with the solo violin parts haunt- the evening to a close with a film work. Miklós Rózsa rarely Altered States (William Hurt, ingly performed by , thrilling concert arrangement of mentioned it without prodding, dir. Ken Russell). This doesn’t created this character and made selections from the just-released and even then his printed com- mean that he is an inexperienced itself present to the audience Empire Strikes Back. At that ments smart of embarrassment. composer. On the contrary, he is throughout the film, from its pre- time, the soundtrack album had Waxman, Tiomkin, Korngold, a well-established contemporary creation to the end of the film. It only been on the shelf for a week. even irascible Bernard Herrmann concert composer. Naturally, made us feel happy for it; it made For a final salute to Mr. Fielding, all longed for the “respectabil- some conclude that Corigliano is us share its sorrow and its con- James Ingram came on stage and ity” of the concert hall. Alfred an inexperienced film composer, cerns. These achievements make sang a song with the orchestra Newman was known to refer to since he has scored only three— the Best Original Score Oscar a (I believe it was “You Are So himself as a “plumber.” unlike Thomas Newman, who well-deserved award for The Red Beautiful”). It was a memorable It was only after the ’50s that not only has many films with his Violin. I hope to see Corigliano’s writing music for film credits, but is also a close relative name in many future scoring became a career choice of one of the greatest film com- projects; and to those of you who in itself. Two landmark posers, Alfred Newman. are unfamiliar with his score for events in film music I believe that the scores for Altered States, it’s highly recom- helped open the gates to Altered States and The Red Violin mended. non-concert-hall-oriented are two of the greatest scores composers: the success that were composed in the last Semih Tareen of “Do Not Forsake Me” few decades. Thomas Newman [email protected] by Tiomkin for 1952’s has also written great scores, High Noon, and Henry one of my favorites being Mad 1980 Fielding Concert Mancini’s “Moon River” City. But Corigliano’s Red Violin really enjoyed the article on for 1961’s Breakfast at deserved the Oscar over Thomas IJerry Fielding (FSM Vol. Tiffany’s. Tiomkin’s song Newman’s American Beauty. 5, No. 2), which I found most sounded a virtual death Here’s why: informative and entertaining. I knell for main title music, Thomas Newman’s score was fortunate to have attended while Mancini’s accom- created a great atmosphere for a tribute concert for Mr. Fielding plishment was to usher in the scenes and plot of American at the Dorothy Chandler the pop score, edging out Beauty—almost to the point Pavilion in Los Angeles in any remaining classically where when I think of dysfunc- May 1980 (the New American evening, and sparked an interest oriented composers. Of tional families, I hear chromatic Orchestra conducted by Jack in me to seek out more of Jerry course, other factors at this time percussion and the tabla. I think Elliot). The special guest conduc- Fielding’s music. include the rise of rock music, this is a great achievement; like tor for the second half of the con- which inundated popular taste to hearing the theme for Jaws when cert was John Williams. I remem- Don Richard such a vast extent that now all you think of anything dangerous ber that the concert started with [email protected] previous musical forms of expres- approaching. John Corigliano Mr. Elliot an ear shat- sion are subservient. The success was also able to capture the right tering piece called “Eye of the of the all-song 2-LP soundtrack atmosphere through his music. Pyramid” by Tom Pierson. After A Classic Explanation to Saturday Night Fever in 1977 But, he achieved something that that disaster and the audience want to both thank and con- still influences film scores today. is difficult in the art of scoring finished shaking their heads in Igratulate you on your many There is also another factor for films; something that has to bewilderment, the concert moved CD releases. I never thought I present, and it may be the most be approached carefully, without into the Fielding selections. would ever hear, let alone pos- pervasive. In a recent New York crossing the line: With his music However, I can only remember a sess, the tracks to Prince of Times interview concerning his

F i l m S core M ont h l y 13 apr i l / ma y 2 0 0 0 MA I L BAG distortion). for , but who remembers Dragonwyck, David and Bathsheba, So little of Grainer’s work support of the restoration and Penelope?) Tarzan and the Mermaids, or even exists on LP and CD—it would presentation of Kurt Weill’s score I have noticed that there exists a restored, complete Cleopatra?) be delightful if this release would for the 1937 theater pageant, among the FSM readership a Keep up the good work. slowly stir up interest in the “The Eternal Road,” conductor definite distaste for the classic John B. Archibald composer. Hearing the score in John Mauceri said that such composers, with accompanying San Diego, California complete form revealed truly boldly stated melodic music went criticisms of “too loud, too florid, weird but perfect sound effects out of popularity after World War too defined,” and especially “not Most of what you write makes sense, but that Grainer adopted for key II and during the following Cold s u b t l e ” — n o t allow- I’m not sure that fans of contemporary film moments. I get the impression War period of the music have any problem with “feel- ’50s, because these melodies inspired too many emotions. Emotions were not something people in general wished to be reminded of. Even now, I notice a perva- sive, sometimes active attempt to suppress emotional expression. Music, for me, has always been about expressing feelings not translatable into words. This may help to explain my hunger for it, starting in the mid- ’50s. I began by collect- ing the audience ing Disney scores, and gradually to feel for themselves. ings” or that veteran technicians and evolved into a knowledgeable At the same time that I under- “melody.” union must have soundtrack fanatic. I am one of stand a certain validity in these watched with curiosity as the those music buffs who still has comments, I also realize that The Omega Missives composer set up his strange, trav- reel-to-reel tapes of music taken time has passed me by, and that ’m sure I’m not the only one eling bag of eclectic instruments. from television broadcasts of such even film music now leaves me Iwho’s been waiting years to The real beauty of his experimen- scores as A Woman’s Vengeance outdated. It may be that these hear The Omega Man in crystal- tation is its timelessness—there’s

and Woman of the Town, by criticisms originate in a fear of clear stereo. I first saw the film ON much to be learned from his I Rózsa. I’m one of the few who emotions. Much of what passes on a Buffalo station, and in spite organic approach to sounds, and ECT not only saw Kings of the Sun in for contemporary film music of constant transmitter problems, his razor-sharp . LL a theater (twice), but I still have sounds pretty generic to me. But the movie and its catchy theme Such a shame most produc- H CO

my TV tape of the score. And then, I have reached a point in never left my mind. Years later ers prefer the patented Media AS none of these have been released my life where I celebrate feelings, the film popped up on Turner’s Ventures model of film scoring. to video. and I love melody. first station—but the violence I’m sure you know Grainer Perhaps the main reason that I wouldn’t be surprised should and harsh language was simply wrote fine music for a number

I consider so many contemporary these comments raise some few snipped out. The worse insult of short films in the late ’50s THE ROGER N film composers spotty is that I hackles among your reader- came when Warner began a and early ’60s; most of them are SY RTE have felt emotionally connected ship. But, I regard the classic strange logo revision program, hard to find, though the Brits U to a few of their works, but rarely film composers as creators something Disney had been doing have released a handful on PAL CO S to their body of work, unlike who originated in a romantic for years: Rather than show the video. TER my attachment to most of what tradition of expressing feelings lovely, old W.B.-A Kinney Leisure If you ever see a listing for S O are now defined as “Classic” through music, and applied that Services logo, the title card was P

an obscure British Peter Sellers s./ film composers. I love Conan knowledge to their job at hand just hacked out, severely damag- film called Hoffman, watch it. the Barbarian and a few others, of scoring films. In any account ing the opening bars of Grainer’s Stylistically it’s similar to Omega but am indifferent to most of I’ve read of them, they were far brilliant title music. That hor- Man, as Grainer uses another rner Bro Wa Poledouris’ other works. Murder less haughty and egotistical than rible print was in circulation for unusual group of percussion in the First was a revelation to me many of today’s composers, and years, though by luck, the film instruments. The CBC ran the about Christopher Young, since I they even expressed a certain could be had letterboxed in a film back in ’87, when Thorn- was unconnected to anything of degree of humility in regard to PAL VHS & laserdisc release in EMI had a huge movie package. his I heard previously. I buy with- their work. . Part of a “Directors Aside from that appearance, I’ve RTWORK ©1971 A out question albums by Doyle, Thank you for preserving Series,” W.B.’s U.K. video arm never seen the film again! AN

Portman, Sakamoto, Kilar and of their works and affording me the released the film, and Boris M course, John Williams. (But John opportunity to hear them with- Sagal’s movie could finally Mark Hasan EGA

Williams seems to have crossed out sound effects and dialogue. appear unbutchered (except my [email protected] M all the categories. I love his score (For the record, what about PAL VHS copy had high-end HE O T

apr i l / ma y 2 0 0 0 14 F i l m S core M ont h l y had to send this e-mail to the Several years ago, after getting The Omega Man CD at first lis- probably always the most wanted IFilm Score Monthly gang to The Omega Man on videotape, I ten. But, the second listen was a of them all. One day we encoun- let you know I much I appreci- dubbed the music onto another different experience. Somehow, tered a mustached market ate the Omega Man CD. Monte cassette tape and tried to edit I started to really remember the dealer named Wolfgang. “Sure,” Walsh was probably the most between snatches of dialogue to music, which I admired as a kid. I he said. “I have the Omega Man under-appreciated piece of music come up with the purest music am now thrilled to have it. When LP. But not here. In my cellar. that I had ever heard, and upon possible. I came up with about I was 11 or 12 I taped the film Where I have boxes and boxes of receiving that score I couldn’t 40 minutes, intermixed with dia- off of NBC, like I did so many interesting stuff. I think I have have imagined another that I logue (kind of like Apollo 13), and sci-fi and action movies of the three copies of that LP. I’ll bring would value as much. Well—you it was okay, but not great. I’ve time. I remembered digging the them to the flea market next guys have done it again, and I waited years for this soundtrack music, but I had forgotten it. I time, one for each of you guys.” couldn’t be happier. I have to album. The moment I saw you love ’70s action music like Enter The next week, we came back. know more about Ron Grainer. had released it, I got my order in. the Dragon, Dirty Harry, Live The mustached dealer sputtered I gathered from the liner notes It’s exactly what I’d hoped for, and Let Die and others, and The “Oh guys, I forgot your LPs. Just that (as he was chosen for and worth every penny. Thank Omega Man has it in spades. come back next week. Then I’ll “economic reasons”) the film’s you, thank you, thank you! I loved the Jerry Fielding have them with me.” Needless to producers were probably hoping article in the latest FSM and I’m say, that’s what he started saying for a slightly better than average Glen Seeber hoping to see a release of The week after week. One time, we score, but Mr. Grainer delivered [email protected] Enforcer, The Gauntlet and Escape finally missed the flea market— a masterpiece for this 1971 film. From Alcatraz. and naturally, the week after This score alone should have have to admit that I wasn’t that, we came back again. That put Ron Grainer into the upper Icrazy about Randall Derchan Wolfgang character said: “Why echelon of composers of the time: [email protected] didn’t you show up last weekend? Barry, Goldsmith, Williams, I had your Omega Man LPs with Schifrin, Morricone, etc. The hen I was me. But I already sold them! only thing that makes me sad Waround Sorry guys, your fault.” “There’s about this CD is the realization 13, my two best never a cop around when you of how woefully under-appreci- friends and I need one,” we thought. “Thanks ated Grainer was. Again, any were always a lot, you cheating bastard!” further info that you have on looking for the It took us five years and a the man and his other works soundtrack knowing film music dealer at would be most appreciated. LPs of our Dayton’s Records in New York favorite to learn that there was never Edward J. Holland III movies, a soundtrack release of Omega [email protected] mostly sci- Man at all. But now, more than ence fiction 20 years after our first try, it’s no ow! I never thought films or action more the imagined product of an Wthis score would ever adventures. The ugly, mustached liar, but finally a see the light of day! What a Omega Man was reality. wonderful surprise. Obviously, I am thrilled at its release. Henrik Jordan I remember seeing the film [email protected] when I was a kid, and even at (continued next page) that time, I was impressed with its score. Everyone at FSM deserves a round of applause for releasing this superb soundtrack. The sound quality is impeccable! I can’t express enough how enthused I am. Potential buyers: Get it now! David Sorensen [email protected] And You ack in ’71, I snuck a tape Thought We Brecorder into a theater and Were Kidding recorded the entire Omega Man, Herrmann’s pulling out the tape and turning s you can see above, this enthusiast wishes second? Get it? Ummm... it over at 30 minutes, then plunk- Ayou wouldn’t so cavalierly dispose with the Anyway, I hope my doodling will give you and ing in a new one at the hour. I centerfold concept mentioned in your editorial yours a fraction of the joy that FSM (aka “The listened to those tapes over (FSM Vol. 5, No. 1). Magazine Published Just for Me”) has heaped and over until they would no Who better than Benny Herrmann to kick on me over the years. It’s a publication that fills longer play. And it wasn’t the it off? He and Burt Reynolds do have a sort rarified cravings with wit and intelligence. dialogue or the story that held of “forced” (if I may) commonality—Reynolds’ me captive—it was the music. first star was rising rapidly at the same time as Jeffrey McMunn

F i l m S core M ont h l y 15 apr i l / ma y 2 0 0 0 MA I L BAG ing on the original sessions is obviously some of the best to come out of Hollywood. If only Leonard Rosenman’s Beneath the Planet of ou rock! It’s not yet 9 a.m. here in the every score was put under the keen handling the Apes score! Ydesert—and I’m in heaven. What a splen- of Kendall and Bond. Dave Barbour did and blissful morning this has become. I The music to this film was one of the early Sacramento, California am completely impressed (again) by the fine score impressions etched into my brain. It work done all around (you, Jeff Bond, Nick evokes all those giddy things in me that Whatever you say! Now get out of my head! Redman). The Omega Man is definitely a happen whenever two elements combine keeper! The sound is so rich and clean. The and result in wondrous things: Goldsmith I Dream of Jerry production (the disc and package) is absolute- and Planet of the Apes, Williams and Jaws, hy would anyone not want you to ly first rate. It is sad that Ron Grainer isn’t Goldsmith and Alien, Williams and Raiders, Wrelease Jerry Goldsmith titles? around to glow in the dedication and appre- Elfman and , and most recently, Since I was 10 years old, I have been paying ciation of us fans—and sad that it took so long Morricone and Mission to Mars! my dues, marching into theaters and becom- for this score to see production. However, it’s Maybe you could go over there and help ing euphoric at Goldsmith’s thrilling new here. You did it. My ears are sending the chill- (them?) figure out how to get The Omega sounds, which until then, I did not believe a ing sounds of the water chimes and organ into Man on DVD in all its glory! What a great day musician or instrument was capable of pro- my brain as I type these words...Bravo, bravo, this is. Ya just gotta know, Ron is somewhere, ducing. I literally jumped out of my seat upon bravo!!! (And how the hell did these discs get and this is flowing out into the great whatever hearing the throbbing tones of Capricorn here so fast?! I just ordered these barely a few and he’s having a marvelous time of it. You’re One; I had nightmares when I listened to The days ago!) to be commended and, I hope, appropriately Omen (I still do—I’m not yet able to play it OK—it’s now 3:30 p.m. on Monday and I’ve recognized for this effort. during a thunderstorm); I am ecstatic that listened to The Omega Man constantly since The family lives! Rio Conchos is finally available in its original opening the package early this morning. This recording. I am waiting for the original scor- is better than drugs, man—better than (some) Steve N. Bones ing session releases from earlier Goldsmith sex, too! Please allow me to blow some air [email protected] works and present to you my choices: your way. You deserve some kind of award in In order of preference: The Satan Bug; recognition of the insight and talent that went ongratulations and a thousand thank Damnation Alley (virtually ignored and into this score presentation. The music that Cyous for finally liberating one of the dismissed); Seconds; Shock Treatment; The has been preserved on this recording is spec- greatest scores of the ’70s with your release Detective; Logan’s Run; The Illustrated Man; tacular—it takes me right back to the theater of The Omega Man. This is one score I never The Prize; Tora! Tora! Tora!; Freud; Shamus; I sat in in 1971. Oh—for so long I’ve hoped thought I’d live to see issued legitimately. The Last Run; Justine; Morituri; Take Her, to hear the score (apart from watching the Keep up the outstanding work and please She’s Mine; The List of Adrian Messenger; video). I’ve been such a longtime fan of Ron ignore the naysayers who cannot appreciate Fate Is the Hunter; Seven Days in May; the Grainer and his versatility. The liner notes the effort and taste being applied to this label. complete In Harm’s Way; The Sand Pebbles; and the concise track notes shine with affec- Martin McCabe Our Man Flint (this time with all the cues); tion and knowledge of the material. [email protected] ditto Hour of the Gun and Papillon—[this list The package for the CD is remarkable to continues with another 20+ titles]. me in that it presents an interesting symbol Mutant Mind Control? And not to mention his television scores of where Mr. Heston is these days as head his is a note of thanks for the long for: all of the first season cues for The Man of the NRA. Was this witty irony intended? Tawaited resurrection of the score for The From Uncle; Archer; Babe; Winter Kill (the The poster reproduction; the artist name and Omega Man. I’ve listened to it about a hun- Adams of Eagle Lake series); A Tree Grows photo in the spine fold; the still of Heston dred times now and it just keeps getting bet- in Brooklyn—[this list also continues with escaping the chopper crash; the groovy cover ter—what an underrated talent Mr. Grainer another 20+ titles.] and quote on the back; the whole layout—it’s was. Of course, even as a 10-year-old seeing I believe that covers my requests for the totally brilliant. the film as a second feature with Dirty Harry next 100 years. Everything is here on this recording, well, (another great soundtrack!) at the local drive- William J. Donahue except for the excerpt from Woodstock. And in, I knew the score was unique and never [email protected] the music—it’s a lucky thing that the masters forgot certain passages. were kept so clean for this long. The engineer- Now, if you can just get your hands on We really want to put out The Satan Bug and Damnation Alley, but circumstances have made it impossible. And as for Tora! Tora! Tora!, check out the inside front cover.

More Abominations ear jerks at FSM: I am outrageously Dappalled at the audacity of your abomi- nable magazine. How dare Jeff Bond infuse one of his reviews with his personal opinion. Everyone knows quite well that reviews are to be filled with nothing but technical specs of the recording, or CD length, or the occasional well-informed historical diatribe on the story of the film. To think that, after your publica- (continued on page 23)

apr i l / ma y 2 0 0 0 16 F i l m S core M ont h l y d o WNB E A T

Richard Marvin U-571 All’s Fair in War and Love

omposer richard marvin’s working Inside the scoring process for U-571 and ON THE BEACH relationship with director Jonathan CMostow began, contrary to popular b e l i e f , w i t h m o s t o w ’ s f i r s t f i l m

Marvin’s first score), the 1991 war film Flight of the Black Angel. The attention that Mostow garnered from that film led to a deal to co- write and direct the underrated 1997 thriller Breakdown. “I had been asked by Jonathan Mostow to do that score originally,” the com- poser notes. “We had a relationship at that point, and it was always his intention that I would be brought onto the film. But,” he laughs, “the lack of the right kind of creden- tials got me disapproved by a couple of the executives. So John hired Basil [Poledouris], and worked with Basil for a while, and in the end was looking for additional music.” Marvin rewrote 22 to 25 minutes of score for Breakdown, notably for the film’s first Richard Marvin scores a direct hit with his music to U-571. chase sequence, the tense bank scene and the climactic showdown. And having earned those important credentials, Marvin found continues. “After temping it with several For that important, subtle suspense music, himself working with Mostow again, on the things, we thought it was really giving the Mostow provides a picture for Marvin, who WWII thriller U-571. picture an emotional quality, a heroic, patri- will “improvise to the picture on keyboard, “At that point,” Marvin says, “I had a great otic feel that was working very well.” Marvin and then we’ll have a meeting to discuss the response from those cues [for Breakdown], not also notes that the temp track was “all over material. And it ends up being pretty close only from Jonathan but from Paramount, the board. There was a lot of Air Force One in to what I came up with in the beginning.” and also from Dino DeLaurentis, who was it, there was Merlin, Last of the Mohicans, Abyss, Marvin notes that Mostow is very Spartan in somewhat reluctant to hire me. That was Outbreak. It was heavily, heavily temped. It terms of what he wants from suspense cues: my proving ground...So when this one came was a huge process; we were in post-produc- “He doesn’t want to overdo it. He doesn’t along, Dino was again producer, so there tion for 40 weeks.” Marvin ultimately contrib- want to push emotion, to push suspense. He was no problem.” Marvin’s relationship with uted about 80 minutes of score, recorded with really likes a sparse, less-is-more approach, Mostow was healthy enough that he even had a huge (100+-piece) union orchestra over a which is what I like, too. a cameo in the film, as a bandleader in an three-month period. “The way [the film] is cut, it’s very quick,” early party sequence. Marvin notes that the temp track was Marvin continues. “You don’t stay on a scene Marvin relates that the musical concept for indeed a major hurdle. “It wasn’t really my for very long, it’s always moving ahead. On U-571 evolved considerably over take on the movie. It was direc- most movies I’ve done I’ll have eight bars the course of the film’s post-pro- tor-driven, but in the end it was to develop something. On this movie, eight duction schedule. “We all knew it Gordon wrote a great way to go, and I think it bars was a luxury. I found it very challeng- was a tense, thriller, action movie, four primary worked really well with the pic- ing to keep something musical happening but over the course of editing and ture. The big melodic material is when there’s so much of a desire to have the temping the picture it became themes for stuff I feel very comfortable with. momentum keep going.”‑ clear that we were making an The end of the movie in particular —Jason Comerford old-fashioned war movie. And so the end of the is where you really hear the melo- there were about five or six cues world: love, dy. In a typical Jonathan Mostow in the picture that would give you movie, there’s not much room for Christopher Gordon that feeling. And consequently, we the “world at melody. So what Jon likes, that I On the Beach were looking for some real the- war,” dying, do so well, is the suspense and ten- hat kind of music do you write for the matic stuff, strong melodies in the sion music, and very early on we Wend of the world? That was the chal- style of what was being written and a family had temped it with my keyboard lenge Christopher Gordon faced when writing in 1942. mockups. So they stuck in the first the score for Russell Mulcahey’s telemovie On “It was certainly not my, or theme. temp and it stayed in all the way the Beach, which premiered on Showtime at Jon’s, original take on it,” Marvin to the end of the movie.” the end of May. On the Beach is a remake of the

