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CONTENTS APRIL/MAY 1999

RETROSPECTIVE DEPARTMENTS

22 A Valiant Effort 2 Editor’s Page Travel back to 1954 for a peek at Franz The Original Prequel Waxman’s triumphant effort to create the score for Valiant. 4News By Doug Adams : Facts, 24 Franz, Offscreen Rumors and Hearsay A review of two notable non- compositions. 5 28 Waxing Poetic Round- An examination of the themes and motives that What’s on the way make Valiant a model for of heroes, 6Now Playing princesses and villains. Movies and CDs in release took a silly ‘50s 7 Concerts spectacle and made a musical FEATURES Live performances monument. page 22 around the world 17 What’s on Your Mind? 9 Upcoming Film We conclude our look back on the best and worst Assignments of 1998 with a compilation of reader picks from Who’s writing what our exclusive poll. By You, with commentary by Jeff Bond 11 Laserphile Take Your Paws Off My 43 Sounding Off on Discs, You Damn Dirty A report on a fascinating conference of film Laserphile! music pros and the state of the art. By James Miller 14 Downbeat Mostly New and Unreleased REVIEWS The evolution of laser releases 35 Score takes its inevitable course. 30 Super-Hits of the Late ’70s Reviews of the latest page 11 Our massive listener’s guide to the works of releases, including The continues, from The Wind and Towering Inferno, the Lion thru : The Motion Picture. Rushmore, Payback, By Jeff Bond 8mm, Playing by Heart, and more. 30 Somewhere in Type Two (count ‘em, two!) biographies 44 Score have arrived—here’s the comparative analysis. Internationale By James Southall From Rome, with Love

48 Retrograde Charles Gerhardt, 1927-1999 The spy-sound of the ’60s returns 39 FSM Marketplace courtesy this lady’s vocal chords. page 45 46 Reader Ads

ON THE COVER: FRANZ WAXMAN FLANKED BY HIS OSCAR AND GOLDEN GLOBE FOR SUNSET BOULEVARD. PHOTO Monthly (ISSN 1077-4289) is published monthly for $36.95 per year by Lukas Kendall. 5455 Wilshire Blvd., ©1999 JOHN W, WAXMAN COLLECTION, ALL RIGHTS RESERVED. Suite 1500, CA 90036-4201. Periodicals postage paid at Los Angeles, CA and additional mailing offices. POSTMASTER: Send Address changes to , 5455 Wilshire Blvd., Suite 1500, Los Angeles, CA 90036-4201

