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Journey Journey Original Music Soundtracks for Motion Pictures and TV V OLUME 5 , N UMBER 4 Jerry! Jerry! Jerry! page 34 HERRMANHERRMANNN’’SS JOURNEYJOURNEY ClassicClassic FilmFilm RetrospectiveRetrospective 1010 EssentialEssential ’50s’50s ScoresScores CDCD ChecklistChecklist FILMFILM MUSICMUSIC AGENTSAGENTS AllAll youyou everever wantedwanted toto knowknow U-571U-571 ScoringScoring 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? 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 Record Label 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 Bernard Herrmann 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 Film Score 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 COLUMBIA PIctUreS; VERTIGO © 1996 POSTMASTER: Send Address changes to Film Score Monthly, 8503 Washington Blvd, Culver City, CA 90232 UnIverSAL cITY STUDIOS. F il M S C O R E M O N T hl Y 1 A pr IL/M A Y 2 0 0 0 EDITOR I AL VO lum E 5 N um BE 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 albums 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 orchestras 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.
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