F i l m S core M ont h l y 17 apr i l / ma y 2 0 0 0 d o WNB E A T four primary themes: a love theme, a “world able to break away. Gordon explains why: at war” theme, a dying theme, and a fam- “It promises to go somewhere and doesn’t, 1959 movie of the same name, which depicted ily theme. There are also sections of what which is very representative of the love situa- the only survivors of World War III preparing Gordon describes as “testosterone music”— tion. They can’t experience the full joy of love for their inevitable end in Australia. “I pur- fast-paced with lots of brass for the guys on because in a couple of weeks they are going to posely avoided watching the original because the submarine. Then there are the aleatoric die. It becomes a question of who you’re going it is important that my response is a reaction landscapes for San Francisco and Melbourne to die with rather than who you’re going to to the film at hand,” says Gordon. “I really as the world falls apart. live with.” enjoyed working with Russell. He was great The love theme is particularly interest- The love theme only finds a kind of ful- at giving direction and gave me lots of scope ing, as it is never played the same way twice. fillment at the end of the movie, and harks to move. That sort of thing always brings out The rhythm and phrasing shift each time as back to a method Gordon used in an earlier the best in a composer. And he’s made a film though searching for a definitive form. After score. In Moby Dick (Vol. 3, No. 6) there was that is very inspiring to write for.” an initial burst of passion the theme keeps a two-note falling semitone played loudly on The resulting orchestral score contains returning to a handful of notes and is never unison brass whenever the music acted like a narrator. On the Beach has a final cadence, a four-bar phrase that appears every now and then at moments when there is a desire for rest and that ends the movie as a closure to the love theme. The “World at War” theme is first heard at the opening of the film during the montage of riots, news presentations and demonstra- tions. This dramatic, moody theme recurs throughout the film for the broader issues. There is also a long theme most clearly heard when Bryan Brown’s character drives his Ferrari through the dying streets of Melbourne one last time. This dying theme is a very long cello solo over a death knell. The cello is associated with weeping and the end of humanity. Even if the cello is playing another theme, the association is still there. Gordon gives an example: “Towers and Moira are on the jetty getting to know one another. The love theme is played by solo cello accom- panied by three others. The notes are the love theme, but the sound is of the world dying.” As an extension of this, a solo viola is used for individual moments of personal grief. Finally there is a family theme, used for Peter and Mary’s family in Australia and the happiness of their life. It is also used when Towers remembers his own family. “The family theme is virtually the only major-key theme in the film,” says Gordon. “It’s very light: solo piano and harp, sometimes accom- panied by soft strings.” The last year has been very busy for Gordon. His score for Bruce Beresford’s IMAX movie Sydney: A Story of a City (BMG 74321703702) uses a 100-piece orchestra. Quite a contrast to the harp, flute and viola trio used for the short film Milk. Sydney-sid- ers were also treated to a musical celebration co-composed by Gordon at the Sydney Opera House and telecast live around the world as the clocks ticked over to 2000. When I asked Gordon about his overall feeling writing for On the Beach, he smiled broadly and was quick to reply: “It was won- derful to be able to write what is essentially a romantic score. I’ve been looking forward to that opportunity for a long time.” Varèse Sarabande released Christopher Gordon’s score for On the Beach May 23.

apr i l / ma y 2 0 0 0 18 F i l m S core M ont h l y to me and say, ‘I’d like you to do this film.’ I’d say, ‘Talk to my blacklist, during which his prodigious talents were put to work agent.’ But I never got a job through an agent. My first agent on bottom-of-the-barrel garbage like Robot Monster and Cat I got around ’36 or ’37, but it didn’t last very long because I Women of the Moon, before he reasserted himself with hits like really didn’t need one. I didn’t really give anybody their walk- The Man With the Golden Arm and The Ten Commandments. ing papers, but it would just sort of fall off. When you’re not Bernstein was to impact the representation of film compos- working your agent, [he] atrophies and falls off.” ers in a pivotal way. He began by bringing to Hollywood an old One of the long-lasting aspects of the studio system was army buddy named Alvin Bart. “When I was brought to do my that composers would work under contract the same as actors first film in 1951 I didn’t have an agent,” Bernstein recalls. and writers, albeit often for far less money and with little or “My producer, who was vice president of Columbia at the time, no recognition. “I was well-known but only in the profession,” suggested an agent named George Wilner, who was with the Raksin says. “You couldn’t say I was a famous person because I Goldstone Agency, a very big agency. George Wilner ran afoul of was known only among my colleagues and among film people.” the Hollywood blacklist and at that time I went over to MCA. Raksin managed to avoid signing a contract for his first dozen My agent, and I guess the biggest music agent there ever was in or so years in the business. “Eventually I broke down,” the this town, was Abe Meyer. I was with MCA with Abe until MCA composer says. “I didn’t want to have a contract with anybody, began to go into production; they had to divest themselves of the but I got to a point in 1949 where I was in pretty bad shape. I agency because of a conflict of interest.” was thought of as being arrogant because I had the arrogance Bernstein sought out other agents, but the divestiture of to say that I didn’t want to do this or I did want to do that. So MCA’s representation department was a momentous develop- I got a call from Johnny Green who said he wanted me to come ment. MCA had metamorphosed from an agency to a film pro- over to MGM. He didn’t know I was very badly off and didn’t duction studio. Had it maintained its client base it would have have any money. I told him I could never work at MGM, but he had agents in its employ marketing their clients to directors who convinced me to come over. I thought I’d never last a year and were making movies for MCA—a situation other studios and they’d throw me out. But I lasted three, and it was okay. He agencies would hardly have stood for. Without really intending made sure that things were civilized, and MGM was the least civilized of all the studios at that time in my opinion. They had a kind of deference to people I thought were not competent. If a film star said jump they’d jump, and they could be very How Modern ruthless with film stars too. But in many cases they deferred to them and it was a big mistake.” Film Music A New Era Representation By the tail end of the ’50s, the studio system was already begin- ning to unravel as independent producers, actors and directors Sprang Into Being; developed more clout and demands for autonomy. By the early ’60s, box-office disasters like Cleopatra nearly destroyed studios like Fox, and the end of the studio system was at hand. Although And What Do many composers still signed studio contracts (notably John Williams and Jerry Goldsmith, both under contract to Fox in the ’60s and early ’70s), others had no choice but to go it alone. Agents Do, Anyway? “Those of us who went and worked as individuals still had a lot to say,” Raksin says. “In other words, if they want you to By Jeff Bond do a job you’re not going to do one that you don’t want to do unless you really need the money. And that happened too, but not very often. It’s true there were no longer any Al Newmans or Leo Forbsteins, but most of the other heads of departments to, Bernstein engineered a situation that would eventually lead were really powerless by that point. The day of Al Newman was film composer representation into its own specialized arena. over.” “What happened was when I saw this thing coming, I said [to With the collapse of the studio system, agents suddenly began Al Bart], ‘Why don’t you come out here and be an agent?’ He to take on a higher profile in composers’ lives. The automatic said, ‘I don’t know anything about agenting and I don’t know shepherding of composers to assignments by the studio depart- anything about music.’ I said, ‘You don’t have to know anything ment heads was no longer a given, and agencies like MCA about anything—just tell good jokes!’ Al came out and I got him and the Goldstone Agency began to find themselves with a a job for one year as my personal manager, representing only larger and larger stable of film music clients. Composer Elmer me. Then I got him a job working at Universal for Bobby Helfer, Bernstein entered the business in 1950, at the very beginning who had been my agent at MCA.” of the end of the studio system. Like Raksin, Bernstein avoided Bart himself had been uncertain about the idea of being an signing a contract with any of the major studios. “When I came agent and had attempted to maintain his photography busi- in in 1950 I was offered a contract at Columbia—they were still ness after moving to California, but he soon found himself in doing the seven-year-contract thing,” Bernstein says. “But I the middle of a rapidly changing situation at MCA. “Elmer turned it down. It was a calculated risk and I decided I would was represented by MCA, and they represented composers in a take my chances freelancing.” After making a successful start funny sort of way,” Bart says. “People would come to him and in 1952 with the Joan Crawford thriller Sudden Fear, Bernstein he would negotiate their deals, but it was a very loose arrange- rode out a rough period during the worst days of the Hollywood ment. I came out to California and we worked together for a

F i l m S core M ont h l y 21 septem b er 1 9 9 9 while, and Elmer said that maybe I should work at MCA the hell a film score was, and they didn’t really care. So because he was a client there. So he set up a meeting with after working for two or three big outfits I decided to go Lew Wasserman, and it was a nice meeting, and Lew said, into business with another agent, Mike Levy, who repre- ‘Great, you’ve got a good education and everything looks sented directors. We started an agency called Bart-Levy good—when you get some experience in the agency busi- Associates. And that’s how the whole thing started.” ness come back.’” Although he was on the ground floor, Bart’s agency was not the only game in town. Mark Newman was a major The Next Big Thing competitor who could leverage clients at 20th Century- Fox with the help of his brother Lionel Newman, one of Bernstein, who was working in television through MCA the last, great music department heads until the early at the time, talked Bart into being his manager, which 1980s. Jeff Kaufman, who started with Bart in the mid- allowed Bart to make some important contacts at MCA. ’80s before forming his own agency, notes that even “The fellow representing composers at MCA was going to during his tenure at MCA Bart was beginning to spin retire, and he asked me if I would like to join MCA and I off film music agents. “Al Bart’s old assistant was Peter did,” Bart says. “One day I was walking down the hall Faith, [composer] Percy Faith’s son,” Kaufman explains. and Lew Wasserman saw me and said, ‘What are you “As a favor to Percy, Al hired Peter, and the people at doing here?’ I said, ‘I work for you,’ and he said, ‘Oh, MCA told Al to get rid of Peter because they were going that’s good.’ MCA was the zenith of agencies, and they to tone down the department. So he not only got rid of wielded tremendous power because of the stars they had. Peter, but he gave Peter clients so he would have a shot If they had Clark Gable, and MGM wanted Clark Gable, at it. So he gave birth to the Faith Agency.” then you had to hire their photographers, their choreog- And there were other connections. “William Morris raphers, and their set decorators—it was a package deal. wanted to merge with us because there was quite a bit of But they never really got into the music because they money involved, and for a while we had an agreement,” didn’t understand it. Abe Meyer was a guy who under- Bart says. “A lot of their clients thought they were compos- stood music and the value of it to a certain extent, but he ers so they called us and asked us to get them work. Then didn’t really know how important it was to become.” there were some spin-offs from people who worked for us. When [Michael] Gorfaine and [Sam] Schwartz left ASCAP, we were in negotiations and were going to hire them, but they wanted too much. They went on and are probably the According to Elmer biggest guys right now. Practically 90 percent of the people running agencies now started with us.” By the ’80s Bart’s agency was one of the biggest, with Bernstein, agents a group of clients that included Angelo Badalamenti, Richard Rodney Bennett, Elmer and Peter Bernstein, lyricist Don Black, Bill Conti, Carl Davis, John Debney, “...don’t have to Cliff Eidelman, Lee Holdridge, Henry Mancini, Giorgio Moroder, Miklós Rózsa, Mark Snow, Morton Stevens, know anything Shirley Walker and Hans Zimmer. From Bart to about anything—just Gorfaine/Schwartz & Kraft tell good jokes!” Elmer Bernstein was also integral in bringing Richard Kraft, currently one of the industry’s biggest play- ers, into the business. “While I was still with the Bart Agency I worked on a film called Bolero with my son Bart had started his career as an agent, but it was at Peter,” Bernstein explains. “At that point Richard Kraft this point that MCA as he had known it dissolved. “At that was head of music for Cannon Films. I had never met point they were getting into film production and they had Richard but I talked to him on the phone a lot, and he to make the choice of whether they were going to be an was the only person at that entire organization that agency or a film production company, and they chose film made any sense. In the meantime I was still with the production,” Bart explains. “So all their composers, 30 Bart Agency. When Richard got through with Cannon or 40 of them, suddenly had no place to go—except with he called me one day and said he was looking for a job. me.” I had lunch with him and I asked him if being an agent Bart found himself with a big stable of clients but no would interest him. He said yes and I called Al Bart and home. “I worked for other agencies for a while but I always he went to work for Al.” had a trick, which is I had it in my contract that if I left, Jeff Kaufman joined the firm in 1986 after running a the composers had the right to leave, which was unheard fan mail business for Universal and Columbia and later of at that time,” Bart recalls. “Usually, if a guy comes in managing a record store which Kraft frequented. Kaufman with clients and he leaves, it’s tough luck, fella! The clients had an interest in soundtracks and Kraft was a genuine fan stay. It was so unique because these agencies had never who would ask Kaufman to track down records for him. represented film composers before, they didn’t know what “In 1985 Richard invited me to a scoring

A pr i l / M a y 2 0 0 0 22 F i l m S core M ont h l y session of a silent movie they were reissuing,” Mailbag WorldWorld ClassClass Sound...Sound... Kaufman remembers, “and I saw Richard (continued from page 16) and met Georges Delerue, Charlie Ryan, Al tion has been in business for so long, your UnbelievableUnbelievable PricePrice Bart and Stan Milander. And a few months reviewers still insist on using their opinions later Richard came in and said he’d been of the music when writing reviews...Well, offered a gig at Varèse Sarabande as their it makes my skin crawl. I trust that in the vice president of soundtracks and wanted to future, if your writers feel that they know if I’d be interested in working at their absolutely must utilize opinions in their agency as kind of a tape librarian/junior reviews, the least they can do is use the agent. He set up a meeting for me at Al opinions of Alex Zambra. Thank you. Bart’s home and I actually got there a few Josh Burns, Master of Flanin 2001 minutes early and was hired by the time my [email protected] appointment time was. The agents at the No, thank you! time were Stan, Al and Charlie. I made the tapes and did the research and occasionally A Final Note—and Errata they’d have me make phone calls on behalf just received my copy of Take a Hard of clients if they couldn't get to it. When I IRide by Jerry Goldsmith, and I must say joined Al Bart they had 85 or 90 clients." that I am very pleased with the overall pack- In the early 1980s, just as Al Bart was eye- age. The sound is mint, the liner notes infor- ing retirement, ASCAP's Michael Gorfaine mative and the music...excellent. I noticed and Sam Schwartz started a new, aggressive a similarity between track 5, “The Snake,” agency, Gorfaine/Schwartz. "Mike and Sam and some of the music in Rambo: First brought film music representation into the Blood Part 2, particularly with the parallels modern age," explains rival Kraft. "I remem- in percussive movements and strings—great ber when I joined Bart-Milander begging stuff. Vol. 5, No. 2 is a good issue, particu- them to sign the next generation of com- larly the Score Internationale feature and posers—people like Elfman, Isham, Horner, the “Music by Jerry Fielding” article. How James Newton Howard and Kamen. I felt like about releasing Demon Seed and Straw I was preaching to deaf ears. So, I quit to run Dogs on CD? Varese-Sarabande Records and for a while, In your response to Jared Rivet’s letter, Gorfaine/Schwartz became the home of many you mentioned Christopher Reeve as the of the new stars. They made strong deals for director of Superman IV: The Quest for Peace, their clients and really fought hard for them. when in fact, it was Sidney J. Furie who *Shown with In a very short period of time they toppled helmed this heavily truncated film. And, in Optional Shockmount Bart-Milander, and until I returned to agent- your “Upcoming Assignments” roster you ing and started to offer some strong competi- tend to repeat many composers whose films ■ 1” Gold Diaphragm tion, it seemed like they might remain the have usually been released to video months ■ 30-20 kHz only real game in town." ago, such as David Williams’ Wishmaster 2: ■ Cardioid The profile of film composers had been Evil Never Dies (which also has two sequels in ■ 130 dB Spl ■ raised in the mid-'70s by John Williams suc- production) and Candyman 3: Day of the Dead. 200 ohm ■ cess with Jaws and Star Wars, but Williams I realize that you are at the mercy of the Balanced transformer output ■ Noise Level: 18.5 dB-A seemed to be the exception that proved submitting composers, so I figured I should ■ 50x190mm the rule: Movie composers were still under- point some of these out. ■ 48v Phantom Power appreciated and underpaid. "Up until when Christopher Jenkins Gorfaine-Schwartz and I became film music Smithtown, New York “I finally have a high-quality, superb sounding agents, it was a position that lacked much mic I can use in more demanding situations.” -Richard Dashut, Producer: Fleetwood Mac, power," Kraft explains. "All composers made Thanks, Christopher. It’s quite a task keeping up with the Lindsey Buckingham almost the same amount of money. The voluminous entries in our Upcoming Assignments list. The range in the '60s was within two or three composers don’t notify us when their projects go to video “This mic is Fabulous! I would put these up thousand dollars’ difference between the (and it’s probably not something that they care to think about, against mics costing 4 times the amount.” top composers and everyone else. In the '60s anyway). FSM -Dana Puopolo: Chief Engineer Channel 103.1 World Class Rock composers were making $17,000 a picture, and so the creativity of the deal-making por- “With its sound quality and price, this micro- tion of agenting was extremely limited. The If you’ve never written to us before, but have phone will be a definite hit!” '70s and early-'80s were not much better with -Dee Rob: Co-Owner of Cherokee Studios, something to say, this is the time to do it! FSM is Producer, Engineer regard to composer deals. It was considered a celebrating its 10th anniversary in June, and we miracle when the first few composers crossed want you to be part of our next 10 years. the hundred thousand-dollar mark in 1985. Join the party! Marshall In the15 years since, top fees have gone north MXL Condenser Microphones of a million dollars per picture, and that’s Send your letters to: Mogami Cables & Accesories because of aggressive agenting." FSM FSM Mail Bag 8503 Washington Blvd., Culver City, CA 90232 1-800-800-6608 NEXT TIME: More history and or e-mail: [email protected] changes in the industry [email protected] www.mars-cam.com

F i l m S core M ont h l y 23 septem b er 1 9 9 9 HHerrmanerrmann’n’ss JourJournneyey

Journey to the Center of the Earth A Retrospective by Guy Mariner Tucker

apr i l / ma y 2 0 0 0 24 F i l m S core M ont h l y Few movies fascinated me as a child as much as the 1959 20th-Century Fox fantasy Journey to the Center of the Earth. I was thoroughly unaware of its pedigree; I had only a vague idea of who Jules Verne was (his Herrmann’s Journey novels sailed right over my head when I tried to read them), knew nothing of Herrmann’s Journey writers or directors, and as for the cast, the most identifiable was a minor player, Alan Napier, whom I recognized as his own peculiar orchestral approach—that Journey Alfred the butler on TV’s Batman. Seeing Rocky later, I sounds much different from these. Also significantly, was startled to recognize that the ringside announcer it sounds very different from other fantasy scores was the same actor (Thayer David) who had essayed Herrmann had already done: The Day the Earth Stood Still Journey’s villainous Count Sakneussem. And soon, of (much eerier) and The 7th Voyage of Sinbad (more heroic, course, I saw enough other movies to learn to be a big more romantic). fan of James Mason. In Journey Herrmann decided “to evoke the mood and Though I didn’t know it then, I was also becoming a feeling of inner Earth by using only instruments played in huge fan of Journey’s composer Bernard Herrmann. I’m low registers. Eliminating all strings, I utilized an orches- sure many more people recognize his music—even his tra of woodwinds and brass, with a large percussion sec- style—than recognize his name. True, there are the most tion and many harps.” Bruce Broughton, in his liner notes famous examples, such as Psycho (which I first remember to his own Tombstone CD, remembered hearing Herrmann hearing on an ancient SCTV sketch—Eugene Levy plan- instruct an orchestra to the effect that the highest note in ning to push Andrea Martin over a cliff, I think). But few the score they were about to play was middle C. Much of composers in the history of film have such an instantly Journey perfectly fits that description. identifiable style. Director Martin Scorsese, for one, was familiar with Herrmann’s music well before he ever nother aspect of Herrmann’s approach, how- dreamed of seeking him out to score Taxi Driver; he noted ever, seemed almost purposely blind to the that he would identify a score as Herrmann’s long before very real charms of the film. “There was no he thought to look for the man’s name in the credits. And emotion in that film,” Herrmann declared, Scorsese is hardly the only one. “only terror.” That Herrmann could reduce Herrmann’s indelible style, which came to be much the film to so simple a description is strange, imitated by successive generations of film composers, was but consistent. Elmer Bernstein recalled utterly unique in its day, owing more to such modernists Herrmann’s outrage over Richard Rodney as Charles Ives and Bela Bartók than to the European Bennett’s waltz-like score to Murder on the Orient Express (a Romantic style popularized by Max Steiner and his succes- Amovie its own director, Sidney Lumet, considered a piffle). sors. It is debatable which did more to limit Herrmann’s “That train,” Herrmann declaimed to Bernstein, “was a p. career, his unwavering approach or the legendary temper train of death.” or C

that often accompanied it. “That gives you a major clue to Benny’s thinking,” Though, by 1959, Herrmann had achieved two collabo- Bernstein observed. Film

x rations of which he would always be proud—with Orson In fact, it might have been the very quality of the film- o

y-F Welles and Alfred Hitchcock—he was rarely in demand. making behind Journey to the Center of the Earth that stirred r

u Other than Hitchcock, no director working was mak- Herrmann’s imagination and reactions. By contrast, he

ent ing the kinds of films that Herrmann’s particular idiom appears to have found the low-budget horror of It’s Alive! C appeared to suit. to be more comical than anything else. While Journey’s th 20

Rather, much of his film work would be assigned by special effects mostly look antique today, and cannot 20th Century-Fox’s chief of music, Alfred Newman, even boast the artisanship of such contemporaries as Ray himself a fine composer (and one of the few Herrmann Harryhausen or Eiji Tsuburaya, they were state-of-the- respected personally). Journey to the Center of the Earth art for 1959. The gorgeous, mammoth subterranean sets would be one of these assignments. Scheduled to be Fox’s still look wonderful, handsomely abetted by the splendid RTWORK ©1959 A big holiday release for 1959, Herrmann worked on the CinemaScope photography of Leo Tover. (One certainly H T film between September and November of that year. must see this letterboxed, although the pan-and-scan VHS (According to Herrmann’s biographer Steven C. Smith, copy is handled with some intelligence.) HE EAR

T Herrmann especially enjoyed working at Fox because he Even more critical to the success of Journey to the Center was typically allowed such luxurious schedules.) of the Earth was the involvement of producer Charles ER OF

T Journey to the Center of the Earth was written during a Brackett, who also co-wrote the script with Walter Reisch.