Film Score Monthly 1 A PRIL/MAY 1999 EDITORIAL

V OLUME 4, NUMBER 4 The Original Prequel A PRIL/MAY 1999

STAFF OR, HOW I STOPPED WORRYING AND LEARNED TO LOVE THE GOLDEN AGE EDITOR & PUBLISHER Lukas Kendall MANAGING EDITOR his column will continue my confes- due to deterioration. However, by and large Jeff Bond sional from Vol. 3, No. 9, our the stereophonic sound is miles from the DESIGN DIRECTOR TKorngold issue. The short story: I scratchy compression that most people Joe Sikoryak did not grow up being exposed to film music expect from material of this age. Forget CONTRIBUTING WRITERS from the Golden , but I about the echoey, soft acoustics of most re- Doug Adams know a huge percentage of our readers did, recordings: this performance has life and Marie Asner and now it’s your turn to luxuriate in your size. It sounds like a movie , not John Bender favorite subject matter. This month that like an antique record or a weak studio Robert E. Benson means Franz Waxman and one of his great- recreation. Andy Dursin est scores, Prince Valiant, which we are now So, we’re thrilled. Our resident musicolo- Tim Kurkowski releasing on CD. gist, Doug Adams, has tackled the liner Mark Leneker I know many of you have been notes, and he came up with so much materi- Daniel Schweiger listening to Prince Valiant (in the al that we’ve turned it into this issue’s cover James Southall movie) for decades. I’ve been lis- story—with thanks to a few legendary tening to it for only a few months, names. Also deserving of gratitude is John W. PUBLISHING CONSULTANT during the production of our Waxman, keeper of his father’s legacy; he Digital Film & Print, Inc. , but let me put it this way: loaned us the many astounding composer when we planned our 1999 cover photographs reproduced in this issue. THANKS TO stories, Vol. 4, No. 4 was going to Finally, to anyone who has ever complained B.A. Vimtrup be a Star Wars prequel issue, about delays in the 20th Century Fox except that The Phantom Menace Classics Series over this entire decade, know CONTACT INFO is under lock and key. (We’ll do that this studio has done more than any our Star Wars coverage later this other to preserve its musical heritage, with EDITORIAL & SUBSCRIPTIONS Calling all music lovers— summer.) Then we figured, what’s dozens of scores released on Arista, Varèse 5455 Wilshire Blvd Prince Valiant’s score the real “prequel” to John Sarabande and now FSM, and many more Suite 1500 is off da hook! Williams’s Star Wars scores, using internally “saved” for future release by Nick Los Angeles, CA the word to mean predecessor, Redman. Look: Prince Valiant! Who would 90036-4201 antecedent, etc.? It’s all the great symphon- have thought? If you’re happy now, wait until PHONE 323-937-9890 ic music of the Golden Age of Hollywood: our release this summer. FAX 323-937-9277 Korngold’s The Adventures of Robin Hood There’s only one cause for sadness in all of E-MAIL lukas@ and The Sea Hawk, and this dynamic fairy this exciting work, and that’s the passing of filmscoremonthly.com tale of knights, swords and princesses: conductor Charles Gerhardt (see obituary, Waxman’s Prince Valiant. pg. 48). Gerhardt was almost single-handed- ADVERTISING If you flash back to late 1976 and early ly responsible for the pre-Star Wars renais- Robert Herbert 1977, when was first tackling sance in film music in the 1970s, with his 5455 Wilshire Blvd ’s , Valiant had to historic series of Classic Film Scores Suite 1500 be one of the scores on his mind, especially for RCA Victor (produced by George Los Angeles, CA considering that Williams was probably Korngold). Prince Valiant opened the 90036-4201 hanging around 20th Century Fox at the Waxman volume, one of the main reasons PHONE 323-937-9890 time it was made (1953/54). The movie is no why this music is known today. We are dedi- FAX 323-937-9277 match for Star Wars, but has many of the cating our Valiant CD to this late, great same elements: hero, princess, two-faced vil- . THE SOUNDTRACK HANDBOOK lain, mentor, sword fights and a code of I always get misty-eyed when I’m fortu- A six-page listing of mail honor. Waxman’s music evokes them all nate enough to help bring something great order dealers, books, societies, with clear leitmotivs inside a romantic, tra- from the past both to the people who love it, etc. Free upon request. ditionally European structure. and to a whole new audience. On behalf of In my Korngold editorial, I suggested that all of my collaborators... please shower us OUR WEB SITE many younger listeners are turned off of with affection. Thanks, Is updated five times weekly! Golden Age material simply because of its Point your browser at: inferior sound quality. Prince Valiant did not WWW.FILMSCOREMONTHLY.COM survive 45 years unscathed: some of the short fanfares are missing, and we’ve had to © 1999 Lukas Kendall put a nine-minute block at the end of the CD Lukas Kendall

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A PRIL/MAY 1999 2 Film Score Monthly