EN singular period of Herrmann’s career, right after Vertigo The writing partner of Billy Wilder for many of his C and North by Northwest, and right before Psycho. During triumphs of the 1940s, including The Lost Weekend and HE

Journey to the Center of the Earth T

O the preparation of Journey, Herrmann also found time Double Indemnity, Brackett strikes me as being the one T to score the pilot episode of The Twilight Zone (broadcast responsible for the vivid and frequently acerbic charac-

RNEY October 2, 1959). terizations that are among Journey’s hallmarks. Director U

A Retrospective by Guy Mariner Tucker O J It is a sign of Herrmann’s very real versatility—within Henry Levin is competent, and gives his actors room to

F i l m S core M ont h l y 25 apr i l / ma y 2 0 0 0 ation. The result, as Steven Smith observed, is an epic of “pure, malevolent color,” and Herrmann announces his terms in the score’s very first notes. A smashing gong is succeeded by a descending two- note semitone pipe organ device that will become the score’s dominant motif; it is immediately followed and counterpointed by three ascending notes roaring on brass. Throughout the “Prelude,” Herrmann repeats these devices with little variation, other than the continu- ing descent of the music to the lowest and most guttural snarls of the brass and pipe organ. Professor Lindenbrook, recently knighted, is greeted by his students with a chorus of “Here’s to the Prof of Geology,” which serves to introduce the Alec McEwen character (singing slightly off-key on the last note). Presumably this is the work of the film’s songwriters, breathe; Brackett and Reisch give the actors witty and James Van Heusen and , who wrote a couple interesting things to do and say. It takes some 50 minutes of other songs for the picture that didn’t make it into the for the five main characters to be introduced, developed final cut, but are on the Varèse Sarabande album that and sent on their way to the center of the Earth; but even finally came out a couple of years ago. “Here’s to the as a kid, who would squirm at lesser movies wherein the Prof,” however, was left off. only attraction would be a monster or two (where is it The film’s first statement of the charming love theme, already??), I was never bored by these scenes. “The Faithful Heart,” is then heard for roughly a minute over Alec’s first scene with his lady love, Lindenbrook’s he cast helps enormously. James Mason had daughter Jenny. This is a characteristically wistful reached a stage of his career where he was Herrmann arrangement, though the theme itself is Van more of a second-tier star, varying between Heusen’s. After a bit of banter between the two charac- character roles in films like North by Northwest ters, the same theme rises again as the dialogue shifts to and starring roles, often brilliant ones, in off- reveal what we already guessed, that the two are in love. beat independent pictures like Bigger Than Life The scene also sports the only one of Boone’s songs that and Cry Terror. Mason even produced a couple of made the final cut, Van Heusen’s melodic version of the these himself, at a time when it was extremely Robert Burns poem “My Love Is Like a Red, Red Rose,” rare for an actor to aggressively develop his own mate- whose words are reasonably appropriate to the story to Trial. In Journey, Mason is ideal as the frequently blustery, come. The love theme resurfaces briefly a third time as secretly good-hearted, thankfully not at all absent-minded Alec kisses Jenny’s forehead. Professor Oliver Lindenbrook. “Explosions” occur in Lindenbrook’s lab, to the sound Mason’s established screen credentials serve of Herrmann’s bassoon cluster growling a variation on to offset the relatively lightweight film credits the three-note brass motif from the “Prelude.” The music amassed by singer-actor Pat Boone, who plays halts for a bit until the scientist discovers “The Message” Lindenbrook’s young assistant Alec McEwen. buried within the shattered hull of the volcanic rock. I’ve never seen Boone in another movie, but These are understated cues compared to the “Prelude” he’s serviceable here. and what is yet to come. Mason is given a more formidable presence The love theme reprises yet again as Alec and Jenny to play against in Arlene Dahl, as the iron- finally kiss, only to be interrupted by Lindenbrook, willed Madame Göteborg, who, as Lindenbrook raging that he must race to Iceland at once in order to observes, more or less blackmails her way into the beat his rival Göteborg to the volcano. The love theme expedition. That she can pull her own weight never reprises yet again as Alec speaks up—to ask Lindenbrook seems in question; unlike so many female charac- for his daughter’s hand in marriage, we think. Instead, ters in movies of this type, she’s not mere baggage. though, Alec declares his intention to follow the Professor Sure, she has the obligatory fall-down-and-scream there. Shocked, Jenny slips and tumbles to the floor, moments, and she spends much of the movie encum- to the accompaniment of a slightly too merry, vaguely bered in ankle-length dresses that would be quite a Irish-sounding string flourish. (Perhaps it’s meant to be hindrance when visiting the subterranean world, but oth- Scottish—the setting at this point is Edinburgh, 1880.) erwise she’s a strong, refreshingly mature presence. One of the score’s best-remembered motives—not least Let us not forget the big Icelander, Hans, and his pet because Herrmann re-recorded it himself as the opening of duck, Gertrude. Gertrude actually seems to have more his 1973 album The World of Bernard Herrmann— lines than Hans, although they’re virtually all along the follows: “The Mountain,” a two-note declamation, played lines of “quack-quack.” (Gertrude’s introduction scene is high in the trumpets, since the characters are up high. The priceless; if you haven’t seen it, I won’t spoil it for you.) following cue, “The Crater,” pitches lower as we first peer Such characters are extremely well-drawn for a movie of into the gateway to the maze of tunnels that lie just out this type and period—hell, they’re better than most char- of sight. (In between these cues, Boone sings a bit of “My acters for movies of this type today. And while Herrmann Heart’s in the Highlands.” Following “The Crater,” he’ll couldn’t have been blind to this, nonetheless he decided reprise the song briefly on accordion.) to approach the music as he often did for non-Hitchcock More or less the entire cue is then repeated as genre movies: purely in terms not of character but of situ- Lindenbrook scouts the area, and we witness his rival

apr i l / ma y 2 0 0 0 26 F i l m S core M ont h l y Göteborg scouting him. Shortly, Göteborg has arranged sunrise-pointing-the-way sequence right before.) It sounds for Lindenbrook’s “Abduction,” a short jaunt in a car- as if there might be music under the rolling rock sequence, riage, thematically based on the “Mountain” theme, the but the CD doesn’t preserve it, so maybe not. music punctuated with whip-cracks a bit reminiscent of For certain, Herrmann inserts an exclamation “Sleigh Ride” in All That Money Can Buy. The high notes of when the rock finally falls and shatters, and the the “Mountain” theme give way to lower exclamations of explorers discover their first “Sign”: the three brass as Lindenbrook is knocked out, dropping lower still notches carved by the first man to travel this as he is dumped down a chute into a room full of feathers. way, the Count’s ancestor Arne Sakneussem. Even here, Herrmann is paying attention to the figurative The Count’s motif returns as he watches the ups-and-downs of the story: When Mason’s body slides explorers “Sleep”; as they do, he takes the time down, the music matches it in decrescendo. to carve false notches and obscure the real ones Shortly thereafter, as Göteborg is discovered murdered (Herrmann’s brass swells dangerously here). The by someone even more ruthless, that murderer is revealed music continues fretfully as the band follows the in a short scene, “The Count and Groom,” our first sight “False Arrows”; only after Alec takes a nearly fatal of the evil Count Sakneussem, backed by the first really “Fall” do they realize they’ve been going the wrong scary piece in the score. Not quite 30 seconds long, it’s a way. (Hell, the duck figured it out before they did.) good example of how much mood can be set with just a few The music here is low and slow, comprising several well-placed, aptly timed notes. The piece closes with the minutes of screen time, with some question-and-answer Herrmann decided to approach the music for Journey as he often did for non-Hitchcock genre movies: not in terms of character but of situation. The result, as Steven Smith observed, is an epic of “pure, malevolent color,” and Herrmann announces his terms in the score’s very first notes. score’s first reprise of the “Prelude’s” two-note semitone among the woodwinds as the explorers first wonder if device, on winds this time, foreshadowing the Count’s full they’re going the right way; the winds resolve themselves intentions of following our heroes to the world below. in several restatements of the two-note motif of the “Mountaintop and Sunrise” (the version Herrmann “Prelude.” Wherever they go it’s still going to be under- recorded on the aforementioned collection) begins with the ground. ordinary “Mountain” motif; then as the sun rises, so does the music, starting with fluttering piano and harp, matched inally, relief is in sight with the 40-second cue by growing excitement in the brass, finally joined by crash- “Grotto,” as the re-routed group discovers an ing cymbals and pipe organ as the sun points the way into underground oasis, to the accompaniment of the tunnels. (In tone and orchestration, this is like a much the same triumphant glockenspiel and (slightly bigger version of the main title for The Day the Earth Stood quieter) brass that heralded “Sunrise” earlier. Still.) As the camera pans down a bit to find the Count and These moments, few as they are, do tend to belie his groom watching the same thing, Herrmann merely Herrmann’s contention that the only emotion in inserts a little snarl in the clarinets, suggesting the Count’s the film is “terror,” but also show that he knew motif (he doesn’t really have time to quote it). better at the time he was writing the music. The music continues without a break into the “Rope” FThis brief interlude in the grotto is spoiled when and “Torch” cues. Harps pirouette as our heroes descend Lindenbrook accidentally precipitates a flood from which into the crater, then strum away quizzically as they peer they barely escape. Alec appears not to have made it out, into the vastness below. The music goes out for a bit but in fact he wandered off right before the flood and as they wonder what to do; Gertrude the miracle duck became “Lost.” This is low, prowling music, interspersed finds the entrance, and the Lindenbrook Expedition is with reprises of the two-note motif on vibraphone, as Alec formally on its way. The quartet (less the duck) strikes crosses a dangerous rock “Bridge,” suffers his way through up a “March,” Van Heusen’s indelibly merry tune that a “Gas Cave,” and discovers a cavern full of mysterious is one of my favorite parts of the score. It’s obvious from “Vines.” Somewhere in the middle of this lonely odyssey, the CD version that it’s not really the actors performing presumably in order to cheer himself up, Alec was also sup- this—Alec on accordion, Madame’s soprano, Hans whis- posed to deliver another song. tling, Lindenbrook providing a sort of bass chorus—but The invaluable Varèse CD of this score includes two it sets the mood wonderfully, and even a bit eerily, as we songs performed by Boone, but not used in the final cut. see that Count Sakneussem has infiltrated the caverns as With the film already 135 minutes long, the songs were well, and can hear their music. Herrmann inserts a couple undoubtedly cut for time. It’s a bit surprising, considering of seconds of a low wind sound over the Count’s reappear- that Boone and his oh-so-golden voice were supposed to ance, but the faraway sound of the march in this shot is be part of the movie’s big draw. But it would have slowed far more foreboding. things down terribly, and I’m glad somebody realized that After a stupid segue to Edinburgh, we return to the trav- and axed the songs rather than any of the spectacle. elers in time to see them pursued down a tunnel by a large The first of these songs was Van Heusen’s and Cahn’s out-of-control rock. (This is the second scene that appears “Twice as Tall.” It opens with slightly nervous strings (the to have inspired Raiders of the Lost Ark; the first was the only ones heard on the album) as Alec, lost, plays around

F i l m S core M ont h l y 27 apr i l / ma y 2 0 0 0 with the echoes in the caverns, sings “I suddenly feel like did not write the descent cue to be quite so literal, as he did singing songs that go like so!”, and then launches into a in the “Prelude,” for example; if the music got lower and vocal rendition of Van Heusen’s charmingly jaunty little lower as the characters got deeper and deeper, it would be “March” theme from earlier. Overall, the song is too cutesy pretty oppressive, and well-nigh unlistenable. by half, especially for the context of the scene it was meant At first, during the underworld expedition, the music for, but it plays okay on the CD, as a novelty item. is often tentative, questioning, as the characters are. One might point out that Boone does a lot of singing The dangers they first encounter are slight compared to and whistling throughout the picture, often just absently what is to come. A transition occurs with the flooding of to himself, as when he gets lost in the first place while the grotto and Alec’s long, lonely trek through the tun- looking for a fallen lamp. The whistle in those moments is nels—scenes Herrmann could have scored in a melancholy Herrmann makes good use of the serpent, an obscure reed instrument that he discovered as a child in Berlioz’s orchestration text. Though an apt, eponymous choice that represented the giant lizards in the film, the instrument was described by as “sounding like a donkey with emotional problems.”

a fragment of the “March”/“Twice as Tall” theme as well. fashion, underlining the worries of the split-up explorers. And when he gets around to performing the song in full, it’s Instead, with the five minutes of music underscoring the probably as a means of keeping his spirits up while lost in salt slides and Alec’s run-in with the Count, Herrmann the caverns. However, I’m not sure how well it would have emphasizes the mounting dangers of the underground worked on film. world—with which the characters are increasingly unable Alec plunges into the “Salt Slides,” while Herrmann’s to cope, as each fresh disaster robs them of one or another music hollers alarmingly (and in a manner most attrac- piece of equipment or provisions (and, they think briefly, tive to many latter-day movie composers, including, most friends). recently, John Ottman in The Usual Suspects). The music This becomes all the clearer as the film shifts into its continues unimpeded through the short cue “Pool” (of salt), final act with the explorers’ descent to “The Canyon.” The then explodes with three shocks of brass as Alec discovers music begins immediately with a Vertigo-like ostinato for the “Dead Groom.” The Count, now without his porter, clarinet, delineating the repetitive and increasingly desper- declares Alec will replace him. Herrmann injects a fresh ate nature of their quest. No longer is this just about an flurry of alarm in the brass as the Count declares, “You’re expedition; this is now purely about survival. There are in my world now” and produces “The Gun.” Herrmann moments of respite in the cues to follow, such as “Cave cuts the music out the moment the gun is fired. Glow”; but here, too, the music is dominated by ostinato. Prettified by harp, perhaps (the band’s lamps are run- ollowing the echoes, Alec’s friends track him ning low, but discover that in this particular cave there down (he’s okay, just a flesh wound) and imprison is natural phosphorescence), but still an ostinato under- the Count. (Called a murderer, the Count replies, lining desperation. The film, and thus Herrmann, must rather mildly, “I resent that classification.”) Other finally offer a reprieve with the marvelous discovery of the than the Count’s marginal motif, Herrmann “Mushroom Forest.” This is followed by a brief reprise of has resolutely refused to score any scenes of Van Heusen’s “March” idea, as the good guys dance under character. If a character is represented, it is the the larger mushrooms. The camera pans up from this, subterranean world itself. As our heroes (and however, and we see through a hole in the wall—the blink- villain) penetrate deeper to its core, Herrmann’s music ing eye inside of a vast and shifting head, attached to some Fillustrates this not from their point of view, but from the kind of…serpent? Well, that’s the instrument Herrmann point of view of everything around them. Fortunately, he inserts here for the first time in the score (and just for a couple of seconds; this tiny bit isn’t on the album). Steven C. Smith describes the instrument as “an obscure baroque reed instrument Herrmann had discovered as a child in Berlioz’s orchestration text. Shaped like its namesake, the serpent was described by David Raksin as ‘sounding like a donkey with emotional problems.’” Herrmann had first used it in an earlier Fox score, White Witch Doctor; its bizarre, lowing sound proved ideal for Journey’s monster scenes as well. (Herrmann would shortly employ the ser- pent again for the climactic scenes of the Twilight Zone episode “Eye of the Beholder.”) The Count puts Hans to work felling mushroom trees to build a raft. Ever busy himself (“I don’t sleep,” he explains; “I hate those little slices of death”), he has already discov- ered the “Underworld Ocean.” The moment he shows it to Lindenbrook, however, the enormous beasts that live outside the mushroom cavern choose this moment to show

A pr i l / M a y 2 0 0 0 28 F i l m S core M ont h l y themselves. As “The Dimetrodons Attack,” Herrmann organ and brass that heralded the “Prelude.” This short alternates between fierce growling clusters of the lowest and ominous piece is followed by one of the most remark- brass and serpent snarls, and short passages carried mostly able in the score, the three-minute “Atlantis.” The cue is by his fleet of organs. There are too many shots of dimetro- carried entirely by Herrmann’s group of organs, and by dons toppling out of their caves and into camera view—at vibraphone doubled by harp. The organs—four of them one point it seems there must be dozens of them—but electronic, and one of them a cathedral organ—play a sort finally all are distracted when the explorers wound one, of dirge for the long-dead (and impossibly well-lit) city; prompting the blood-maddened monsters to cannibalize the vibraphone and harp repeat, softly but obsessively, the it. The sequence concludes with a spectacular long shot of two-note semitone motif first announced in the “Prelude.” LEAPIN’ LIZARDS: The the explorers pushing their raft out to sea (right half of the There is a real sense of the explorers’ having come to the adventurers face the screen) while the beasts munch lazily on their former, now horrors of the giant quite tasty friend. chameleon. That these “dinosaurs” are manifestly lizards in makeup does not, in my opinion, detract from the effect of the sequence. Really, now, is this any less “realistic” than anything Harryhausen was doing at the time? You’d never mistake his Rhedosaur for a real creature either. Realism isn’t the point. In fact, I’m getting so tired of computer graphics these days, the hand-made look of things like the monsters in the recent Gamera movies is a relief to me. Besides, Journey’s dimetrodons were at least played by liv- ing things; there’s a creepy elegance to their movements. (I’ve wondered if the recent disastrous iguana-like Godzilla design was not in part an attempt to do a CGI-realistic version of old-fashioned live-lizard dinosaurs like these and those in the 1960 version of The Lost World.)

irtually the entire dimetrodon sequence is end of some kind of line in this scene—a sort of melancholy backed with organ music, as has not been at the sight of this lost and empty civilization, and of the heard in the score since the “Prelude.” It adds skeleton of the original Sakneussem, in whose quest only an oppressive sort of majesty, and massiveness managed to get this far. as well. As indicated earlier, the music is get- Alec steps on a floor that he doesn’t notice is moving. It ting bigger and louder as the characters are is the back of the “Giant Chameleon,” which, once we’ve getting deeper and deeper, both into the Earth seen it, takes a surprisingly long time to let the others see and into trouble. it: They’re too busy trying to explode their way out of the This progression is interrupted on CD (though axed volcanic vent that leads to the surface world. “Hours” pass Vfrom the film) with Alec’s last song, the vocal version of in story time between the chameleon’s first appearance Van Heusen’s charming love theme “The Faithful Heart,” and “The Fight” with it. Here, Herrmann makes more use which was to be performed as the explorers are floating of the serpent and the oppressive organ. The explorers’ on their raft in the underworld sea. Organ and brass gunpowder blast starts an “Earthquake,” which of course announce the coming of a “Magnetic Storm,” the herald of leads to a volcanic eruption; the lava pushes them up “The the true Center of the Earth. The storm sweeps them into Shaft.” Herrmann’s music is never more subterranean a ”Whirlpool,” as the organ, tempered by subtly mixed gong or rumblingly terrifying than it is in this latter cue; his sounds, towers behind the threatening brass. bursts of timpani and his organs, previously playing long, They awake swept up on “The Beach,” with quieter sustained notes, suddenly go collectively nuts with ascend- music as everybody tries to recoup. Resting on the beach, ing chords as the explorers, safe in their heat-proof altar Lindenbrook and Madame Göteborg exchange a few lines stone, rush ever faster to the top. Even in this moment of that hint at their growing affection; Herrmann’s music relative triumph, Herrmann’s music insists on character- is almost sentimental (by his standards) as it comes in izing threat. under their dialogue. But perhaps this is just because of It is also the last piece of his music to be heard in the what’s about to happen in this cue: The Count catches finished film. He did record a 30-second “Finale,” repris- sight of “The Duck,” and here Herrmann, a noted animal ing the basic idea of the “Prelude” but with a super-tonic lover, allows his music to grow ever so plaintive, for the ending. I frankly prefer the way the movie ends now, with only time in the score, as the Count takes off after it and, a larger choral reprise of “Here’s to the Prof of Geology”; well, you can guess what happens next. Hans goes looking it has a properly big feel, and is somewhat cheerier than for Gertrude, and finds only a patch of bloody feathers; Herrmann’s version. Herrmann inserts a queasy gong sound here, and thus fol- (Another 30-second piece of music, apparently not lows the increasingly threatening, descending notes leading Herrmann’s, comes after “The End”: matching a coda to “The Count’s Death,” music matching Hans’ descent explaining the studio’s debt to Carlsbad Caverns, where into rage, and descent onto the arrogant Sakneussem, who some of the picture was shot.) keeps backing away, until he slips, falls and is killed in a Journey to the Center of the Earth: a slightly corn- rockslide, all at the same time, to the tune of an exagger- ball but utterly lovable movie, inestimably elevated by ated brass version of the Count’s motif. an irreplaceably perfect soundtrack—another of Bernard Sakneussem’s accident opens the way through the rocks Herrmann’s uniquely uncompromising masterpieces of to “The Lost City,” announced by the same threatening film scoring. FSM

F i l m S core M ont h l y 29 septem b er 1 9 9 9 It seems that 25 years after his death, Bernard Herrmann’s film scores are more popular than ever. Most of his major scores From are now available on CD. But which decade offers the most Herrmann for the buck? Steven C. Smith writes in his excellent Hitchcock to Herrmann biography, A Heart at Fire’s Center, that Herrmann was “most cre- atively productive and financially successful” in the decade between 1951 and 1961.

Herrmann not only produced some of his best work Harryhausen during the 1950s, but also worked with some of the most highly respected directors, beginning with Robert Wise and Nicholas Ray and moving on to his famous association with Alfred Hitchcock. Counting all the films, including The Williamsburg Story documentary, Herrmann composed 23 scores during the 1950s. Unfortunately, we can’t discuss them all here. Some of ...and More the scores are not on the list due to the small number of lesser-known scores currently available. If you want to get a single CD covering Herrmann’s entire film music career, then look for the one that includes Arthur Benjamin’s cantata, “The Storm Clouds,” conducted by Herrmann in The Man Who Knew Too Much; the “Prelude” from The Wrong Man; the “Scene d’Amour” from Vertigo; and the “Prelude” from North by Northwest. All of these pieces are included on the very good compilation played by the Royal Philharmonic Orchestra and conducted by Herrmann’s friend and fellow film composer, Elmer Bernstein (Milan 73138 35643-2, 1993). That CD also includes Herrmann talking about his film music. For the Hitchcock centennial last year, this CD was reissued as A Bernard Herrmann Film Tribute (Milan 73138 35884-2), but with much less music on it than the earlier CD. Journey to the Center of the Earth (1959), which would otherwise be included, is not listed because it’s discussed in a separate article in this issue. Then there are the memorable TV scores, especially for The Twilight Zone (available on a 4-CD Silva Screen set, and re-recordings conducted by Joel McNeely on a 2-CD Varèse Sarabande set). All of these are worth having if you’re a diehard Herrmann fan, but they’re not included in this list. NC. It wasn’t easy, but I’ve managed to narrow the list I down to 10 film scores. I selected those that best dem- DS , onstrate Herrmann’s great versatility in composing for any genre, whether sci-fi, comedy, drama or western. ON RECOR

Also, some of his own comments are included, taken D

from Smith’s authoritative Herrmann biography and ON L Ten Essential Herrmann Scores from LP album notes. Here then are 10 essential Herrmann film scores from the 1950s along with some recommended record- HOTO ©1977

ings currently available on CDs, including those con- P Selected by Roger Hall ducted by the composer:

apr i l / ma y 2 0 0 0 30 F i l m S core M ont h l y Herrmann’s most unusual ’50s scores. 20th Century-Fox The Day the Earth Stood Still (1951) studio boss, Darryl Zanuck, said he thought this was “one Directed by Robert Wise, starring Michael Rennie, Patricia of the most original scores I have ever heard. The manner Neal and Hugh Marlowe. Along with Dimitri Tiomkin’s in which Bernard handled the underwater sequences was The Thing, this is one of the pioneering sci-fi scores of the simply thrilling.” A score that is long overdue for a com- ’50s. It’s also one of the best. This was the first score I plete soundtrack recording. can remember being thrilled with as a young moviegoer. Herrmann wrote this description for the London Phase 4 Suite (10:46); National Philharmonic Orchestra, conducted LP: “I attempted to balance a conventional orchestra con- by Charles Gerhardt (RCA/BMG 0727-2-RG, recorded 1974/ sisting of piano, harps, brass and a large timpani section CD release 1989). with a sizeable electronic group including two theremins, electronic violin, electronic bass and guitar. There were no woodwinds...The result seems to have been successful and Garden of Evil (1954) most certainly predicted the shape of things to come for Directed by Henry Hathaway, starring Gary Cooper, electronic scoring.” How right he was! Herrmann’s first Susan Hayward and Richard Widmark. Herrmann’s only great 1950s score. western, set in 1850s Mexico, this film opens with a glori- ous, majestic “Prelude” and proceeds to charm the ears Recommended CDs: with its many rich delights. Outstanding full score resto- Soundtrack (36:02); conducted by Bernard Herrmann, ration made by John W. Morgan. Lionel Newman and Alfred Newman (20th Century-Fox Records 07822-11010-2, 1993). Soundtrack (52:08); Moscow Symphony Orchestra, conduct- Suite (11:39); National Philharmonic Orchestra, conducted by ed by William T. Stromberg (Marco Polo 8.223641, 1998). Bernard Herrmann (London Phase 4 LP 443 899-2, Also included is a suite (11:16) from Prince of Players, with recorded 1974/CD release 1996). its brilliant “Prelude.” Suite (5:40); The City of Prague Philharmonic Orchestra, conducted by Nic Raine, (Silva Screen SSD 1093, 1999). The Egyptian (1954) Directed by Michael Curtiz, starring Jean Simmons, Gene On Dangerous Ground (1952) Tierney, Bella Darva and the statue-like Victor Mature Directed by Nicholas Ray, starring Ida Lupino and Robert and Edmund Purdom. A pretty bad film, but the score Ryan. This is one of Herrmann’s most underrated scores, is magnificent. It was Herrmann’s only collaboration full of his trademark strong motifs representing good and with another major film composer. He wrote the score evil. Herrmann later said, “It’s a very good film and I’m with his long-time champion at 20th Century-Fox, Alfred very partial to it.” A decent sampling is heard on the excel- Newman. Herrmann wrote mostly for the first part of lent Silva Screen set Citizen Kane—The Essential Bernard the film. Newman did the later part, the more ceremo- Herrmann Film Music Collection. This is the best compilation nial scenes. Speaking about the ancient Egyptian period, of Herrmann scores now available. Herrmann said: “I feel that if they had music, ours would be something like it...I feel it emotionally and I feel it so Suite (10:37); City of Prague Philharmonic Orchestra, strongly that I believe it must be so.” If they did have conducted by Paul Bateman (Silva Screen America, 2 CDs music like Herrmann’s and Newman’s score, then it must SSD 1093, 1999). have been a glorious age. Fortunately, now we can hear the full score in all its splendor. One of the best score res- torations of recent years. The Snows of Kilimanjaro (1952) Directed by Henry King, starring Ava Gardner, Susan Soundtrack (71:30); Moscow Symphony Orchestra, Hayward and Gregory Peck. In his London LP album conducted by William T. Stromberg; score restoration and notes for this box-office hit, Herrmann wrote: “The reconstruction by John Morgan (Marco Polo 8.225078, 1999). sensitive, lyrical direction of Henry King gave me many opportunities to create music of a highly nostalgic nature, inasmuch as the film deals with the tale of a man who is The Trouble With Harry (1955) dying on the African veldt and during the fever of his ill- Directed by Alfred Hitchcock, starring Mildred Natwick, ness relives his emotional past.” The score includes one of John Forsythe, Edmund Gwenn and, in her screen debut, Herrmann’s loveliest melancholy waltzes. Shirley MacLaine. Herrmann’s first work with Hitchcock, who made one of his most amusing black comedies. This “Interlude” (6:36) and “The Memory Waltz” (4:14); London is the film score from which Herrmann adapted a special Philharmonic Orchestra, conducted by Bernard Herrmann concert “portrait” of his director boss. Herrmann’s most (London CD 448 948-2, recorded 1970/CD release 1996). delightfully witty score. “Memory Waltz” (4:23); City of Prague Philharmonic Orchestra (Silva Screen SSD 1093). Soundtrack (43:09); Royal Scottish National Orchestra, conducted by Joel McNeely (Varèse Sarabande VSD-5971, 1998). Beneath the 12-Mile Reef (1953) A Portrait of Hitch (8:19); London Philharmonic Orchestra, Directed by Robert Webb, starring Terry Moore, Robert conducted by Bernard Herrmann (London 443 895-2, Wagner and Gilbert Roland. Not a particularly 1969/1996; also on Hip-O CD HIPD-64661, 1999). good underwater adventure, but it does feature one of

F i l m S core M ont h l y 31 apr i l / ma y 2 0 0 0 Stewart’s best performances. The female leads are the The 7th Voyage of Sinbad (1958) stunning Kim Novak and the less glamorous but more Directed by Nathan Juran, starring Kerwin Matthews, talented Barbara Bel Geddes. Beginning with the open- Kathryn Grant, Richard Eyer and Torin Thatcher. The ing swirling “Prelude” and rapid “Rooftop” chase, this first and maybe the best of the fantasy/adventure films score is Herrmann at his dynamic best. Many have by special effects wizard, Ray Harryhausen. Herrmann asked which of the two soundtrack versions is the one to explained that he used “a conventional-sized orchestra get. Since I’m a huge fan of the film, I prefer the origi- augmented by a large percussion section. The music I nal version conducted by Matheson, with added tracks composed had to reflect a purity and simplicity that could and very good sound for its era. Herrmann report- be easily assimilated to the nature of the fantasy being edly didn’t like the Matheson recording much. But viewed.” This colorful exotic score has been a fan favorite that could be because of a musicians union strike that ever since it was first released on a Colpix LP in 1959. The didn’t allow Herrmann to conduct the orchestra. The Varèse re-recording has better sound and more music. McNeely re-recording is almost as good as Matheson, with other added tracks, and more prominent sound. So Soundtrack (58:46); Royal Scottish National Orchestra, con- I’d recommend getting both soundtrack CDs as well as ducted by John Debney (Varèse Sarabande VSD-5961, 1998). Herrmann’s recording of his suite from the film. This Suite (14:50); National Philharmonic Orchestra, conducted by superb score is well worth the investment! Bernard Herrmann (London 443 899-2). Restored soundtrack (65:03); orchestra conducted by Muir Matheson (Varèse Sarabande VSD-5759, 1996). Vertigo (1958) Re-recording (63:21); Royal Scottish National Orchestra, Directed by Alfred Hitchcock. To my mind this is conducted by Joel McNeely (Varèse Sarabande VSD-5600, Herrmann’s crowning achievement for a Hitchcock film. 1996). Even though Psycho is more famous for its shower scene Suite (10:35); London Philharmonic Orchestra, conducted stabbing strings, this earlier Hitchcock masterpiece by Herrmann (London 443 895-2 (1969/1996). has more intensely felt music. It also has one of James

Hear Now, Benny! A selected list of Bernard Herrmann film music on CD. Recordings of particular interest (for their career

Magnificent Ambersons, The (1942) Film & TV Soundtracks ■ 1990 Preamble PRCD 1783 RR Mysterious Island (1960) Battle of Neretva, The (1969) ■ 1993 Cloud Nine ACN 7017 OST ★ ■ 1987 Southern Cross SCCD 5005 OST Night Digger, The (1971) Cape Fear (1991) ■ 1994 label X lXCD 12 RR ■ 1991 MCA MCAD 10463 OST (arr. E. Bernstein) North by Northwest (1959) Citizen Kane (1941) ■ 1985 Varèse Sarabande VCD 47205 RR ■ 1991 Preamble PRCD 1788 RR ■ 1995 Rhino R2 72101 OST ★ Day the Earth Stood Still, The (1951) Obsession (1976) ■ 1993 Fox Film Scores 11010-2 OST ★ ■ 1989 Masters Film Music SRS 2004 OST Egyptian, The (1954, w/Alfred Newman) ■ 1995 unicorn [England] uKCD 2065 OST ■ 1990 Varèse Sarabande VSD-5258 OST Psycho (1960) ■ 1999 Marco Polo 8.225078 RR ★ ■ 1989 unicorn Kanchana uKCD 2021 RR (cond. B. Herrmann) Garden of Evil (1954) ■ 1997 Varèse Sarabande VSD-5765 RR ■ 1998 Marco Polo 8.223641 RR ★ ■ 1999 Virgin 47657 2 9 RR (arr. D. Elfman) ★ Also contains an 11-minute suite from The Prince of Players. 7th Voyage of Sinbad, The (1958) Ghost and Mrs. Muir, The (1947) ■ 1986 Varèse Sarabande VCD 47256 OST ■ 1985 Varèse Sarabande VCD 47254 RR ■ 1998 Varèse Sarabande VSD-5961 RR ★ ■ 1997 Varèse Sarabande VSD-5850 OST ★ Sisters (1973) It’s Alive! 2 (1975) ■ 1986 Southern Cross SCCD 903 OST ■ 1976 Silva Screen FILMCD 074 OST (arr. L. Johnson) Taxi Driver (1976) Jane Eyre (1943) ■ 1985 Arista 32RD 23 OST ■ 1994 Marco Polo 8.223535 RR ■ 1990 Varèse Sarabande VSD-5279 OST ■ 1995 Fox Film Scores 11006-2 OST (with Laura) ★ ■ 1998 Arista 07822-19005-2 OST (expanded) ★ Jason and the Argonauts (1963) Three Worlds of Gulliver, The (1959) ■ 1999 intrada MAF 7083 RR ★ ■ 1993 Cloud Nine ACN 7018 OST ★ Journey to the Center of the Earth (1959) Torn Curtain (1966) ■ 1997 Varèse Sarabande VSD-5849 OST ★ ■ 1998 Varèse Sarabande VSD-5817 RR Kentuckian, The (1954) Trouble With Harry, The (1955) ■ 1987 Preamble PRCD 1777 RR ■ 1998 Varèse Sarabande VSD-5971 RR ★ Includes 3 minutes from The Day the Earth Stood Still. Twilight Zone, The (1959-64) ■ 1999 Varèse Sarabande 302066087 2 RR ★

apr i l / ma y 2 0 0 0 32 F i l m S core M ont h l y Restored soundtrack (64:51); orchestra conducted by Bernard Herrmann (Rhino Movie Music/Turner Classic North by Northwest (1959) Movie Music, R2 72101, 1995). Directed by Alfred Hitchcock, starring Cary Grant, “Overture” (3:06); London Philharmonic Orchestra, conducted Eva Marie Saint and James Mason. Another classic by Herrmann (London 443 895-2). Hitchcock film and another great Herrmann score. In “Overture” and “Conversation Piece” (8:01); City of Prague his notes for the original London Phase 4 LP, Herrmann Philharmonic Orchestra, conducted by Paul Bateman (Silva wrote that this film “was a forerunner of all the James Screen SSD 1093). Bond films, and its overture is a rapid kaleidoscopic virtuoso orchestral fandango designed to kick off the All these CDs point out the wealth of Herrmann’s film exciting rout that follows.” And that it surely is—a music now available, not only his scores for Hitch, but summation of all their previous techniques for both more...much more. Like Hitchcock, Herrmann was a mas- Hitchcock and Herrmann. Both director and composer ter of his domain, at least during the 1950s. Things would shared a tremendous vitality in this film, which was change dramatically in the next two decades. But that’s also a big box-office success. Many of the scenes have another story. FSM become film legends, such as the crop dusting one with- out any music at all until the plane crashes into an oil Roger Hall is a film music historian who has studied truck. Smith’s biography tells how Herrmann called Herrmann’s musical career for many years. He has written this his “black sound,” using it, like a painter might, for an entry on Herrmann for the American National Biography danger or death. To offset this dark sound, Herrmann reference series published by Oxford University Press. also composed some lovely romantic music, especially He is also the author of A Guide to Film Music—Songs the cue known as “Conversation Piece.” Like the other and Scores (PineTree Press, 1997) and is the editor of Film scores listed above, Herrmann’s conducting may not be Music Review—The Web Magazine. http://hometown.aol.com/ the best, but he was the one who wrote the music and MusBuff/page2.htm knows how he wanted it to sound.

significance and/or quality of performance) are indicated with a ★; Re-recordings are indicated by RR; Original soundtracks are indicated by OST.

■ 1999 Silva Screen ARCD 8179 OST ★ Includes On Dangerous Ground, Beneath the 12-Mile Reef and White Witch Vertigo (1958) Doctor. ■ 1990 Mercury 422 106 2 OST (cond. M. Mathieson) Citizen Kane: The Essential Bernard Herrmann Film Music Collection ■ 1996 Varèse Sarabande VSD-5600 RR (cond. J. McNeely) ★ ■ 1991 Silva Screen SSD 1093 RR (cond. N. Raine) ★ ■ 1996 Varèse Sarabande VSD-5759 OST (expanded) ★ Classic Fantasy Film Scores ■ 1988 Cloud Nine ACN 7014 OST Includes original tracks from Mysterious Island, Three Worlds of Gulliver, Compilations and Concert Works Jason and the Argonauts and The 7th Voyage of Sinbad. Concert Suites Alfred Hitchcock 100 Years: A Bernard Herrmann Film Score Tribute ■ 1989 Masters Film Music SRS 2005-8 RR (cond. B. Herrmann) ■ 1999 Milan 35884 RR ★ Compilation of tracks from other Milan releases. 4-CD set containing Herrmann’s Decca recordings of the 1970s. Alfred Hitchcock Presents Signatures in Suspense Conducts Great British Film Music ■ (1999) hip-O Records 64661 OST & RR ★ ■ 1996 london 448 954-2 RR (cond. B. Herrmann) Themes from The Wrong Man, Torn Curtain and more. Devil and Daniel Webster, The Bernard Herrmann Film Scores ■ 1993 Koch 3-7224-2 RR (cond. J. Sedaris) ★ ■ 1993 Milan 35643-2 RR (cond. E. Bernstein) ★ Includes Silent Noon (1933), For the Fallen (1943) and Currier and Ives Suite Includes The Bride Wore Black, The Man Who Knew Too Much, plus: Benny (1935). speaks! Fahrenheit 451 Bernard Herrmann: The Film Scores ■ 1995 Varèse Sarabande VSD-5551 RR (cond. J. McNeely) ★ ■ (1996) Sony 62700 RR (cond. Salonen) includes The Man in the Gray Flannel Suit and Tender Is the Night. Selections from Psycho, Marnie, Vertigo, Taxi Driver and more. Great Film Music Bernard Herrmann at Fox Vol. 1 ■ 1996 london 443 899-2 RR (cond. B. Herrmann) ■ 1999 Varèse Sarabande 302066052 2 OST Inquirer, The includes The Man in the Gray Flannel Suit, A Hatful of Rain and Tender Is ■ 1992 Preamble PRCD 1789 RR the Night. Includes Williamsburg: The Story of a Patriot. Bernard Herrmann at Fox Vol. 2 Music from Great Film Classics ■ 1999 Varèse Sarabande 302066053 2 OST ■ 1996 london 448 948-2 RR (cond. B. Herrmann) Includes Garden of Evil, King of the Khyber Rifles and Prince of Players. Paradine Case, The Bernard Herrmann at Fox Vol. 3 ■ 1995 Koch 3-7225-2 H1 RR ■ 2000 Varèse Sarabande 302066091 2 OST Includes “Concerto Macabre for Piano and Orchestra” from Hangover Square. includes Anna and the King of Siam. Torn Curtain Citizen Kane ■ 1995 Silva America SSD 1051 RR ■ 1991 RCA 0707-2-RG RR (cond. C. Gerhardt) ★ Includes Cape Fear and On Dangerous Ground.

F i l m S core M ont h l y 33 apr i l / ma y 2 0 0 0 ilm music is often crit- the film’s climactic raid by hundreds of prop- brass take up the first full-blown rendition icized for portraying driven Japanese aircraft. of the Tora! Tora! Tora! theme. A soloistic wood- foreign styles through The body of the cue is built primarily on wind passage weaves around the marauding inaccurate, Western eyes. Goldsmith’s favorite formal technique: lay- brass. While still Asian in character, this line However, there is a key ering. (The repetitive and tension-building starts filling in some of the notes left out by difference between writing nature of this concept perfectly underlines the pentatonic motives emphasized up to dramatic underscore and the resolve of the stoic Japanese forces.) Light this point. A short ‘B’ section (more of an writing source music. When percussion accompanies the exposition of the interlude) then interrupts the layering as Jerry Goldsmith approaches main theme, as a koto performs the melody the low brass take the trumpet counterline a film like Tora! Tora! Tora!, he so without harmonic support. This pentatonic to the foreground. The main theme soon skillfully brings together differing elements melody (figure A) is built on a framework of returns, sounding in the low brass. While the thatF his music as a whole transcends the mixed meter (repeating a pattern of 4/4 4/4 melody is already under the assault of full- question of the “authenticity” of one part or 3/4 3/8) that lends an illusion of irregularity blown layering, a chromatic, long-lined high another. Goldsmith’s Asian-influenced scores in phrasing (it’s actually the same each time). string passage (a Goldsmith staple) joins the tora!The “Rejected” Liner Notes FR OM tora! tora! have always been among his best. They offer The meter changes create a level of urgency mix for the first time and serves to further unparalleled combinations of Eastern penta- (the theme seems to climax early, imploding counter the pentatonic writing. This return tonic writing and exotic orchestrations with in on itself each time it drives to the next of the layering section sounds a whole-step a Western sense of progressive motion. But it repetition) that can’t be achieved by any other lower than its initial statement (likely pat- is Goldsmith’s sense of drama and style that means. terned on the neighboring whole step in the blends these schools so effectively. His char- countermotive). acteristic motives, orchestrations and meter Building Tension The final, most dramatic version of the

changes make his voice one of the most easily The layering continues as a serpent takes the theme uses an accompaniment that is not on i t identifiable of all time—despite the enormity next full statement of the melody, with the simply filler. This pounding brass rhythmi- a or

of his catalogue and the vast range of genres koto journeying off into a quasi-improvised cally traces and augments the countermotive p he has scored. The main titles of Tora! Tora! passage. The bottom of the orchestra enters (figure C). While some composers pull token Tora! introduce all of the important thematic for the first time, as an intermittent low accompaniments or arpeggiations out of thin cor ilm

material. A closer look at this pow- string pedal rakes morosely on the air (as afterthoughts), Goldsmith insists on f x erful, structured piece reveals a dominant instead of the tonic. This the most efficient use of material. This tight o y-F great deal about this score, how adds to the uneasiness and mir- but emotionally wrought music has now r

An u Goldsmith assimilates Asian ideas, rors (on a larger scale) the melody become more a piece of tragic and foreboding ent and how much care he would lavish analysis itself. drama than a skillful combination of Asian, C on his writing in general. With the following thematic entry, Western and 20th-century styles. All of these th 20

of At the start of the main titles, a militaristic snare drum is finally elements remain intact, but Goldsmith brings a terrifying, electronic portamento Goldsmith’s added to the sparse, exotic percus- them together to serve a higher purpose. slides downward, followed by sav- sion. More important, Goldsmith The majority of Goldsmith’s underscore is age col legno beating and percus- musical introduces in the trumpets a ris- paced by the main theme and tempered by sion, a horn wail, trumpet stingers ing countermotive (the second vital a fair dose of the countermotive and subsid- RTWORK ©1970 A

strategy ! and a dissonant high string pedal. thematic element in the score) that iary rhythmic devices culled from the same

This introduction is as terrifying By is quickly answered by the flutes, material. The main theme is rhythmically ORA as anything out of Alien or The an expressionistic fanfare shaped simplified at times (tracks 4 and 5), but usu- ! T Mephisto Waltz—it immediately Jonathan much like the main theme itself ally retains its skeletal structure and meter ORA ! T establishes a threatening, precipi- (figure B). This first section of layer- changes. It is stated almost as ferociously as

Z. Kaplan ORA tous mood and sonically hints at ing reaches its apex when the low in the main title in the cathartic track 12. In T

A pr i l / M a y 2 0 0 0 34 F i l m S core M ont h l y tracks 3 and 7, the countermotive is further Figure A exposed as a thematic force. The repeating- note idea introduced by low strings in track 6 (figure D) is another form of the counter- motive and is developed as a tension motive throughout the score (also occurring in tracks 9 and 14). Stylistically, Goldsmith maintains the careful balance of his resources, with attention to drama always at the forefront. The pentatonic motives are re-interpreted rhythmically and orchestrationally, while subsidiary ideas offer more expanded har- monies. Goldsmith’s orchestrations remain consistent for the duration. He never aban-

Figure B dons the koto or serpent, while the electronic sliding idea is also developed (as in track 9). Prepared piano and exotic percussion pace many of the suspense tracks, and echoplex effects add to the disorienting, threatening Figure C quality of the music. Track 8 breaks off into more extended techniques, using pointillistic

on textures, accelerating and decelerating flute i t a rhythms, unclear meters and chords with or

p fourths, fifths and sevenths. Figure D cor Planetary Influences ilm

f Despite its Asian influences, much of Tora! x o Tora! Tora! is closer in style to Planet of the Apes y-F r than it is to other “Oriental”-styled Goldsmith u scores like The Chairman, Rambo: First Blood ent

C Part 2 or The Challenge. On the surface, the th pentatonic writing and the orchestration tragic underpinnings. Still, The Sand Pebbles sion scene in Saving Private Ryan. It would 20 make Tora! Tora! Tora! seem more akin to The has a lighter side (the nostalgic engine room seem an obvious choice to stay out of the Challenge, but cues like track 19 combine the music and the love theme) that never reveals battle as Steven Spielberg had filmed it, and echoing chords of Coma with the piano-driven itself in the oppressive Tora! Tora! Tora! instead play an anthem after the fact—simply suspense throws of Capricorn One and Apes. These issues can only be raised because for purposes of realism. On the other hand,

RTWORK ©1970 Most of Goldsmith’s Asian-themed scores of Goldsmith’s spotting choice to score only Goldsmith’s Tora! Tora! Tora! comments before A

! have a comic-book side to them—they boast the Japanese threat. Had he treated the the fact. This, too, is partly in response to the

ORA gutsy, frenetic action cues or heroic themes American side of the story with anything shape and nature of the film, but it’s as effec- ! T that are notably absent from Tora! Tora! Tora! Of more than source music, the score would have tive as Williams’ work and deserves no less ORA all his other Asian-influenced scores, The Sand taken on a markedly different shape. credit. In fact, Goldsmith had more options, ! T Pebbles is probably closest in nature to Tora! Much has been made of John Williams’ making it even more noteworthy that he ORA T Tora! Tora! because of its historical context and musical commentary after the D-Day inva- chose the path he did. FSM

F i l m S core M ont h l y 35 A pr i l / M a y 2 0 0 0 R e v I E W S B e st ★ ★ ★ ★ ★ R e ally G o o d ★ ★ ★ ★ O F C U R R e n T A v e rag e ★ ★ ★ R E L E AS E S W e ak ★ ★ atings o n C D W o rst ★ R