EVENTS • CONCERTS RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS NEWS THE LATEST FILMS Star Wars: ones that we suspect we might Awards Roundup know.” In particular, (spoiler!) 8- Facts, Rumors year old Anakin Skywalker’s his year’s music-related Oscar winners are for Life Is and Hearsay theme is a subtle variation of TBeautiful (Best Dramatic Score), for Shakespeare in “The Imperial March.” Love (Best Comedy or Musical Score), and Stephen Schwartz for “When The music was recorded from You Believe” from The Prince of Egypt (Best Song). February 5 to 18 at Abbey Road, The “Razzie” award winner for Worst “Original” Song of 1998 is “I Todd-AO Scoring Stage, Wanna Be Mike Ovitz!”from Burn,Hollywood,Burn!, by and with a 100-piece and Gary G.Wiz. 88-piece . (The choral lan- In the U.K., nominees for BAFTA’s Anthony Asquith Award for guage? Sanskrit.) At presstime, Achievement in Film Music are: Elizabeth (David Hirschfelder), Hilary information was just beginning and Jackie (Barrington Pheloung), Saving Private Ryan (John Williams) to come out about the music in and Shakespeare in Love (Stephen Warbeck). various newspaper and televi- picked up three Grammys in this year’s awards, as his sion stories. We’ll add to the song “My Heart Will Go On” from (performed by Celine Dion, overkill next issue; watch lyrics by Will Jennings) won for Record of the Year, Song of the Year, and www.filmscoremonthly.com. Best Song Written for a Motion Picture or for Television. John Williams’s he Star Wars Episode Saving Private Ryan won for Best Instrumental Composition Written for a One: The Phantom Motion Picture or for Television; the stage recording of TMenace CD will be DVD news (produced by Mark Mancina) won for Best Musical Show Album. released on May 4 worldwide by Sony Classical. It will be one disc ue June 1 from 20th inal spotting of the picture (with scores on one CD). The pair have with 17 tracks, mastered with DCentury Fox Home tons of unused music) with the more Morricone and Italian west- 24-bit technology. The first track Entertainment is a 20th final edited soundtrack. Time to ern releases planned for later is “Star Wars Main Title and the Anniversary Edition DVD of get a DVD player! The package this year. Arrival at Naboo” (3:02, featur- Alien, featuring a 68-minute doc- (produced by Sharpline Arts) will Look for all of these imports from the ing the original Star Wars theme umentary on the film and some also contain theatrical trailers, soundtrack specialty dealers: Screen over the opening crawl) and the exciting isolated music tracks: 1) storyboards, deleted scenes and Archives (202-364-4333), Intrada last track is “Augie’s Great all-new commentary by director outtakes. (510)-336-1612), STAR (717-656- Municipal Band and End ; 2) the soundtrack in 0121), Footlight Records (212-533- Credits” (9:37). At presstime it French; 3) Jerry Goldsmith’s 1572) and Super Collector (714-636- was unknown whether or not original score as written and Overseas Notes 8700) in this country.. there would be a single released recorded, and placed in the movie in April. as the composer intended; 4) the talian Sergio Reportedly, the score in the edited musical score (with IBassetti has located at the You Can Learn a film is over two hours long. John tracked Freud cues) as it appears RCA vaults in Rome the original Williams told TV Guide, “The in the film, plus production master tapes to Ennio Thing or Two score is probably 90 percent new, sound in-between. This means Morricone’s masterpiece, Once but there are some quotations of for the first time you can hear all Upon a Time in America (1969). “ ilm Music: An Italian older material in it, references to of Goldsmith’s music for the He will produce an expanded edi- FPerspective” is a New characters that we know and movie, and also compare his orig- tion of the soundtrack with bet- York University class being ter sound for RCA, with the “Mr. taught in Florence, Italy next Choo Choo” theme among the summer (June 28-July 16). seven previously unreleased Contact Brane Zivkovic at , 1922-1999 tracks. Also coming soon is Il [email protected], or rnest Gold passed away on March 17 of complications from a stroke. Giornalino di Gian Burasca Tisch International Programs at EGold was most famous for his score for (1960), for which he (). 212-998-9175. won an Academy Award and two Grammys; among his other credits are Another Italian producer, UCLA Extension It’s a Mad, Mad, Mad, Mad World, On the Beach, The Secret of Santa Claudio Fuiano, has found the Entertainment Studies always Vittoria, Inherit the Wind,Witness for the Prosecution, The Pride and the master tapes to San Babile Ore offers a variety of classes in film Passion, The Defiant Ones and Judgment at Nuremberg. Gold was born in 20: Un Delito Inutile, a composition, music supervision, ARTWORK ©1999 LTD. Vienna on July 13, 1921 and emigrated to with his family in Morricone score from 1976. A CD music editing and more. It’s too 1938 after the Nazi annexation of Austria. He came from a musical fami- is in the works. late to sign up for the spring ly and wrote a full-length opera when he was 13. He began his film scor- Coming from producers 1999 semester, but call the school ing career in the mid-1940s when he was in his 20s. His last features Roberto Zamori and Lionel at 310-825-9064 and get on the were Tom Horn (1980) and Safari 3000 (1982), after which he had largely Woodman in April is Leonor/La mailing list for future terms. retired from film scoring. Banchiera (two See espa.unex.ucla.edu. FSM STAR WARS: EPISODE 1