SCOREThe Challenge ★★★★ specific record labels like Varèse chi flute the main theme action music. The music is often JERRY GOLDSMITH Sarabande that virtually every is presented in hushed tones for densely constructed yet always Prometheus PCR 505 movie he scored (no matter how strings, koto and gongs, immedi- with definable rhythmic develop- 16 tracks - 60:25 obscure or unsupported by the ately establishing an ancient, cer- ment that just can’t help but get he Challenge is both an odd- studio marketing department) emonial feeling that eventually the heart racing. The barbaric Tity as a motion picture and received some kind of soundtrack opens up into lush string writing percussion and action stings an anomaly in the prodigious out- release. However, The Challenge that evokes some of the eerie form the basis for action music put of legendary film composer (and another early ’80s thriller, exoticism of Goldsmith’s writing Goldsmith later employed in Jerry Goldsmith. The film was The Salamander) fell through for V’ger in Star Trek: The Motion The Shadow, but this is far more directed by John Frankenheimer the cracks and became one of Picture. interesting, wildly quirky writ- and concerns an American expa- the only unavailable Goldsmith On the heels of this contem- ing. Toward the end of “Forced triate played by Scott Glenn scores of this later period. plative introduction Goldsmith Entry,” Goldsmith introduces who gets in the middle of a feud The Challenge has since become launches a series of percussive a Stravinsky-esque pulse that between two Japanese brothers a Holy Grail for collectors of action cues (“The Wrong Sword,” has been a favorite of his since over ownership of an ancient Goldsmith’s music. Release of an “Over the Top/Fish Market”) 1964’s Rio Conchos and even samurai sword. One of the broth- album has been stymied for years as the film’s opposing forces shows up in 1995’s First Knight. ers is played by Toshiro Mifune, and was not helped by the fact encounter one another for the He combines both approaches for a Japanese actor so iconic that that the unsuccessful movie has first time, with the primary motif “As You Wish,” a delirious bac- since been sold on video under eventually emerging out of a riot chanalia of violence in a league alternate titles like Equals and of churning strings, brass and with Goldsmith’s most intense Sword of the Ninja. Prometheus even a touch of the old mixing action pieces, only stopping short Records has a good track record bowl percussion from Planet of the of the intensity of a few pieces in with albums of other previously Apes. After almost 10 minutes of The Wind and the Lion and Planet of unreleased Goldsmith scores like continuous action material the the Apes. Breakout, and High score settles into repose for much Fans of Goldsmith’s action Velocity. The Challenge is the most of its midsection, with moody writing will have to have The high-profile of the lot, and as a renditions of the theme occasion- Challenge for these final cues long-lost Goldsmith action score ally interrupted by ethnic percus- alone, although they may find with an Asian-influenced sound, sion and some pleasing bursts of themselves a little frustrated it’s exactly the sort of thing col- impressionism, particularly in with the low-key tone of much of lectors crave. “Lonely Road” and “Let’s Talk,” the rest of the score. While I’m That said, fans expecting an which introduce a gorgeous but normally a proponent of cram- epic sound or non-stop action restrained love theme in the vein ming every note on the CD, The he was once known as “The may find this a frustrating listen. of Goldsmith’s Poltergeist and Challenge would probably have John Wayne of Japan.” Mifune’s The Challenge is at times neces- Secret of NIMH writing. played spectacularly at a lean- character wants to preserve the sarily static in its tone due to the The pace picks up with the and-mean 40 minutes rather sword for traditional reasons of fact that the movie’s main char- busy “Can’t We Do It?” and than 60, but the subtlety and Japanese honor, while his evil acter exists in a kind of arrested “Double Cross,” which ventures lyricism of the score’s quieter brother is the head of a huge, state between two opposing forc- into pulsating Rambo territory moments (in which Goldsmith technological corporation and es. In short, he is not the prime during its opening before settling almost implies his melodies views the sword more as a com- mover of the action and is largely back into a more subdued atmo- rather than presenting them) are modity that he deserves. re-active, meaning Goldsmith sphere. “Stay With Me” is a rewards unto themselves. Goldsmith had scored many must score his moral confusion wholly romantic treatment of the —Jeff Bond movies set in the Far East and indecision as he learns to opening theme for strings and (including The Sand Pebbles, commit both to the cause and later for melancholy woodwinds. Gladiator ★★★★ Tora! Tora! Tora!, The Chairman, to himself. Goldsmith responds The score doesn’t really uncork Hans Zimmer & Lisa Gerrard MacArthur and Inchon) as well as by providing The Challenge less until the climactic “Surprise Decca 289-467-094-2 countless action movies including with a well-developed theme than Visitor/Forced Entry” and “As 17 tracks - 61:36 First Blood, which was released the with a useful motif that’s simi- You Wish,” two show-stopping ans Zimmer has been writ- same year as The Challenge. (It lar to the diabolical ostinato he action sequences (one in which Hing gladiator music for may be worth noting Goldsmith’s employed in the “Nightmare at Glenn skirts samurai traditions years—he just hasn’t been aware output in 1982: Inchon, Poltergeist, 20,000 Feet” segment of Twilight a bit by employing various pieces of it. The composer behind such The Secret of NIMH, The Challenge Zone: The Movie. Hearing the agi- of office furniture and equip- rousing screen music as the and First Blood.) By the early ’80s tated tune put to use in a reflec- ment as weapons). This is classic (continued on page 42) Goldsmith had amassed such a tive, even lyrical setting here is stuff that demonstrates why reputation among movie music disorienting (no pun intended). Goldsmith is and always shall fans and burgeoning soundtrack- After an opening of solo shakuha- be the king of motion picture (continued from page 36)

apr i l / ma y 2 0 0 0 36 F i l m S core M ont h l y battles a tribe of vicious Luddite barbar- Tora! Tora! Tora! sci-fi cult classics Premiere release of the complete, original score!

Jerry Goldsmith composed music for both major theatres of World War II in 1970: He scored the European battles in Patton, and the notorious Japanese attack on Pearl Harbor in Tora! Tora! Tora! Unlike the general’s story, however, Tora! concentrates on larger themes of war, nationalism and human miscom- munication. The result is a powerful work, full of majestic Asian writing and pulsating action cues that capture the unsettling sound of conflict. The score bristles with unique instrumentation and overlapping rhythms so characteris- tic of Goldsmith’s period at Fox in the ‘60s. The CD includes every note written for the film, plus military band & dance source music and a pair of unused variations on the main theme, all in stereo. $19.95

Beneath the Planet of the Apes check out these other poser’s most tender and heartfelt writing. The Flim-Flam Man tells the story of a vet- Leonard Rosenman’s Goldsmith gems eran Southern con man and his escapades. mind-blowing sci-fi score! The score was previously available only in Composer Rosenman retained the excerpts on a limited tribute CD, but this neoprimitive musical tone of the Apes release is complete, in stereo, with all of the series while creating a score very much in instrumentation and “sweeteners” intact. his own, inimitable style. It goes beyond A Girl Named Sooner is cut from a similar with layers of sound, cloth (presented in clean mono) making a clanging, metallic effects, bristling, ram- breezy, heartwarming duo. bunctious chase music and a perverse, $19.95 chaotic march for the ape army. Add a re-recording; this CD is the first release some striking electronic effects, a bizarre of the original soundtrack, as conducted choral mass and you have one of the by the composer. The Loner is Goldsmith’s most original sci-fi scores ever written. complete contribution to the 1965 western The disc features every note of the OST Patton/ TV series by Rod Serling (sounds like Rio in stunning stereo sound, plus sound FX The Flight of the Phoenix Conchos): main and end titles and two epi- cues, and as a bonus, the complete origi- Classic Goldsmith tracks plus sode scores. $19.95 nal LP with its specially arranged music marketplace rare Frank DeVol adventure score and dialogue—it’s two albums in one. together on one CD! Go ape! $19.95 Jerry Goldsmith’s Patton (1970) is a brilliant definition of General Patton, from the jaunty Patton march to the echoplexed trumpet triplets that conjure up the ghosts of an ancient, martial past. Previous albums Rio Conchos have been re-recordings; this is the original Complete Original Score! film soundtrack.The Flight of the Phoenix Jerry Goldsmith came into his own as a (1965) is a superb adventure film about creator of thrilling western scores with a cargo plane that crashes in the Sahara 1964’s Rio Conchos, a tuneful work that desert. Frank DeVol’s rousing, kinetic score is at times spare and folksy, at others fsm melodically delineates the film’s sharply savage and explosive. It is a prototype for drawn conflicts and the characters’ strug- Take a Hard Ride the aggressive action music for which the ians, the “Family.” This action-adventure is gle against the encroaching threat of the Complete score for the first time! composer has become famous, but it also made memorable by Ron Grainer’s beautiful desert. $19.95 A spaghetti western, buddy movie, blax- probes the psychology of the story with Fantastic Voyage pop-flavored score, which mixes baroque, ploitation epic and kung fu thriller—Take constant melody. This is the first release of The complete, unreleased ’60s jazz, avant garde and dramatic orchestral a Hard Ride has it all, including one of the recording of Rio Conchos, masterpiece by Rosenman! styles into a seamless whole. With a gor- Goldsmith’s most enjoyable western scores. complete in mono (54:58) with bonus tracks Fantastic Voyage is the classic 1966 sci- geously elegiac main theme, and distinc- While emphasizing action, Hard Ride ben- of a vocal version of the theme (2:36) plus ence fiction movie which follows a min- tive melodies for Neville and the Family, efits from a rousing, full-blooded adven- six tracks repeated in newly mixed stereo iaturized surgical team inside the human The Omega Man earns its reputation as ture theme, and consciously references (19:43). $19.95 body. The score by Leonard Rosenman (Lord one of the most unforgettable genre scores Morricone-isms that recall The Good, the of the Rings, East of Eden, Star Trek IV) of the ’70s. The disc features stunning Bad and the Ugly. This is the uncut, fully- is one of his most famous and has never stereo sound, unused score cues, specially restored version of Goldsmith’s penultimate before been available. It is a powerful, arranged source music and an alternate western, presented as he wrote it—in ste- Welcome to modern orchestral work with breathtaking end title. $19.95 reo. $19.95 the FSM musical colors, presented here in complete Marketplace! form, in stereo. $19.95 100 Rifles Never before released OST! We’re pleased to offer 100 Rifles (1969) is Jerry Goldsmith’s most hard-to-find, unusual outrageous western score, featuring bel- soundtrack-related licose brass, wild percussion and melodic Mexican nuggets. The CD features the products, including: score twice: in newly remixed stereo and Exclusive CDs; in the mono mix originally made for the Books for music lovers; film. It’s an audacious, rip-roaring hunk of Books for composers; Mexican adventure, never before available. The Return of Dracula You’re gonna love it! $19.95 The Flim-Flam Man/ One-of-a-kind collectibles; Gerald Fried 2CD set also A Girl Named Sooner and more! Order online, by The Omega Man including I Bury the Living, Stagecoach/The Loner Two complete Goldsmith scores! phone or by mail: The long-awaited Ron Grainer The Cabinet of Caligari and Original Goldsmith scores! This new CD presents two complete see contact info below. fan favorite! Mark of the Vampire. Stagecoach is the 1966 remake of the Goldsmith outings in the gentle Americana A sci-fi classic featuring as From the composer of Star Trek’s “Amok John Ford western. The Mainstream CD is vein that has always brought forth the com- Robert Neville “the last man on Earth,” who Time” and “Catspaw” comes this historic

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com 2CD set of four of his early horror scores: title theme and suspenseful interior pas- Prince Valiant The Return of Dracula (1958) is based on sages. The Paper Chase is the acclaimed Classic, influential adventure Join the Classics Charter Club the Dies Irae, I Bury the Living (1958) fea- 1973 comedy drama about Harvard law score by Franz Waxman! tures creepy harpsichord, The Cabinet of students, with music ranging from a light Hurry up, Don’t Wait! Send us your name, address and Prince Valiant (1954) is a stirring knights- Caligari (1962) has a beautiful, romantic pop love theme to Baroque adaptations to and-adventure work in the classic tradition credit card info (VISA, MasterCard or AmEx), and we will theme, and Mark of the Vampire (1957) the haunting “Passing of Wisdom.” Also of The Adventures of Robin Hood and Star automatically send each CD upon release. You can return any recalls Fried’s score for ’s includes Americana 6-min. main title to Wars. It features a dynamic set of themes disc for a full refund or credit within 30 days. Each CD costs The Killing. 24 pg. booklet. Conrack (1974). $29.95 $19.95 and variations for the hero, princess, vil- (Shipping charges are same as for a single CD) $19.95 plus shipping ($3 U.S./Canada, or $5 rest of world); no lain, mentor (sound familiar?) in a stir- charges until shipping. ring symphonic setting. The CD includes the complete score as it survives today, Pre-order A Send me everything! newly remixed from the 20th Century-Fox Pre-order B Send me each Silver Age CD for $19.95. archives in good stereophonic sound with Pre-order C Send me each Golden Age CD for $19.95. bonus tracks. It’s our first Golden Age To order multiple copies of releases (up to six each), just write Classic! $19.95 how many copies you want on the form between pages 40-41.

Warner Home features the complete score (57:14) in Video chronological order. $19.95 has led the way for video restoration with elaborate laserdisc, DVD and videocassette The Comancheros box sets of the studio’s most famous films. The complete Elmer Bernstein Golden Age goodies The company has also produced soundtrack CDs available to the public only within the western score for the Duke! All About Eve/ This 1961 film marked Bernstein’s first larger video packages—until now. FSM has Leave Her to Heaven copies of the following CDs to sell via direct of many famous western scores for John Two Alfred Newman classics! Wayne: a rousing, melodic Hollywood west- mail only to our readers. FSM dives into the voluminous legacy of ern with a dynamite main theme—sort Alfred Newman with this doubleheader of “The Magnificent Eight”—plus classic restoration of All About Eve (1950) and Deadfall moments of quiet reflection and cascading Leave Her to Heaven (1945). All About Catch John Barry ’60s vibe! Indian attacks. Remixed in its entirety in Eve is Newman’s tribute to the theater The Exorcist First time on CD! Barry scored this 1968 stereophonic sound from the 20th Century- world and sympathetic underscoring of The seminal horror soundtrack! Bryan Forbes thriller in the midst of his most Fox archives. $19.95 creative period of the ’60s. It features his the Academy Award-winning film’s sharp- William Friedkin’s 1973 thriller of demonic 14-minute guitar concerto, “Romance for tongued women; Leave Her to Heaven is his possession is arguably the scariest film Guitar and Orchestra,” performed by Renata brief but potent score to the Gene Tierney- of all time, and it was enhanced by these Tarrago and the London Philharmonic; the starring noir tale of love and murderous frightening, avant garde compositions by title song “My Love Has Two Faces” per- obsession. It’s terrific! $19.95 Penderecki, Webern, Henze and other mod- formed by Shirley Bassey (“Goldfinger”), ernist composers. This CD also includes plus two unreleased alternate versions all of the rejected music (14:14) which of same (vocal by Malcolm Roberts and The Wild Bunch Lalo Schifrin recorded for the film—never instrumental); and vintage, dramatic Barry Fully restored edition. before heard! (Regrettably, “Tubular Bells” underscore. Limited availability courtesy & “Night of the Electric Insects” are omit- $16.95 Warner Home Video! ted from the disc.) $19.95 The classic Jerry Fielding score, in brilliant stereo, to the 1969 Sam Peckinpah west- Monte Walsh ern. The 76-minute CD was meticulously music from Retrograde! John Barry’s first western score! restored and remixed by Nick Redman for Two decades before Dances with Wolves, inclusion only with the 1997 laserdisc of the Barry scored this 1970 character study film; FSM has obtained a limited number of aging cowboys (Lee Marvin and Jack of discs to be sold exclusively through the Palance) with his impeccable melodic Prince of Foxes magazine. $19.95 touch. The score (never before released) The “lost” Alfred Newman features a title song performed by Mama adventure score! Cass, beautiful lyrical moments, a thun- This 1949 Tyrone Power/Orson Welles derous mustang-herding cue, and a dash costume epic boasts what is arguably Mad Monster Party of 007. Also included are outtakes, source Newman’s greatest achievement at 20th 30th anniversary music, and the 45-rpm single recording of Century-Fox: a colorful, rollicking score collector’s edition From Rankin/Bass, the creators of TV’s “The Good Times Are Coming.” $19.95 capturing the spiritual renewal of the Renaissance, yet conjuring up the evil The Taking of Pelham 1-2-3 Rudolph the Red-Nosed Reindeer, comes inherent in all tyrants. It’s adventurous, Dig this killer ’70s groove—first the original soundtrack to Mad Monster spirited and darkly atmospheric, with a time anywhere! Party. The jazzy score by composer Maury Laws, with lyrics by Jules Bass, features vintage Newman love theme. The CD fea- David Shire’s classic ’70s 12-tone jazz/ funk the vocal talents of Boris Karloff, Phyllis tures the score remixed to stereo, with sev- fandango for the 1974 subway hostage Diller, Ethel Ennis and Gale Garnett. eral unused cues. $19.95 thriller. Part disaster movie, part gritty cop The deluxe package includes a 16-page Enter the Dragon thriller, Shire’s fat bass ostinatos and creepy color booklet with dozens of never-before Lalo Schifrin ’70s slugfest— suspense cues glue it all together. A sensa- published photographs and concept in an expanded edition! tional, driving, pulsating score in a class by drawings by Mad Magazine alumnus Jack Bruce Lee’s most famous film introduced itself. New packaging; liner notes by Doug Davis and Don Duga. A wacky and fun him to mainstream American audiences Adams. $16.95 and cemented his superstar status. Lalo blast from the past! $16.95 Schifrin scored this 1973 adventure with TThe Poseidon Adventure/ his greatest fusion of funky backbeats, The Paper Chase catchy melodies, screaming orchestra and Check Your Order Online When you use our website gives Original unreleased soundtracks wild percussion. It is the ultimate combi- you the opportunity to check your order and subscription status. The site will also by John Williams! nation of symphonic fury with crazy ‘70s remember your information (with your permission) for future reference, so you can The Poseidon Adventure is the classic 1972 solos. A short CD was released in Japan; save time when ordering. Thanks for your continuing support! Irwin Allen disaster movie, with a stunning this newly remixed and remastered disc

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com The Score: Interviews books for with Film Composers by Michael Schelle composers Some of FSM’s best-ever features have been the interviews with film compos- ers—the question-and-answer format gives the reader a sense of the person-

ality involved. The Score (1999) is in marketplace that conversational tradition, featuring lengthy transcripts with Barry, Bernstein,

Blanchard, Broughton, Chihara, Corigliano, fsm Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker and C. Young. The New Updated Edition! MusicHound Soundtracks: The author is himself a composer, and the 2000 Film/TV Music Guide Essential Album Guide to Film, conversations, while not wholly technical, From the Music Business Television and Stage Music pry deeply and precisely into the composers’ A Heart at Fire’s Center: Registry Edited by Didier C. Deutsch, ideas. Published by Silman-James Press, The Life and Music of Is your career worth investing $95? Forewords by Lukas Kendall and 432 pp., softcover. $19.95 Bernard Herrmann Contains exhaustive directories of record Julia Michels by Steven C. Smith Getting the Best Score for labels, music publishers, film/TV music If you liked VideoHound’s Soundtracks, Bernard Herrmann (1911-1975) stands as Your Film: A Filmmakers’ depts., music supervisors, music editors, you’ll love this expanded second edition, a towering figure in film music: not only Guide to Music Scoring composer representatives, composers, featuring over 3,000 capsule reviews of was he the most influential film composer by David Bell clearance companies, recording studios, soundtrack CDs—including compilations, of all time, who scored such classic films Respected television composer David Bell performing rights societies, and music shows and song collections. Many of the as Citizen Kane, Vertigo, Psycho and Taxi wrote this book in 1994 to help producers libraries—names, addresses, contact reviews are by FSM’s regular contributors: Driver, but he was an irascible, passion- and directors get the most out of film music. numbers. $94.95 Jeff Bond, Lukas Kendall, Andy Dursin, ate personality famous for his temper and It’s aimed at filmmakers, but also provides Daniel Schweiger, Paul MacLean. There outbursts. This 1991 book is the definitive useful professional information to compos- are also helpful cross-indexes, lists of biography of the legendary composer, cov- ers and musicians—or any fan interested books for soundtrack-related websites, stores, record ering his film, television, radio and concert in the process. Topics include spotting, music lovers labels and publications, and composer work as well as his personal life: from his communicating, recording, budgeting and interview snippets culled from FSM. It’s the beginnings in through his licensing, with explanations of the various ultimate guide to every soundtrack under three marriages and many professional personnel and entities involved in each; the sun. Published by Visible Ink Press, 872 associations. This book is actually still in also included are lists of agents, clearance pp., softcover. $24.95 print, but it can be hard to find. It is a companies, glossary terms and resources. brilliant illumination of the musician and Published by Silman-James Press, 112 pp., the man and probably the best film com- softcover. $12.95 poser biography ever written. Published by University of California Press. 416 pp., hardcover. $39.95

The Album Cover Art of Soundtracks U.S. Soundtracks on CD: by Frank Jastfelder Scores for Motion Pictures & Stefan Kassel, and Television 1985-1999 Foreword by Saul Bass Price Guide This 1997 coffee table book is a stunning by Robert L. Smith Music from the Movies: collection of soundtrack LP covers. From The Click Book FSM’s market-standard price guide is back 2nd Edition paintings to photographs to designs, from Comprehensive timing tables with a new-look second edition, featuring by Tony Thomas westerns to blaxploitation to sexploitation, for synchronizing music to film over 2,400 listings of album titles with This was the original film music book it’s a gorgeous dossier of vivid artwork, Created by USC student and composer composers, label numbers, special collect- (from 1971), the “alpha” from which with covers both ubiquitous and rare. The U.S. Exclusive—Only from FSM Cameron Rose. Click-tempo tables for 6-0 ible information and—most of all—esti- all others followed, telling the stories of book is sized like an LP jacket (12” by John Barry: A Life in Music through 32-0 frame click-tempos (6-0, 6- mated values. The listings are annotated Hollywood’s most successful—if hitherto 12”), allowing many of the best covers by Geoff Leonard, Pete Walker 1, 6-2, etc.)...Each timing table covers beat to help collectors differentiate between unknown—composers. This updated edi- to be reproduced full-scale. Take a trip and Gareth Bramley 1 to beat 999 at the given click-tempo... originals and reissues, commercial albums tion came out in 1997, shortly before the down memory lane, or experience these This 8.5” by 10.75” tome is a definitive Large, bold, easy-to-read click-tempo val- and rare promos. Find out what’s out there, author’s death. Composers covered (many powerful images for the first time. This history of John Barry’s music and career, ues and equivalent metronomic values at what your prized rarities are worth, and with photos) are Stothart, V. Young, Green, German-published book originally sold for from his earliest days as a British rock and the top of each page...Timing, frame and how much you should expect to spend to Newman, Tiomkin, Waxman, Kaper, Rózsa, $29.95—it’s now out-of-print, to boot, roller to his most recent films and London footage breakdowns for rhythmic subdivi- fill out your collection. Author Robert L. Steiner, Korngold, Herrmann, Friedhofer, but we have obtained a limited number of concert. It is not a personal biography but sions within each click-tempo—including Smith also surveys the present state of the Raksin, Antheil, Thompson, Copland, North, copies for our faithful readers. rather a comprehensive chronicle of every compound meters... Listing and tutorial market and provides a checklist for the top Bernstein, Duning, Rosenman, Goldsmith, Published by Edition Olms AG Zürich, single thing John Barry has ever done: from of standard timing-conversion formulas 50 collectible CDs. Published by Vineyard Mancini, Schifrin, Scott, Shire, Broughton 128 pp., full color, softcover. $24.95 records to films to television to concerts, for 24 fps film speed...Tutorial in SMPTE- Haven LLC, 154 pp., softcover. $17.95 and Poledouris. Published by Silman- to-Absolute time conversion...Frames-to- James Press, 330 pp., softcover. $19.95 Seconds conversion tables for U.S. and Give a gift to a friend! European film and video speeds. 430 pp. We are happy to accept gift orders and Price is the industry standard for click send them to whomever you please, com- books; this one gives more value for the plete with your message and identification. money! $149.95 Please write on the order form or a separate piece of paper the name and address of the gift recipient, and any note we should include. We’re standing by!

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com fsm with plenty of primary source material from analyzed are The Sea Hawk (Korngold), of Elmer Bernstein. Barry and his many collaborators. Double Indemnity (Rózsa), Laura * #38, October ’93 16 pp. John Debney James Bond fans will be thrilled by (Raksin), Prokofiev’s music for Eisenstein, Listen with your eyes!

marketplace (seaQuest DSV), Kraft & Redman Pt. 2. the many behind-the-scenes photographs Herrmann’s music for Hitchcock, and * #39, Nov. ’93 16 pp. Kraft & Redman Pt. (from scoring sessions for You Only Live several scores for the films of Jean-Luc Basil Poledouris: 3, Fox CDs, Nightmare Before Christmas Twice, Diamonds Are Forever and The Godard. A supplemental section features His Life and Music and Bride of Frankenstein reviews. An intimate visit with the Living Daylights) and information relating Brown’s probing interviews with Rózsa, * #40, Dec. ’93 16 pp. Kraft & Redman Pt. composer of Conan the Barbarian, to 007. In fact, Barryphiles overall will be Raksin, Herrmann, Mancini, Jarre, Schifrin, 4; Re-recording . Big Wednesday, Free astounded at what is probably the biggest Barry and Shore. If you are a film student, * #41/42/43, January/Feb./March ’94 Willy, Starship collection of Barry photographs in the or interested in writing about film music, 48 pp. Elliot Goldenthal, James Newton Troopers and world, from all stages of his career—at you have to read this book. Published by Howard, Kitaro & Randy Miller (Heaven & Lonesome Dove. work, at home, and at events. Also included University of California Press. 396 pp., Earth), Rachel Portman, Ken Darby; Star Take a tour of is a complete film/discography and album softcover. $24.95 Wars trivia/cue sheets; sexy album covers; his work and and film artwork, some in full color. music for westerns; ’93 in review. lifestyle—in his Published by Samsom & Co., U.K. Published by Lone Eagle Publishing. 224 * #44, April ’94 Joel McNeely, Poledouris own words—from 244 pp., hardcover, illustrated. $44.95 pages, softcover, illustrated. $17.95 (On Deadly Ground); SPFM Morricone tribute his methods of & photos; lots of reviews. composing to * #45, May ’94 (Maverick), his love of sailing and the sea. Graeme Revell (The Crow); Goldsmith in The video runs 50 minutes concert; in-depth reviews: The Magnificent and includes footage of Basil Seven and Schindler’s List; Instant Liner conducting and at work on Notes, book reviews. mock-ups of Starship * #46/47, June/July ’94 Patrick Doyle, Troopers, as well as dozens of Newton Howard (Wyatt Earp), John Morgan behind-the-scenes and family (restoring Hans Salter scores); Tribute to photos, and special appearances Henry Mancini; Michael Nyman music for by wife Bobbie Poledouris and films, collectible CDs. daughter Zoë. Discover the man * #48, August ’94 Mark Mancina (Speed); behind the music, in a close-up Chuck Cirino & Peter Rotter; Richard Kraft: way you’ll never see on commercial Hugo Friedhofer: advice for aspiring composers; classical TV, or experience in print. music in films; new CAM CDs; Cinerama New Reduced Price! Dimitri Tiomkin: A Portrait The Best Years of His Life New Updated Edition! LPs; bestselling CDs. NTSC (U.S. Format) $19.95 by Christopher Palmer Edited by Linda Danly #49, September ’94 Hans Zimmer (The Lion This 1984 book (T.E. Books, out of print!) Introduction by Tony Thomas Film Composers Guide King), Shirley Walker; Laurence Rosenthal by the late Christopher Palmer is the Hugo Friedhofer (1901-1981) was a gift- Year 2000 fifth edition on the Vineyard; Salter in memoriam; clas- (analysis), classical music for soundtrack authoritative study of legendary composer ed musician whose Hollywood classics Compiled and edited by sical music in films; John Williams in fans. Tiomkin (1894-1979). Long out of print, included The Best Years of Our Lives, An Vincent J. Francillon concert; Recordman at the flea market. #62, October ’95 Danny Elfman Pt. 1, a few copies have surfaced from the U.K. Affair to Remember, The Young Lions and This is the ultimate resource for finding #50, October ’94 Alan Silvestri (Forrest John Ottman (The Usual Suspects), Robert publisher and are now for sale, but when One-Eyed Jacks. His Golden Age contem- out what composers have scored what Gump), Mark Isham; sex & soundtrack Townson (Varèse Sarabande), Ten Most they’re gone, they’re gone! This 144p. poraries (Newman, Raksin, Waxman and films—over 2,600 composers cross- sales; Lalo Schifrin in concert; Morricone Influential Scores, Goldsmith documentary hardback is divided into three sections: a others) often considered him the most referenced with 25,000 films! Never be Beat CDs; that wacky Internet; Recordman reviewed. biography, overview of Tiomkin in an his- sophisticated practitioner of their art. In puzzled again. Also contains agency on liner notes. * #63, November ’95 James Bond Special torical perspective, and specific coverage the 1970s Friedhofer gave a lengthy oral contacts, Academy Award winners and #51, November ’94 Howard Shore (Ed Issue! John Barry & James Bond (history/ of his major landmarks (Lost Horizon, High history to the American Film Institute, rife nominees, record company addresses and Wood), Thomas Newman (Shawshank overview), Eric Serra on GoldenEye, essay, Noon, the Hitchcock films, Giant, 55 Days with anecdotes, opinions and wit, which is more. 8.5” by 11”, 416 pp. Lone Eagle Redemption), J. Peter Robinson (Craven’s favorites, more. Also: History of Soundtrack at Peking and many more). Also includes a reproduced as the main part of this new Publishing. Retail price $55; FSM special New Nightmare), Lukas’s mom interviewed; Collecting Pt. 3, Davy Crockett LPs. complete filmography, 41 b&w photos, and book. Also included is a short biography by offer: $39.95 music of Heimat, Star Trek; promos. * #64, December ’95 Danny Elfman 9 color plates. Rare! $24.95 Danly; an epilogue by Gene Lees; the eulo- * #52, December ’94 Eric Serra, Marc Pt. 2 (big!), Steve Bartek (orchestrator), gy from Friedhofer's memorial service by Shaiman Pt. 1, Sandy De Crescent (music Recordman Meets Shaft: The Blaxploitation David Raksin; Friedhofer's correspondence backissues of FSM contractor), Valencia Film Music Conference, Soundtracks, Kamen Pt. 3, re-recording with the late Page Cook; a complete film- SPFM Conference Pt. 1, StarGate liner notes, House of Frankenstein. ography; photographs; and even reproduc- Volume One, 1993-96 Shostakoholics Anonymous. * #65/66/67 January/February/March tions of Friedhofer's cartoons. Published Issues are 24 pp. unless noted. #53/54, January/February ’95 Shaiman ’96, 48 pp. T. Newman, Toru Takemitsu, by The Scarecrow Press, 212 pp., hard- Most 1993 editions are xeroxes only Pt. 2, Dennis McCarthy (Star Trek); Sergio Robotech, Star Trek, TenInfluential compos- cover. $39.95 * #30/31, February/March ’93 64 Bassetti, Jean-Claude Petit & Armando ers; Philip Glass, Heitor Villa-Lobos, songs pp. Maurice Jarre, Basil Poledouris, Jay Trovajoli in Valencia; Music & the Academy in film, best of ‘95, film music documentary The Music of Star Trek: Chattaway, John Scott, Chris Young, Awards Pt. 1; rumored LPs, quadraphonic reviews (Herrmann, Delerue, Takemitsu, Profiles in Style Mike Lang; the secondary market, Ennio LPs. “The Hollywood Sound”). by Jeff Bond Morricone albums, Elmer Bernstein Film #55/56, March/April ’95 Poledouris (The #68, April ’96 David Shire’s The Taking The first-ever history of Star Trek Music Collection LPs; 1992 in review. Jungle Book), Silvestri (The Quick and the of Pelham One Two Three; Carter Burwell soundtracks, from the original series to the #32, April ’93 16 pp. Matinee temp-track, Dead), Joe Lo Duca (Evil Dead), Oscar (Fargo), gag obituaries, Apollo 13 promo/ movies to the new incarnations, by FSM’s SPFM ’93 Conference Report, Star Trek & Music Pt. 2, Recordman’s Diary, SPFM bootleg tips. own Jeff Bond, with a foreword by Star music editorial. Conference Report Pt. 2. #69, May ’96 Music in Plan 9 from Outer Trek director Nicholas Meyer. Featuring * #33, May ’93 12 pp. Book reviews, classi- #57, May ’95 Goldsmith in concert, Bruce Space; John Walsh’s funny movie music Overtones and Undertones: interviews with composers Jerry Goldsmith, cal/film connection. Broughton on Young Sherlock Holmes, Miles glossary; Herrmann & Rózsa radio pro- Reading Film Music Alexander Courage, Fred Steiner, Gerald * #34, June ’93 16 pp. Goldsmith SPFM Goodman interviewed, ’94 Readers Poll, grams; Irwin Allen box set review; Bender’s by Royal S. Brown Fried, Ron Jones, Leonard Rosenman, award dinner; orchestrators & what they Star Trek overview. “Into the Dark Pool” column. Royal Brown is best-known as the long- Dennis McCarthy, Cliff Eidelman, Jay do, Lost in Space, recycled Herrmann; spot- #58, June ’95 Michael Kamen (Die #70, June ’96 Mancina (Twister), final time film music columnist for Fanfare Chattaway, David Bell, Paul Baillargeon, lights on Chris Young, Pinocchio, Bruce Lee Hard), Royal S. Brown (film music critic), desert island movie lists, Jeff Bond’s sum- magazine, whose illuminating reviews producer Robert Justman, and music edi- film scores. Recordman Loves Annette, History of mer movie column, TV’s Biggest Hits book have placed film music in a serious aca- tor Gerry Sackman, the book also contains * #35, July ’93 16 pp. Tribute to David Kraft; Soundtrack Collecting Pt. 1. review. demic context as well as entertained with an up-to-date, complete list of every score John Beal Pt. 1; scores vs. songs, Herrmann *#59/60, July/Aug. ’95 48 pp. Sex Sells Too #71, July ’96 David Arnold (Independence their sharp observations. Overtones and written for all four TV series; a guide to Christmas operas; Film Composers (sexy LP covers, lots of photos), Maurice Jarre Day), Michel Colombier, Recordman Goes to Undertones is his 1994 book, the first-ever understanding how certain shows were Dictionary. interviewed, Miklós Rózsa Remembered, Congress, Bond’s summer movie column. serious theoretical study of music in film. tracked and credited; Classic Trek manu- #36/37, August/November ’93 40 pp. History of Soundtrack Collecting Pt. 2, film #72, August ’96 Ten Best Scores of ‘90s, It explores the relationships between film, script excerpts from Fred Steiner, Gerald Bernstein, Bob Townson (Varèse), Richard music in concert pro and con. T. Newman’s The Player, Escape from L.A., music and narrative and chronicles the Fried, Sol Kaplan and George Duning Kraft & Nick Redman Pt. 1, John Beal Pt. #61, September ’95 Goldenthal (Batman conductor John Mauceri, reference books, aesthetics of the art form through several (in their own hand); and complete cue 2; reviews of CAM CDs; collector interest Forever), Kamen Pt. 2, Chris Lennertz (new Akira Ifukube CDs. eras. Key works sheets from selected episodes and films. articles, classic corner, fantasy film scores composer), Star Trek: The Motion Picture #73, September ’96 Recordman on War

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com and score retrospective; interview with Film Soundtracks Pt. 1; Interview: David Marco Beltrami (Scream, Mimic), Curtis king of German schwing, Peter Thomas; Schecter: Monstrous Movie Music; Ifukube Hanson (L.A. Confidential); Dursin’s: Downbeat covers Inspector Gadget, The FSM says CDs Pt. 2, obituary. Laserphile, Bender’s: Film Music as Fine Thomas Crown Affair, and more; BMI #74, October ’96 Action Scores in the ‘90s Art, Recordman. thank you with... awards night. (intelligent analysis); Cinemusic ‘96 report * Vol. 2, No. 8, October ’97 Poledouris Vol. 4, No. 10, December ‘99 “Scores of (Barry, Zhou Jiping); Vic Mizzy interviewed. (Starship Troopers), Shore (Cop Land, The Scores 1999”: our annual review round- * #75, November ’96 Barry: Cinemusic Game), Zimmer vs. FSM Pt. 2 (interview),

up, including collections of animation, marketplace Interview (very big); Recordman on War Film Alloy Orchestra (scoring silent films), Free CDs! Morricone, horror, Golden and Silver Age Soundtracks Pt. 2, Bond’s review column. Golden Age CD reviews. Hollywood, concert work CDs and lots more;

* #76, December ’96 Interviews: Randy Vol. 2, No. 9, November/ December ’97 fsm plus our reader poll. While Supplies Last! Edelman, Barry pt. 2, Ry Cooder (Last Man Arnold (Tomorrow Never Dies), Vol. 5, No. 1, January ‘00 Super Rescue: Inside Standing); Andy Dursin’s laserdisc column, (Alien Resurrection), Neal Hefti (interview), Rhino’s reissue of John Williams’ Superman Order over $50 (before Lukas’s reviews. U-Turn & The Mephisto Waltz (long reviews), score; the film and cue sheet analysis; shipping) and get your choice Razor & Tie CDs; begins current format. ’50s Superman TV score; Howard Shore of a FREE CD courtesy Sonic view and book reviews; John Williams’s Volume Two, 1997 Volume Three, 1998 on Dogma; Downbeat: Goldenthal, Barber, Images: Gone With the Wind or First color covers! Issues 32-48 pp. Expanded format! Issues 48 pp. Tanglewood film scoring seminar; Carter Tyler, Debney and Robbins; pocket reviews The Secret of Nimh 2. * Vol. 2, No. 1, Jan./Feb. ’97 Star Wars Vol. 3, No. 1, January ’98 Williams Buyer’s Burwell (interview), Simon Boswell, Citadel debut, Laserphile and more. Order over $100 (before ship- issue: Williams interview, behind the Guide Pt. 1 (Star Wars to Amistad), Mychael Records, Halloween laserphile. Vol. 5, No. 2, February ‘00 20th Anniversary ping) and get copies of BOTH Special Edition CDs, commentary, cue edit- Danna (The Sweet Hereafter), Titanic Vol. 3, No. 10, December ‘98 The Tribute to Jerry Fielding, including a con- CDs (or two copies of either ing minutia/trivia, more. Also: Bond’s review music supervision, readers poll, laserphile, Prince of Egypt (Hans Zimmer, Stephen versation with Camille Fielding; The Good, one—your choice).It’s up to column. Silvestri lecture, Rykodisc reviews. Schwartz), Emil Cmiral (Ronin); Holiday the Bad and the Oscars—top picks for YOU to remember! If your order * Vol. 2, No. 2, Mar./Apr. ’97 Alf Clausen: * Vol. 3, No. 2, February ’98 Glass Review Round-up: 50+ new CDs; 1999; Inside Oliver Stone’s score-o-matic qualifies, include a note on the (big interview); promotional (Kundun), Williams Buyers Guide Pt. 2 (The Downbeat: Elfman, Young, Beltrami, approach to Any Given Sunday; George order form or a separate sheet CDs; Congress in Valencia; Readers Poll Eidelman, D. Cuomo, Kamen. Duning obit; Score Internationale and the of paper telling us which free ’96 & Andy’s picks; Bender’s Into the Dark 1999 release statistics. item(s) to send you. Pool Pt. 2 Volume Four, 1999 Vol. 5, No. 3, March ‘00 Phantom Menace * Vol. 2, No. 3, May ’97 Michael Fine: Re- Issues 48 pp. Mania: Build the ultimate Star Wars CD in recording Rózsa’s film noir scores; reviews: Vol. 4, No. 1, January ‘99 Music for NFL the privacy of your own home; Sing High, Poltergeist, Mars Attacks!, Rosewood, more; Films (Sam Spence), Goldsmith at Carnegie Sing Low: Readers pick the best of 1999; Lukas’s & Bond’s review columns. Hall, Danny Elfman Interview (Psycho, Civil When Worlds Collide: music director Mark Vol. 2, No. 4, June ’97 Elfman (Men in Action, A Simple Plan), Wing Commander Russell Smith on film vs. concert music; Black), Promos Pt. 2, Martin Denny and game music, book reviews, Indian funk C.H. Levenson’s “last” letter, magazine Exotica, Lady in White, the Laserphile soundtracks. reader survey, and more. on DVDs, obituary: Brian May, The Fifth Vol. 4, No. 2, February ‘99 Goldsmith Element reviewed. Buyer’s Guide: The ‘90s, The Exorcist (the lost Index Vol. 2, No. 5, July ’97 Goldenthal (Batman & Schifrin score), David Shire (Rear Window How much stuff have we printed in FSM? Robin), Mancina (Con Air, Speed 2), George remake), Philip Glass (Koyaanisqatsi), TVT We’re not even sure anymore. Here’s a S. Clinton (Austin Powers), ASCAP & BMI sci-fi CDs, promo CDs. handy index of all reviews and articles award photos; Reviews: Crash, Lost World. Vol. 4, No. 3, March ‘99 The Best of 1998: Vol. 2, No. 6, August ’97 Schifrin (Money Reivers to Black Sunday), David Amram Essays by Jeff Bond, Andy Dursin & Doug Talks), John Powell (Face/Off), Shaiman (Manchurian Candidate), Goldsmith Adams; Wendy Carlos interview; Goldsmith (George of the Jungle); remembering Tony on Varèse, Pendulum CDs (interview & Buyer’s Guide Part 2: The ‘80s; Hammer Thomas; Summer movies, TV sweeps. reviews), poll results, TV CDs. original soundtracks on CD, Recordman, Vol. 2, No. 7, September ’97 Zimmer vs. Vol. 3, No. 3, March/April ‘98 Titanic/Horner Downbeat, ST:TMP CD review. FSM (big interview, Peacemaker cover), essays, Best of 1997, Cinerama Rides Vol. 4, No. 4, April/May ‘99 Franz Waxman: Again, Remembering Greig McRitchie, Scoring Prince Valiant (big article, photos, Fox Newman Stage photos, Elfman Oscar musical examples); 1998 Readers Poll; International Readers Nominations. Goldsmith Buyer’s Guide Late ‘70s; DIVX Take Note! Vol. 3, No. 4, May ‘98 Bruce Broughton (Lost soundtrack festival report; John Barry bios Gone With the Wind is the in Space), David Arnold (Godzilla), Making reviewed; Charles Gerhardt obit. legendary 1939 symphonic score by the New Close Encounters CD, Williams Vol. 4, No. 5, June ‘99 Star Wars: Max Steiner in the Stanyan stereo Buyers Guide Pt. 3; Score Internationale, The Phantom Menace scoring session report re-recording of the London Sinfonia Laserphile, Downbeat (Ed Shearmur), Fox and analysis of Trilogy themes; Halloween conducted by Muir Matheson. Also Classics reviews. H20 postmortem; Downbeat: Affliction, Free included are bonus tracks con- Vol. 3, No. 5, June ‘98 Mark Snow (X-Files Enterprise, , Election; Lots of CD through Vol. 4, No. 9, compiled by Dennis ducted by Rod McKuen from America, feature), Classic Godzilla reviews/ overview, reviews: new scores, Roy Budd, Morricone, Schmidt. Cost: same as one back issue. America (Hadjidakis), For Whom Jay Chattaway (Maniac, Star Trek), Bruce TV, A Simple Plan. *photocopies only the Bell Tolls (V. Young), Spellbound Broughton Buyers Guide Pt. 1, Downbeat Vol. 4, No. 6, July ‘99 Elmer Bernstein: Wild (Rózsa), The Cardinal (Moross) (David Reynolds, Dennis McCarthy, Anne Wild West; George S. Clinton: Austin Powers and The Prime of Miss Jean Brodie Dudley), SCL Conference Report. 2; Goldsmith Buyer’s Guide: Early ‘70s; USC (McKuen). Total time: 65:15. Vol. 3, No. 6, July '98 Trevor Rabin film scoring program; CD reviews: 1984, (Armageddon), John Barry's London Concert, Sword and the Sorcerer, The Mummy, The The Secret of NIMH 2: Timmy to the Hollywood Composers Burkhard Dallwitz (The Truman Show), Matrix, more. Rescue is the orchestral score by Lee Stamp Sheet Christopher Gordon (Moby Dick), Debbie Vol. 4, No. 7, August ‘99 Warner Animation Holdridge to MGM’s animated 1998 by the United States Wiseman (Wilde), '70s soul soundtracks Scoring (Shirley Walker on Batman/ sequel to the 1981 Don Bluth film Postal Service reviewed. Superman, Bruce Broughton on Tiny Toons, about intelligent mice. Seven songs Imagine! Six Hollywood Composers Vol. 3, No. 7, August ‘98 South Park (Adam more); Phantom Menace music analyzed; are also featured. Total time: 62:24. on first-class stamps (33¢) in the Berry, Bruce Howell), Baseketball (Ira Michael Kamen on The Iron Giant; Stu Legends of American Music Series. Newborn), Taxi Driver retrospective, BMI & Phillips on Battlestar Galactica; percus- Offer good while supplies last. We are selling sheets of 20 stamps ASCAP dinners, Bruce Broughton Buyers sionist Emil Richards; ASCAP awards. as issued by the USPS; each sheet Guide Pt. 2, Downbeat (Schifrin, Bernstein, Vol. 4, No. 8, September/October ‘99 has three Steiners, Korngolds, Legrand). Tribute to Stanley Kubrick: interview (Jocelyn Newmans and Tiomkins, and four * Vol. 3, No. 8, September ’98 Lalo Pook) and analysis of , plus Herrmanns and Waxmans. Postage Schifrin (Rush Hour), Brian Tyler (Six-String Kubrick compilation review; Poledouris on Shipping info is free with any other item, $1.50 Samurai), Interview: Trevor Jones, John For Love of the Game; Goldsmith Buyer’s CDs/video: $3 first item, $1.50 each additional U.S./Canada. $5 first item, $3 each if ordered alone (We won’t use the Williams concert premiere, ASCAP scoring Guide: Late ‘60s; Jeff Bond’s review/advice add’l rest of world. Books: $5 each U.S/Canada, $10 rest of world. stamps as your postage!) $9.95 seminar, Rykodisc CD reviews. on Goldsmith concerts. Backissues: Shipping FREE within U.S./Canada. $5 rest of world per order. Vol. 3, No. 9, October/November ‘98 Erich Vol. 4, No. 9, November ‘99 U.S. Postal Wolfgang Korngold: Biographer inter- Service Composer Stamps; Papillion film

To Order: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SC o r e epic canvas that can support his taken advantage of the Roman underscore, and that’s still most grandiose music. Yet the Coliseum sequences to supply immensely structured. So, while scores to Crimson Tide, The composer has always attempted one of his distinctively rous- these selections may be safe and Peacemaker and Black Rain long to subvert the expectations of ing uber-marches, and he does at times ordinary or expected, ago reinvented one of the most his chosen field, and just as you so here with a vengeance. But the disc benefits from good pro- time-honored film scoring tricks expect Gladiator to open with almost more interesting are his gramming. The renowned Gone of the trade: the big, epic-sound- a thundering march it instead well-motivated borrowings from With the Wind opens things up, ing march that had always been introduces itself with an almost Wagner and Holst to describe the while Poltergeist, Papillon and familiar to moviegoers from John whispering, ghostly female vocal. bloodlust of the Roman Empire Spartacus keep the momentum Williams’ stupendously retro, That’s an earmark of Zimmer’s as an obvious inspiration for the going. The mid-section of the disc operatic Star Wars score all the collaboration with musician later brutalities of Nazi Germany. is weaker only by comparison, way back to Miklós Rózsa’s Ben- Lisa Gerrard (The Insider). But Holst’s hammering war rhythms and the CD closes with Raiders Hur. Williams looked back to the listener doesn’t have long to have been borrowed for every- of the Lost Ark and Once Upon both Rózsa and journeymen like wait for Zimmer himself to come thing from Williams’ Star Wars a Time in the West. There are Waxman, Newman and Korngold crashing on the scene with a to Kilar’s Bram Stoker’s Dracula few legitimately weak links on with his wholly acoustic, full- fantastic piece of music: a brutal to Silvestri’s The Quick and the the album. But, while the perfor- blooded orchestral sound for and bellicose orchestral waltz Dead, but Zimmer avoids that mances (and even the recording) Star Wars, Superman and other that ignites just as the skies over trap by adopting not the rhythms are good enough, there’s no real blockbusters of the ’70s and ’80s. ancient Germany are filled with of “Mars, Bringer of War” from standout track that will make arrows, crossbolts and catapult The Planets, but instead the eerily you say “Bam! I’ve gotta have missiles in the film’s stupendous scaling, momentous textures that this disc.” The Spartacus love opening battle scene. preceded them. It adds a blood- theme is nice but it’s no substi- Thereafter Zimmer’s Gladiator curdling sense of doom to the tute for North’s bombastic and score, like the film, wavers buildup to one of the climactic difficult brass writing that always between stunning spectacle and gladiatorial sequences. sounds terrible on re-record- Gladiator’s lengthy album ings. The concert arrangement nicely balances the epic quali- of Goldsmith’s Poltergeist and ties of the story against its sur- Papillon is well played but old prisingly humanistic side. It’s a news. It also would have been balls-to-the-wall, blow-out epic nice to hear the percussive main score without the guilt. —J.B. title from Charade instead of the delicate piano rendition of the Willy Wonka-like theme (though Movie Memories: A Golden Age the Mancini suite is excellent). 1 Revisited ★★★ /2 —Jesus Weinstein Zimmer, on the other hand, VARIOUS helped shape the film music Varèse Sarabande 302 066 124 2 sound of the late ’80s and 15 tracks - 69:38 Erin Brockovich ★★★ into the ’90s by reinventing t’s uncertain which “Golden THOMAS NEWMAN the movie score march as Age” this album refers to, as Sony Classical SK 89239 a sleek, pulsating machine I surprising intimacy. The latter is the selections range from Gone 23 tracks - 35:08 of and sampled accomplished mostly with Lisa With the Wind (1939) to Out of rin Brockovich marks acoustic performances, giving his Gerrard’s vocals, a distinctly Africa (1985). This Varèse album another entry in Thomas music a supple, overpowering E Eastern sound palette lightly is actually heavier on what’s nor- Newman’s catalog of edgy and sound that was at once pleasingly supported by ethnic stringed mally considered Silver Age film experimental scores—it’s likely melodic and hip. instruments, all speaking to music—Goldsmith, Bernstein, that he was brought onto this Zimmer’s successes made him hero Maximus’ sensitive side Mancini, Morricone, Williams... project to supply exactly that. as sought-after a film composer as he deals with the slaughter you get the picture. Max Steiner The brevity of the cues on this as the legendary Williams, and of his family and his longing to and Victor Young are among the album gives an indication as to his touch was often pure gold, return to a home that no longer Golden Age composers repre- how tricky this film must have bringing in fans who might nor- exists. Zimmer himself provides sented, but they’re the undercard been to pin down musically (26 mally never give a film score a a deft example of interior scoring on this album. minutes of score are divided into first listen, let alone put one into when the arrival of the twisted Movie Memories: A Golden 21 tracks). The titles themselves heavy rotation. But Zimmer’s Commodus into (which Age Revisited follows along emphasize this further, as in scores for Jerry Bruckheimer surely would have been treated the lines of most compilation “Xerox” and “Xerox Copy”—how extravaganzas and overcooked, with the next best attempt at a records, using large, concert-like many different ways can you commercial ’90s blockbusters new “Darth Vader’s March” by main titles instead of music that score Julia Roberts making or have always smelled a bit of any other composer) is scored sounds like underscore. In this carrying around photocopies? (Or overkill, a symptom of the neon- by Zimmer as a moment of way, Varèse’s latest compilation collecting water samples, for that drenched, beer-commercial aes- sweet, lyrical sentimentality as (and most like it) does harken matter?) Newman responded thetic that presented the basest the deluded Emperor sees not a back to the Golden Age, when to the challenge by taking a cue storylines and most unappealing martial empire but a city full of form and melody were far less from David Holmes’ Out of Sight characters as if they were tales people who love him. subservient to the picture. The (director Soderbergh’s previous from Olympus itself. Of course, Zimmer would Magnificent Seven suite is about film), creating a score that is It’s only with ’s have been crazy not to have as close as this album gets to perhaps his most contemporary Gladiator that Zimmer finds an

A pr i l / M a y 2 0 0 0 42 F i l m S core M ont h l y to date, while still sounding like huge compensation award (“333 Cecilia and was recorded for pos- ones, especially the unusually Thomas Newman. Million”) is announced. It makes terity. The album covers a wide peppy H2S. Also surprising were The standout compositions for a quietly emotional moment range of Morricone styles, from the middle cues (from the Sergio here feature an ensemble of elec- in that these multiple cancer vic- his spaghetti westerns of the ’60s Leone section) that sound more tric and acoustic , percus- tims still have little to celebrate. to his more subtle scores of the like music from an Audrey sion and bass, each playing its This kind of heartbreaking yet ’90s. Although he incorporates Hepburn romance than a west- own riff in a layer-effect with the unsentimental approach is what a large orchestra, several solo- ern. While the more recogniz- other instruments. It’s a funky Newman does best. The album ists and two choirs, Morricone’s able title sequence of The Good, sound, combining a constant use is rounded out with two Sheryl scores are seldom as big and as the Bad and the Ugly loses punch of blues scales and crushed notes, Crow songs, “Redemption Day” lush as those of John Williams or with a horn as a poor substitute with both live percussion and and “Everyday Is a Winding John Barry. In fact, except for a for the whistler, “The Ecstasy of samples that have been processed Road.” couple of moments of grandeur, Gold” from the same movie is the in order to give a bogged-down, the writing sometimes seems most exciting cut on the album, underwater effect. Less effective —James Torniainen like a waste of talent. Yet each drawing on all the forces of the are the quieter, guitar-led cues element is important at different orchestra and chorus. The cue ★★★ 1/ (“Classifieds,” “Xerox”) that Cinema Concerto 2 times of the CD. Although some from Bugsy is unfortunately face- simply repeat short blues motifs ENNIO MORRICONE transitions are a little jarring, less, but my favorite Morricone with little variation—whereas Sony Classical SK 61672 the album as a whole makes for a score, Casualties of War is well other tracks suffer from end- 17 tracks - 62:19 nice listen. represented. Missing from the ing within a minute, these are have always admired Ennio The first time I heard the CD, concerto are recent favorites like thankfully brief. In keeping with IMorricone’s work from a dis- I tried not to read the titles, so The Legend of 1900 and the popu- Newman’s compositional style, tance. I don’t run out and buy I could be pleasantly surprised lar The Untouchables. few tracks are driven by melody. every one of his soundtracks—I by each entrance of a score For pure listening pleasure, However, the more poignant would be a poor man if I did. But, I knew—not to mention any this is a satisfying experience scenes that portray Erin’s gen- I appreciate the works I do hear score I was unfamiliar with. The with excellent sound quality. eral uphill struggle in life (“Miss and I certainly respect his stature concerto begins with the wildly However, with all the Morricone Wichita”) are accompanied by a as one of the premiere film com- nostalgic themes from Cinema collections out there, this one delicate piano and string orches- posers of our time. This Cinema Paradiso, which is a perfect choice, doesn’t stand out as important tra, which do establish a theme, Concerto was pieced together and ends with two cues from The or necessary in any collector’s for a concert appearance with or at least a musical texture, for Mission, the score that packs the library. —Cary Wong her character. Newman reprises the Orchestra and Chorus of the most punch. The most reward- this material for the finale, as the Accademia Nazionale di Santa ing excerpts were the unfamiliar

A sensual, moody, and moving new recording of Lalo music from: COOL HAND LUKE THE KID Schifrin's Oscar-nominated score, with additional music never BULLITT THE COMPETITION CHALLENGER'S GOLD before released. Recreates the joys, sorrows, love and loneli- JOY HOUSE ROLLER COASTER MISSION: IMPOSSIBLE ness in the famous D.H. Lawrence story. Ranges from string THE FOX GOLDEN NEEDLES MANHATTAN MERENGUE quartet to full symphony orchestra, with a big band ver- ONCE A THIEF THE OSTERMAN WEEKEND "The Fox is one of the most sionsubtle, of the elegant theme as andwell. "Lalo Schifrin’s jazz scores are legendary ... some of the best and profound scores of the composer." - Nicolas Saada loved ... the result is stunning." - Andrew Keech Available at Order direct call toll free 1.888.287.8812

F i l m S core M ont h l y 43 A pr i l / M a y 2 0 0 0 SC o r e geous wrap-up recalls Georges their smooth translation to Delerue despite being offset by album presentation. In fact, Cotton Mary ★★★ a busy Subramaniam violin solo there’s nothing funk-oriented RICHARD ROBBINS and and additional pipe organ tex- or anything requiring strings: DR. L. SUBRAMANIAM tures. Cotton Mary won’t blow This is a big band, so while it Milan 73138-35895-2 you out of your seat, but it’s does not sound exactly like the 18 tracks - 53:48 an example of the kind of film film music, it does have great he term “Merchant/ music that sells albums these size and scope. Jazz Goes to T Ivory film” has become days: a blending of Hollywood fulfills the require- a byword for period movies regional exotica and melodic, ments of a good film music of exquisite taste and intel- low-key orchestral music. —J.B. concept album: It stays true to ligence (not to mention wit, a the spirit of the original mate- less often remarked-upon but rial, blends it all together into an equally important quality.) Like Jazz Goes to Hollywood enjoyable presentation and has Woody Allen, the filmmaking ★★★★ fantastic solos to boot. duo of James Ivory and Ismail LALO SCHIFRIN —Lukas Kendall Merchant produces quality films Aleph 016 with such clockwork regularity 14 tracks - 66:26 that they’ve almost faded into ong before Aleph Records Lonely Planet Vol. 1 & 2 the background of the annual Lwas formed, Nick Redman ★★★★ fall and winter prestige horse and I tossed around dream VARIOUS race. Cotton Mary was released projects of film music concept classic Mission: Impossible and Cinephile CIN CD 026 & 027 in December in England but has albums we’d love to record. a pair of newer pieces (the easy- Volume one, disc one: yet to receive a major release Number one on the list was listening early ’80s Osterman 19 tracks - 57:47, in the States, and it’s possible getting Lalo Schifrin to record Weekend and a song from 1995’s Volume one, disc two: it may pass beneath the radar a brand new album revisiting Manhattan Merengue!), and you 11 tracks - 67:41; without the fanfare of more his fantastic jazz-based, often have a sweet big band album Volume two, disc one: popular Merchant/Ivory epics “urban” scores of the 1960s enhanced by top-notch solo- 13 tracks - 55:01, like Remains of the Day and A and ’70s. Although Schifrin has ists: Ernie Watts on saxophone, Volume two, disc two: Room With a View. The film donned a variety of hats in his Nils Landgren on trombone, 17 tracks - 49:25 follows a British family living masterful career—from pianist Wolfgang Haffner on drums and he soundtrack to this in India in the ’50s and how to jazz arranger to conductor Sandra Booker performing the T world-spanning docu- the aftermath of British colo- to film composer for a variety vocals. Many of the performers mentary series produced for nial rule affects them and their of genres—his jazz scores have were featured on the original Channel 4 Television in the Indian servants. always been the strongest at uni- soundtracks (Watts on Osterman U.K. (and later broadcast on Like most Merchant/Ivory fying every part of his musical Weekend, for example), lend- the Discovery Channel) is a films, Cotton Mary features personality. Bullitt in particular ing a fine air of authenticity. mind-expanding blend of eth- a tuneful and dignified score does everything that the great One of the most astonishing nic source music and ambient from composer Richard Robbins scores have always done: It fits things about the CD is that it sound textures assembled and that aptly supports the pro- the film, it breaks new ground— was recorded live in concert adapted by a group of compos- ceedings. On its own the score both in terms of cinema and in Germany, but you’d never ers, including Michael Conn, forms a moody, gently progress- music—and is memorable and know if not for the occasional Ian Ritchie, the West India ing listen, balancing Robbins’ enjoyable. applause—there are none of the Company, Neville Farmer, appropriate, warm Masterpiece The album of Bullitt is a re- clams or poor acoustics that nor- Ian Cross, Nainita Desai and Theatre string sound with evoc- recording that reconfigures the mally plague such albums. Malcolm Laws, Nina Miles and ative riffs from South Indian music for “listening pleasure.” One odd thing about the CD Johnathon Miles, and Colin violinist Dr. L. Subramaniam Jazz Goes to Hollywood, then, a is being hit with the lyrics to Winston-Fletcher. Compiled on (particularly in a nine-minute live recording by Lalo Schifrin famous melodies. The albums to two double-CD sets, the Lonely cue, “Prayer,” marked by a with the WDR Big Band, fea- The Cincinnati Kid and The Fox Planet soundtrack albums are hypnotic, sinuous violin solo). tures the closest presentation had vocals of the main themes, hypnotic world music samplers There are a few period, culture- to date of the Bullitt main title but I had never heard the lyrics and as such are slightly out of blending songs that play out as it appears in the film: slow to Cool Hand Luke (“Down Here the purview of FSM. But as like Indian polkas along with and strange over the cool titles on the Ground”). It’s a weird almost all soundtrack music a couple of ’50s pop standards designed by Pablo Ferro. But sensation to recall the words as references some kind of ethnic (“Mr. Sandman” and “That’s Bullitt is merely one track out of well as the music from now on. base, movie score aficionados Amore”). Robbins’ music main- 14; the album moves tastefully This is not necessarily a col- should find something to like tains a consistently subdued from vocal versions of themes lection of Schifrin’s pulsating (or hate) about at least portions tone despite some interest- from big movies (Cool Hand music for ’70s car chases— of all four of these discs. There ing stylistic digressions like Luke, The Cincinnati Kid, The there’s no Dirty Harry, no Enter are definitely lyrical orchestral the swooning, waltz-like “On Fox, The Competition) to instru- the Dragon, and nothing espe- cues like “My Eyes” (a beauti- the Ferry,” the quirky march, mental jazz selections from cially “cuey.” Many of the selec- ful romantic song written and “Arrival of the Ladies,” and “My lesser-known titles (Joy House, tions (“Blues for Basie” from performed in Bombay with the Country ’Tis of Thee” played The Cat, Challenger’s Gold, Rollercoaster, for example) are obvious influence of Western by a church organ in “Mary Once a Thief, Golden Needles, not main themes or underscore film music), and the glittering Arrives at the House.” His gor- Rollercoaster). Throw in the but rather source cues—hence finger-cymbal sounds of some of

A pr i l / M a y 2 0 0 0 44 F i l m S core M ont h l y the cues will put some in mind which means the kind they mere rocking between two of Richard Horowitz’s score play late night on NPR, not the notes) to create shimmering to the independent film Three kind that accompanies space- string pads over which he lay- Seasons (particularly “Saigon”). ships in movie soundtracks. The ers brass melodies. The simple There are also plenty of pop- rest of the collection comprises pulses don’t detract from the driven, club-mix-sounding cues, everything from jazz fusion to brass lines. wailing, -like vocals, sounds I’m incapable of describ- The middle of the album dreamy electronic passages and, ing. Film score fans should uses more ambient, sound most of all, countless varieties be aware that this is probably design-like writing. There are of ethnic percussion and tribal not the sort of thing they are occasional attacks of percussion chanting. There are also a lot of used to listening to, but fans or eerie orchestral sustains, but cues that are out-and-out songs, of Vangelis’ Blade Runner or thematic stuff is mainly absent Threshold of Liberty” composi- albeit sung in languages most of of Tangerine Dream might here. Tracks 4 through 10 are tion so much that he hired him us won’t be able to understand. be more open to it. There are not rewarding and are unneces- to adapt it as the score for Rules There’s something indescrib- lyrical treats and moments of sary to the album. The trumpet of Engagement. This piece is a ably compelling about track incredible atmosphere here that solo of “Mrs. Mourain” finally repetitive, new-age Americana two of the first disc, “Mountain should appeal to anyone—if returns the CD to its listenable work along the lines of Isham’s Girl,” a delicate, chanted song they have the patience to sift roots. “Rules of Engagement own superior “Country.” “No from a young Vietnamese girl through more than four hours (On the Threshold of Liberty)” Victories No Defeats” opens the heard over an ambient rhythm of musical selections to find is a long and effective set piece Rules of Engagement album by track—it’s something like them. If nothing else this is a that makes the most out of re-introducing Isham’s “On the what you encounter in some superb world music collection Isham’s “On the Threshold Threshold of Liberty” theme of ’s scores for the that should edify anyone who of Liberty.” It’s a slow build before a surprise onslaught Miyazaki anime films, particu- listens to it. —J.B. that climaxes with powerful of militaristic percussion and larly Nausicaa and its weird brass chords under Isham’s rousing homophonic brass state- blend of infantilism and sophis- consistently effective trumpet ★★★ 1/ ment burst onto the scene. If tication. Disc two of volume one Rules of Engagement 2 playing. The album closes with Michael Nyman ever did action consists of “Ambient Themes,” MARK ISHAM the actual “On the Threshold music it might sound something which form a slightly more Milan 73138 35906-2 of Liberty” from its original 14 tracks - 41:57 like “Gulf of Aden (USS Wake coherent and soothing listening Windham Hill release. —J.W. Island)” or “The Evac.” Isham experience—it’s space music, illiam Friedkin liked FSM WMark Isham’s “On the uses short scalar patterns (or

I t ’ s T h e O b v io u s C h oic e

Pacific Time Entertainment Company, Inc. Viale G. Mazzini 41 4 East 12th Street New York, NY. 10003 USA 00195 Rome , Italy Tel: 212.741.2888 Fax: 212.807.9501 • Email: [email protected] Tel: 06 321 9570 • Fax: 06 321 8308 Contact: Curtis Urbina Contact: Sergio Cossa

F i l m S core M ont h l y 45 A pr i l / M a y 2 0 0 0 Pocket CD Reviews Attention Deficit Disc Honors!

Who did it? What is it? To buy or not to buy?

Mega Movies: and the Cincinnati Pops Orchestra do a great job with some Even though there isn’t a lot of great music on this Warning! Mega Sound of the bigger box office successes from the past several years. There disc, the performances are so precise and enthusiastic Effects! are six short tracks of sound effects which shouldn’t disturb the listening that they sell stuff that’s otherwise unspectacular. 1 experience all that much, though they are intended to be scary—and Kunzel usually takes the right tempo (except in ★★★ /2 JERRY GOLDSMITH, to a degree are. There are many substantially different concert arrange- the notable case of “The Flag Parade” from The JAMES HORNER, ments (most by either Joe Price or Steven Reineke), ranging from banal Phantom Menace), and the horns and percussion VARIOUS to amusing to terrific. Goldsmith and Horner are heavily represented, and don’t suffer as much as in usual concert recordings. Telarc DSD CD-80535 their tracks are pulled off well, while The X-Files is a welcome and excit- 22 tracks - 73:44 ing concert expansion on the best cut from the original soundtrack. Five of the 17 tracks are “previously unreleased,” Condo Painting Condo Painting has an eclectic mix of pop genres with a good balance including Glass’ “Compassion in Exile.” (Two other ★★★ of vocal and instrumental tracks. There are several underscore-like synth tracks are previously unreleased in the U.S.) Glass is cuts from DJ Spooky, plus a plaintive work by Philip Glass. This naturally up to his usual tricks (or trick), spinning four notes PHILIP GLASS, means that there isn’t much coherence to the album—but it’s a pleasantly and two measures into a 1:41 piece. There is, how- VARIOUS wacky compilation. The album also features work by Kelly Joe Phelps, ever, a two-note trumpet line that adds a dimension Gallery Six RSR-0016 Morphine and Juliana Hatfield (singing “Harder and Deeper”). of loneliness. It sounds like something that would 17 tracks - 59:26 have worked just fine in The Truman Show.

Return to Me David Duchovny and Minnie Driver discover they have a heart in com- The source music is sure to provide a nostalgic draw 1 mon (from the deceased wife of Duchovny’s character) in this Bonnie for more people than Hunt alone. Pike’s original ★★ /2 Hunt-directed love fest. The album has three tracks of Nicholas Pike work is subdued and marginally sentimental. String NICHOLAS PIKE, (Sleepwalkers, Captain Ron), totaling 10:44. The rest of the CD is a pads carry through most of his music, with touches of VARIOUS “Bonnie Hunt Plays Her Favorites” collection, emphasizing Dean Martin, piano and woodwind melodies sustaining interest. BMG RCA Victor 09026- Jackie Gleason, big band and swing tracks. It was kind to put his three tracks in a row, but the 63680-2 album would have been better served by spacing 13 tracks - 37:41 them out.

Farewell My Most of the tracks are grand, thematic main titles. You probably haven’t Once Upon a Time in China fluctuates from Concubine: Great Film heard many of them so this could be an unexpectedly pleasant listen. If sounding like decent Poledouris to awful Hans Themes From Modern there’s something beyond the traditional Asian elements (orchestration, loose Zimmer. A Moment of Romance also has a raw Chinese Cinema pentatonic writing) that connects these tracks, it’s the romantic, melodramatic Poledouris edge. Rainsticks, kotos and whatnot aside, ★★★ overtones. Sometimes these tracks sound like they were written by lame this disc isn’t as Chinese-sounding as one might VARIOUS Europeans working in their own idiom and throwing in Asian snippets—but think. Many tracks are closer to mellowed Japanese Silva America SSD 1107 they are all authentic. There are suspicious credits on this album: The pop than to any kind of underscore. The Prague 14 tracks - 65:34 original score credits Zhao Jiping with music for Farewell My Concubine, Philharmonic does a plausible job with the re-record- for instance, while Silva’s album credits Lee Tzung Sheng. Hmmm. ing, but this disc (all kidding aside) has a strange, Chinese-food-like smell. The People We competed at Sundance a few years ago, this sci-fi thriller follows a serial The recording is subpar—all the dramatic parts Used to Be killer who murders across time by leaping back into past lives. Kenon sound quiet and compressed. The brass of “Your Files ★★★ Chen produced this CD and interspersed his own songs (inspired by the Are My Files” sound like they’re several miles under- film) throughout Mike Reiners’ predominantly orchestral underscore. water. There’s diversity from track to track, and the MIKE REINERS Unfortunately, Chen has also combined 16 tracks into only five. Reiners’ music is fun and free-spirited. The bad production and PROMO main theme is a bold and epic Goldsmith/Horner-like effort, while questionable performances are unfortunate because 5 tracks - 53:25 “Jessica’s Theme” is a tender John Barry meets Alan Silvestri piano idea. this is the kind of audacious sci-fi stuff most film A student production that music fans clamor for. The CD is orderable through the composer at [email protected].

Beautiful People Writer/director Jasmin Dizdar wanted this score to “capture the energy While Bell and Ghostland emphasize different styles, ★★★ and confusion of everyday London situations in which Bosnian refugees they mix and match to the point where the album and Londoners encounter one another at random, [and to] portray a doesn’t come off as divisive or segregated. Everything GARRY BELL, foreign mind in a state of chaos.” Garry Bell and Ghostland make inde- has a folksy hinge; even Bell’s “Jag Jag, Sleepy GHOSTLAND, pendent contributions, with several source tracks rounding out the album. Sleepy,” with its combination of ambient sound, synth VARIOUS Most of Bell’s music is in a fast and frenetic klezmer style using cymba- and acoustics. CHA 0128-2 lon, wild shouts, whistle and trumpet trills. The blatting trombone bass line 14 tracks - 40:01 is especially amusing. The style may be “inspired by...Balkan folk music,” but it has plenty of West European elements as well. Ghostland provides some of the more serious underscore (like the string elegy of “Enemy Lullaby”), most of which is not vocal-driven.

A pr i l / M a y 2 0 0 0 46 F i l m S core M ont h l y SC o r e i N t e r NA t i o NAL e

AM has released a batch of Who Can? CAM Can!

interesting material of late: HERE’s a label with a wide sampling of C two reissues of works by two European film music, both old and new giants of the italian silver age, and by John Bender five discs of film music by various

European composers. First up is Un Amore (CAM 496352-2, 20 tracks - 49:33) by Ezio Bosso, a young artist who has been explor- ing some atypical avenues of expression. Bosso makes effective use of his talent by composing for the theater all over Europe, touring with chamber orchestras, writ- ing scores for silent cinema and teaching contrabass in Japan and Paris. His music for this 1999 Italian love story is up close and to the point, not surprising qualities considering Ezio’s affiliation with chamber music. Formally, his style is traditional romanticism mixed with contemporanea à la Philip Glass. Most cues are simple but very emphatic, communicating a masculine perspective on emotional realities and con- flict. There are a few powerful and somewhat m o t i f s eerie “chase” cues, such as “MM” (track 19). and an unwavering dramatic imme- His skill as an instrumentalist (contrabass) is u p diacy) and post-’60s scoring, which saw com- displayed on “Les Adieux” (track 14). This is of numerous and abbre- posers pulling their contributions out of the an intelligent and finely crafted score. viated musical structures, Les Moissons pro- various artificial moments of the cinematic By scoring La Nina de Tus Ojos aka The Girl of vides an active, energetic soundscape. Senia’s proscenium in order that they may impose Your Dreams (CAM 493304-2, 22 track - 55:58), title track introduces a striking effect that into film the ever evolving “sounds of the real French composer Antoine Duhamel faced a recurs throughout the score—he augments world.” The musical numbers, co-written by task not completely unlike what Edwin Astley his mystical poem of the sea with strange R. Perello, J. Mostazo and H. Witt, are proud, contended with on the 1962 Hammer Studio’s percussive effects. It sounds as if various bold orchestral statements; they are won- film The Phantom of the Opera. Both movies random objects are rhythmically hit with derfully evocative of the imposing cultural involve integrating a fictional work of musical drummer’s implements. Senia covers a lot heritage of Spain. The Girl of Your Dreams is theater into the fabric of a larger narrative of ground. Track 5, “Tenore Baluche,” is an an impressive, complex score by a composer structure. The Girl of Your Dreams is about a original composition that effectively mim- who has previously created soundtracks for famous Spanish director (circa 1938) who is ics late ’50s American teenage bebop; track such world-renowned directors as Jean-Luc invited to Germany to film an Andalusian 8, “Beugiant Marin,” is a delightful French Godard and Francois Truffaut. opera called La Nina de Tus Ojos. The director, celebratory descant for accordion; and track along with his Spanish cast and crew, find 10, “Le Fils Prefere,” is a short themselves having to realize their task in Bonjour, Mr. Senia but powerful burst of sexy ’60s- the midst of the permeating hellishness of Jean-Marie Senia is also a pres- “I never tire style club jazz. Coincidentally, the Nazi Germany (a few of the cue titles bear tigiously educated musician, two loveliest cues are at the end. this out: “Kristallnacht” [track 8], “Goebbels although 20 years younger than of spaghetti Track 30, “Harpes de Classe,” is Waltz” [track 13] and “Andaluca in Berlin” Duhamel. He has written exten- western a sun-sparkled vision of winged [track 6]). Some of the most striking pieces sively for theater, film and tele- fairies perfectly designed for oboe, are the humble incidental cues, the score pas- vision (he has scored over 500 compositions flute and harp. Track 31, “Dans sages devoted to transitional situations—as European television productions). —they make le Style de,” is a baroque minuet opposed to individual characters or narrative Les Moissons de l’Océan (CAM rendered by solo clavichord. highlights. Tracks 2, 3, 9, 15 and 17 are rep- 495374-2, 31 tracks - 48:40) is a me feel like A simultaneous CAM release resentative of an artist who has lived through 1998 French miniseries about two of another Senia score is La Ville two stylistically distinct epochs in the evolu- young fishermen living in the small I am the one de Prodiges (CAM 494911-2, 20 tion of Western film music (Duhamel was village of Saint Jean-de-Lux dur- flying in the tracks - 55:08). The 1999 film born in 1925). Detectable in the cited tracks ing the ’60s. The CD is laid out as is a Spanish production that are qualities common to both pre-’60s film 31 short tracks, the longest being saddle.” tells a tale of political and per- music (reliance on romantic classicism, leit- 2:53. As is typical for a score made sonal intrigue at the close of

F i l m S core M ont h l y 47 A pr i l / M a y 2 0 0 0 FSM r e a d e r a D S SC o r e i N t e r NA t i o NAL e the 1800s in Barcelona. This is a much Vivi o Preferibilmente Morti (CAM 494580-2, 35 1,000,000 Soundtrack LPs/VIDEOS heavier effort from Senia, shifting from the TRACKS - 62:02). Un Dollaro Bucato is a sheer Rare originals, limited editions, imported reissues. full scale of the symphonic to the proximity delight as it energetically approaches a listen- Catalog—$1.00. of a concert hall recital. In fact, this score is er from dual modes. Ferrio impressively sub- Soundtrack LP Price Guide—$10. serious classical music meticulously crafted stantiated this score with an instantly recog- Video—all genres: SF/Horror, B’s, Silents, Cult. and utilized in the service of a very fortunate nizable spaghetti western sound, but he also Catalog—$1.00. ’s vision. Suffice to say that all made use of Hollywood’s grand signatures Big descriptive catalog—$10. 20 melodious cues unfold as a series of for the open spaces and lawless men. Rather RTS/FSD4, Box 93897, Las Vegas NV 89193. refined and gracious settings following one than creating a jumble, Ferrio angles the two after the other. I only warn that, at almost formats perfectly, the individual tracks blend- F o r S a l e an hour in length, the prevailing deep and ing together like water. The main theme, “A Terry Hartzell, Middletown, PA, [email protected], sober personality of this soundtrack can be Man...A Story,” is Italian western in the raw; has the following CDs for sale: Civil War Journal, Stone, sealed, $95 (FSM Price Guide value, $125); oppressive. beginning with a trio of tremulous , Red Heat, Horner, notched but otherwise in excellent Il Dolce Rumore Della Vita (Bevano Est, CAM it quickly settles into its heroic, but grim, condition, $25 (Guide value, $35); The Russia House, 496166-2, 12 tracks - 45:34) is the story of a melodic line. Of course, before the requisite Goldsmith, mint, $12 (Guide value, $20); The Good woman, Sofia (Francesca Neri), who unfor- trumpet solo, the composer has Alessandro Son, Bernstein, notched, $10 (Guide value, $15); , Horner, notched, $10 (Guide value, $15). tunately needs 10 years of her life to learn Alessandroni carry the tune solo with his Shipping at cost. Other titles. Email for list. that a lie can sometimes have tremendous soulful whistling—a sound that signals “spa- consequences. The score is by a group of ghetti” as much as a ricochet. The only G. Roger Hammonds, PO Box 4126, Kingsport, TN fine young musicians who go by the name of downside as concerns this splendid theme is 37665, (423) 245-2452, has the following for sale at Bevano Est. Since 1990 the group has been that CAM left off Fred Bongusto’s great vocal $30 each: Willow, , Batteries Not Included, Accidental Tourist, Moon Over Parador. working exclusively within the traditions of version. Sitting dead opposite of “A Man... Many vinyl soundtracks for sale, write for list. Italian folk music. Because of this the score A Story” is the score’s secondary theme, the for Il Dolce Rumore Della Vita is experienced as American-flavored love ballad sung by Lydia John Stroud, 4810 Commanche Trl., Tyler, TX 75707, a “world music” recording. Except for track McDonald, “Give Me Back,” a piece that (903) 509-3615, has the following CDs for sale: The Adventures of Baron Munchausen, Kamen—$40; 7, “Mizce,” every cue seems to be a flavor- could easily grace any classic John Ford oater. The American Revolution, Stone—$100; The Bear; ful refrain of the Old World. However, apart “Pisteleros in Agguato,” the high adventure Sarde—$60; Ben Hur, Ròzsa (London 820 190- from the instrumentation, “Mizce” can easily track, is a western score standard for both 2)—$40; Coma, Goldsmith—$60; Dragonslayer, North be accepted as comparable to a gentle ballad Italian and American productions. I never (SCSE CD-1, gold CD)—$40; Dreamscape, Jarre— of love from any of the past three decades tire of these compositions, especially in the $60; Eight Men Out, Daring (Varèse VCD 70460)— $60; Moon Over Parador, Jarre—$50; Mountains of of American popular music. Although I am hands of a composer of Ferrio’s stature, they the Moon, Small—$40; Raintree County, Green (2-CD not intimately acquainted with the group’s make me feel like I am the one flying in the set)—$40; The Seventh Voyage of Sinbad, Herrmann particular stripe of folkloric euphony it is still saddle, the wind in my face and dust clouding (Varèse VCD 47256)—$80; Thief of Bagdad/Jungle obvious that Bevano Est is playing with skill my trail. Even Ferrio’s saloon ditty (often Book, Ròzsa (Varèse/Colosseum VCD 47258)—$100; Who Framed Roger Rabbit, Silvestri—$60; Shipping: and absolute authenticity. throwaway cues for “spaghetti” composers) $3 for 1st CD, $1 each additional. Money orders only. is enjoyable and thoroughly evocative of a smelly and ill-lit cattle town gathering place. W a nt e d Git Along, Little CDs My initial reaction to Ferrio’s title ballad There is much excitement among the highly Garrett Nakahodo; 45-736 Keneke St.; Kaneohe, HI. for Sentenza di Morte was one of surprise and 96744 (e-mail: [email protected]) wants original TV specialized collectors who give passionate confusion. This amazing theme (sung by Nevil series soundtracks from the late ’50s and ’60s (i.e. attention to all digital re-releases of spaghetti The Green Hornet) and movie soundtracks: In Like Cameron) sounds like a jazz-based piece from western film music. CAM now is offering a Flynt, Barbarella, Fantastic Plastic Machine on factory some late ’60s off-Broadway work of experi- triple soundtrack CD featuring two much- pre-recorded reel to reel tapes; and CD: H.R. Pufnstuf mental beatnik theater—but only on first & Other Favorites (ISR 1999). admired works by Gianni Ferrio: Un Dollaro listen! Very quickly the biting, sarcastic lyrics J. Wilfred Johnson, 1515 SW 12th Ave., #419, Bucato (aka Blood for a Silver Dollar aka One and the dynamic orchestration of the song’s Portland, Oregon, 97201/Tel.: 503-916-1905, wants Silver Dollar), and Sentenza di Morte (aka Death Mickey & Judy, Rhino 4-CD set of Garland-Rooney climax reinstate a western frame of reference. Sentence), and these are with a third score, MGM Musicals soundtracks. Ferrio wisely chose to weave this irresistible S e nd Y o u r a D S T o d a y ! Special offer Reader ads are FREE for up to five items. After that, for it’s $1 per item. It’s that simple. Send to Film Score Soundtrack, Original Cast Call forFSM details! Monthly, 8503 Washington Blvd, Culver City CA 90232; readers! fax: 310-253-9588; [email protected]. Upcoming Deadlines...are predictable again! Send your and Personality LPs & CDs ads accordingly: Over 4,000 high-quality, carefully graded LPs & CDs for sale Vol. 5 No. 5 Ads due 5/26, on sale 6/26 by mail order. Many rare and scarce items available. Vol. 5 No. 6 Ads due 6/22, on sale 7/25 Our unique grading system assigns 3 separate grades to each album, Space Ads for Individual Collector/Dealers Only $60 taking the guesswork out of buying by mail. Free catalog available. For a 1/6 page space ad, simply send your list and All major credit cards accepted. information to the address above; you can comfortably fit anywhere from 20 to 60 titles, but try to include less information per disc the more you list, or else the print will be microscopic. We will do all typesetting. Same deadlines and address as above. Send payment in U.S. funds (credit card OK) with list.

A pr i l / M a y 2 0 0 0 48 F i l m S core M ont h l y long overdue Carlo Savina anthology, Carlo Savina—Ritratto di un Autore (CAM 495168-2, 20 tracks - 60:24). For American collectors who are con- Screen tent to stay well within the circle of influence defined by the likes of Archives Alfred Newman, David Raksin, Jerry Goldsmith and Elmer Bernstein, this CD should, in all likelihood, pro- Entertainment vide much listening pleasure. Savina always displayed a particular affin- Large selection of ity for the classic Hollywood sound of the ’50s and ’60s, and he has new domestic and in the past collaborated with Bill import releases, Conti, Miklós Rózsa, Stanley Myers and Stephen Sondheim. This is older releases and an exceptionally fine gathering of themes. The album begins with one out-of-print CDs of my favorite Savina works, a suite of his main themes for the “nature- Major credit cards accepted. mondo” Savage Man, Savage Write for free catalog! Beast. The title track, “Questa Grande Terra,” is a romantic, larg- PO Box 500 er-than-life orchestral gestalt that Linden, VA 22642 personifies the type of untouch- able and flawless glamour per- ph: (540) 635-2575 fected by MGM’s old star-system media machine. In fact, I find it fax: (540) 635-8554 impossible to experience “Questa e-mail: [email protected] m a i n Grande Terra” and not imagine some theme into the fabric of the score, and the big-budget early ’60s documentary on the visit: www.screenarchives.com various instrumental incarnations are every likes of Lana Turner or Carole Lombard. bit as intriguing as Cameron’s vindictive ren- “Nostalgia,” from the 1990 film Don’t Shoot dering. The third score on this disc is Vivi o the Deputy, is a smoky, wistful piano solo Preferibilmente Morti (aka Alive or Preferably (played by Savina himself) that matches Dead, aka Dead or Alive, aka Sundance and up nicely with similar night-life numbers ound the Kid). With the exception of one track from numerous American film noirs—in the S (“Monty and Ted: Who Knows if They’re image of Raksin’s Laura. Also among these rack Good or Bad?”) CAM previously released fine cues are two examples, from two very T this score on CD in 1992. The question being different films, of the sublime artistry of lbum raised by all the collectors I’ve spoken with Edda Dell’Orso. From La Calîe Notte di Don A is: Why truncate two splendid and previously Giovanni is “La Noche Buena,” and from etailers unreleased scores for the sake of re-releasing Comin’ at Ya is “A Green Wound.” Both R one that has already had the complete digital are impassioned and expansively warmed treatment a scant seven years ago? This 1999 by swelling strings; Edda’s wordless siren Specializing in release has at least nine cues missing from songs are of yearning and heartache. Comin’ SOUNDTRACK, BROADWAY Un Dollaro Bucato and 12 from Sentenza Di at Ya is a curiosity. It is one of Savina’s most and STUDIO CAST CD’s Morte. The reason why Vivi o Preferibilmente elegant and beautiful works, totally in con- DOMESTIC and IMPORT Morti, a fine score, is not as desirable as trast to the promoted personality of the the other two soundtracks, especially to film—an explosive, slapstick western shot RELEASES spaghetti western collectors, is because the in 3-D (sadly, CAM has never released any e-mail or write for your film is a comedy. Ferrio gave it, quite appro- other music from this winsome score). FREE CATALOG priately, a big, rollicking score done in the Other highlights: “La Vocazione” from style of a Hollywood musical; but believe Il Santo, an orchestral essay on the soulful P. O. Box 487-Dept. FS me, lovers of the cruel and violent world of pangs of a human being hungering for God; New Holland, PA 17557- the typical Italian western have little use for “My Best Suite on the Sea” from Friendly 0487 musicals! Maybe CAM had a good reason for Monsters of the Deep (the cue’s title says it e-mail: [email protected]. doing this, and if I hear anything I’ll be sure all); and “Una Storia d’Amore” from The net to post notice here. In any case, this is still a Killer Reserved Nine Seats, a breezy, lightly great CD, fully because Gianni Ferrio is one swinging, instrumental cut from the same phone/fax: of Italy’s finest musicians. sophisticated cloth as is usually found dress- (717)351-0847 ing the cosmopolitan lifestyle of archetypal Visit our website at: Retro-Golden Age Glamour giallo characters—victims and murderers www.soundtrak.com Speaking of Italy’s finest musicians, the alike! This is a great CD. FSM last CAM CD of this current batch is a

F i l m S core M ont h l y 49 A pr i l / M a y 2 0 0 0 Original Music Soundtracks for Motion Pictures and TV

V o l u m e 5 , N u m b e r 4

Jerry! Jerry! Jerry! page 34 HERRMANHERRMANnn’’ss JOURNEYJOURNEY Classic Classic FilmFilm RetrospectiveRetrospective 10 10 EssentialEssential ’50s’50s ScoresScores CD CD ChecklistChecklist FILMFILM MUSICMUSIC AGENTSAGENTS All All youyou everever wantedwanted toto knowknow U-571U-571 Scoring Scoring aa hithit

04 >

7 252 74 9 3 7 0 4 2 $4.95 U.S. • $5.95 Canada Limited Edition Original Soundtrack CDs • Now available: FSMCD Vol.3, No.4 TORA!TORA! TORA!TORA! TORA!TORA!

C omplete original score B y J E R R y GOLDSMITH A surprise CD attack! Jerry Goldsmith composed music for both accordingly. Goldsmith’s rich title theme is major theatres of World War II in 1970: He decorated with menace, but at its core is a scored the European battles in Patton and description of tragedy and tradition: Japanese Pacific action in Tora! Tora! Tora! A joint martial honor unbowed by the exigencies of American/Japanese production, Tora! was a diplomacy. painstaking and spectacular re-creation of the Eschewing the idea of battle music, notorious Japanese attack on Pearl Harbor that Goldsmith left the film’s climactic attack One-time catapulted the United States into war. unscored and saved his most violent orchestral Unlike the character-driven Patton, passages for the diplomatic and tactical pressing of however, Tora! Tora! Tora! concentrates on preludes to war. The score bristles with the 3,000 copies larger themes of war, nationalism, and the unique instrumentation and overlapping failure to communicate. Composer Goldsmith rhythms so characteristic of Goldsmith’s had more than ample experience with both the period at 20th Century-Fox in the ‘60s. musical language of Asia (evidenced in The The result is a powerful work, full of Spiral Road, Morituri, The Sand Pebbles and majestic Asian writing and pulsating action The Chairman) and the war epic (demonstrated cues that capture the unsettling sound of in In Harm’s Way, Von Ryan’s Express and conflict. The CD includes every note written for The Blue Max), making him a perfect choice. the film, plus a suite of military band & dance He chose to score the implacable forces source music and a pair of unused variations of war and fate and the ancient cultural on the main theme, played on solo piano and underpinnings of the Japanese warriors so as a pop-flavored arrangement—all in stereo. vividly depicted in the film. The 16-page booklet is in full color, with a The split production actually presents wealth of behind-the-scenes pictures of the the Japanese more heroically than the elaborate, effects-laden production. bumbling Americans, and the score is written Climb Mt. Niitaka! Order yours today!

TORA! TORA! TORA! $19.95 plus shipping 1. Main Title 3:04 10. The 14th Part 2:38 17. Big Band Source 2:21 and handling 2. The Chancellery 1:02 11. Entr’acte 1:43 18. Hawaiian Radio 1:43 Use the handy order form 3. Little Hope 1:51 12. Pre-Flight Countdown 2:05 19. The Waiting Game 4. Predictions 2:41 13. On the Way 1:38 (with overlay) 5:45 between pages 40-41 or 5. Disagreement 2:00 14. The Final Message 4:50 20. Tora Theme (piano) 1:17 CALL TOLL FREE: 6. Imperial Palace 2:26 21. Tora Theme (orchestra) 1:38 1-888-345-6335 7. Mt. Niitaka 1:13 Bonus Material Total Time: 54:45 8. The Waiting Game 5:45 15. Japanese Military 4:36 Next Month: 9. Sunday Morning 2:53 16. American Military 1:36 Album Produced by Lukas Kendall More music, more surprises! Inscrutable, aren’t we? Hear Here.

The most complete online archive of LOG ON music www.hollywoodreporter.com/registry for Film, Television

and For more information about The Hollywood Reporter Advertising Composer Registry, available call Judi Pulver at (323) 525-2026 or on the contact Andre Mika online at [email protected]. web.

Required Listening. Score with the biggest names in entertainment.