A PRIL/MAY 1999 4 Film Score Monthly Spaghetti Westerns, Vol. 4 (2CD Straight on Till Morning, The set, Beat), : Il Old Dark House, ’s Postino and Other Themes. Shroud, The Witches, Vengeance Record Label Round-Up of She, Quatermass II, Pirates of All the albums you’ll be waiting for Fifth Continent Due later Blood River, and Journey to the this year is a DTS 5.1 CD of The Unknown. Best Years of Our Lives (Hugo Hammer’s CDs are available in the Friedhofer), playable only on U.S. exclusively from Scarlet Street Airwolf Pushed back to Castle Communications DTS equipment. magazine, PO Box 604, Glen Rock May from the Airwolf Due June 21 are five more NJ 07452; ph: 201-445-0034; see Appreciation Association is a CDs: The Wild Geese GNP/Crescendo Still forth- www.hammerfilms.com and 2CD set of Airwolf TV music by (1979), Kidnapped (1971), Flight coming is Seven Days (Scott www.scarletstreet.com Sylvester Levay and Udi of the Doves (1971), The Stone Gilman), UPN TV series. Also in Harpaz. The first disc features Killer (1973) and The Marseilles the works is a CD of Russell Hollywood June 1: Summer 23 cues adapted and performed Contract (1974). Garcia’s Fantastica space music of Sam (various). on from various concept album (not a sound- episodes, and the second fea- Citadel Due May: Amityville track) from the 1950s. Intrada Due May is the tures composer Sylvester Dollhouse ( Colcord). The “Excalibur” series recording of Levay’s own, suite-form adapta- second volume of Citadel’s newly Hammer Due April is Jason and the Argonauts tions of his music. recorded Shostakovich film Hammer Music (, 1963), with The release is limited to 500 copies; music series will be out in June. Collection, with themes from On the write Mark J. Cairns, 246 Comber the Buses, Holiday , Sinfonia of London. Also coming Road, Lisburn, County Antrim Compass III Planned but , Man About this spring is Durango (Mark BT27 6XZ, Ireland, or see unscheduled is an expanded the House, George and Mildred, McKenzie). http://www.janmichaelvincent.com/ score-only CD to Tomorrow Nearest and Dearest, Love Thy Due summer is Heart of airwolf/themes. Never Dies (). Neighbor, Rising Damp, That’s Darkness (Bruce Broughton), Your Funeral, I Only Asked and orchestral soundtrack for com- Aleph Forthcoming on Lalo CPO This German classical Further Up the Creek. puter game. Schifrin’s label: May 25: The label has recorded Erich Due September is Hammer Intrada has a new address as of Osterman Weekend (1983, Sam Wolfgang Korngold’s complete Film Music Collection Volume 2, April 1: 2220 Mountain Blvd, Peckinpah’s final film). Also adapted score (his first film with themes from A.D. Suite 220, Oakland CA 94611; coming are Mannix (1969 TV assignment) for the 1935 Warner 1972, The Lost Continent, ph: 510-336-1612; fax: 510-336-1615; plus some Bros. film of A Midsummer Frankenstein and the Monster www.intrada.com. newly recorded tracks) and Night’s Dream. This is mostly from Hell, Slave Girls, To the (1976). Mendelssohn, but with signifi- Devil a Daughter, Crescendo, Koch Due April is a Miklós See www.alephrecords.com or cant transitional material by Fear in the Night, Satanic Rites Rózsa solo album. June: www.schifrin.com. Korngold. The release date is of Dracula, Demons of the Mind, film unscheduled. Rasputin the Mad , Plague music album (Juarez, The Sea Atlantic Due April 20: of the Zombies, One Million Wolf, Elizabeth and Essex), Message in a Bottle (Gabriel Decca Due in April in Years B.C., Dracula Has Risen recorded in New Zealand. July: Yared score album). August 17: only is a CD of John from the Grave, The Abominable Korngold songs CD. September: Anywhere but Here (various, new Barry’s (largely unused) score to Snowman, Curse of the Werewolf, Franz Waxman chamber music Carly Simon and Traci Chapman Playing by Heart, representing Frankenstein Created Woman, CD (St. Clair Trio), including songs). September 14: Three to the music as Barry intended it many film pieces. To be record- Tango. Unscheduled: On Any for the picture. It will be market- ed is a Korngold CD featuring Given Sunday (various, new ed not as a soundtrack, but as a FSM Classics the composer’s complete music Oliver Stone football movie). album. for piano. n case you didn’t notice, BMG Classics Forthcoming DRG Due April 20: Ennio Ithis month’s CD release is Marco Polo John Morgan are ’s new Morricone—Jean-Paul Belmondo the first in our Golden Age and William Stromberg’s next recordings of The Magnificent (2CD set with music from The Classics series: Prince Valiant recording projects in May are a Seven and The Great Escape Professional, The Outsider and (1954) by Franz Waxman. See, Roy Webb CD featuring music (The Royal Scottish National The Burglars). well, the entire issue for more for Val Lewton films (The Cat Orchestra, prod. Robert May 18: Ennio Morricone: information. People, I Walked with a Zombie, Townson). Cosa Nostra Films (compilation Next month, if all goes well, Bedlam, The Seventh Victim, from EMI/Beat catalogs), Ennio will feature our John Barry The Body Snatcher); and a Brigham Young Morricone: Collection Silver Age Classics release. more complete recording of University Lost Horizon (com- (2CD set, EMI/Beat), Spaghetti (Here’s a hint: the movie takes Ghost of Frankenstein (Hans J. plete 1937 Westerns, Vol. 3 (2CD set, EMI), place in the past.) Salter), filled out with cues score) is imminent. This has The Taming of the Shrew (Nino for future SAC and GAC CDs from Man-Made Monster and been mastered from acetates Rota). include Elmer Bernstein, Black Friday, and all of the donated to BYU’s film music June 15: Ennio Morricone: Alfred Newman and Jerry original music composed for archives. Main Titles, Vol. 2 (2CD set, Goldsmith. Send us your sug- Sherlock Holmes and the Voice Order from Screen Archives EMI/Beat), Ennio Morricone gestions; contact info, pg. 2. of Terror (Frank Skinner). Entertainment, info below. with Love, Vol. 2 (EMI/Beat), In the can and coming soon:

Film Score Monthly 5 A PRIL/MAY 1999 RECORD LABEL ROUND-UP • FILMS IN RELEASE

Devotion (Erich Wolfgang Marriage/Le Mans (Michel set, The Lion’s Roar: Classic M- April 27: The Battle of Britain Korngold), Mr. Skeffington Legrand). G-M Film Scores 1935-1965 (37 (/Sir William (Franz Waxman), and The films total, see Vol. 3, No. 10 for Walton) and A Bridge Too Far Egyptian (Bernard Herrmann PolyGram Due April 20: A list of premieres). July 6: Miklós (). and Alfred Newman, 71 minutes, Midsummer Night’s Dream Rózsa at M-G-M, a 2CD set fea- June 8: The Missouri Breaks with choir). (Simon Boswell plus opera). May turing extended suites from (John Williams) and Heaven’s Forthcoming from Swiss pro- 4: The Mummy (Jerry Madame Bovary (1949, 17:28), Gate (David Mansfield). Heaven’s ducer/conductor Adriano in Goldsmith). May 18: Loss of Ivanhoe (1952, 20:03), Knights of Gate will include previously 1999: Georges Auric: Suites for Sexual Innocence (). the Round Table (1952, 11:58), unreleased music. Also due June Films by Jean Cocteau (Orphée, Forthcoming from PolyGram Beau Brummel (1954), Valley of 8: Jazz in Motion: MGM Les parents terribles, Thomas in England is a 2CD set of the the Kings (1954, 13:24), Soundtracks Presents Great l’imposteur, Ruy Blas) and Auric: three albums from Moonfleet (1955), Green Fire Movie Jazz (selections from The Suites from Lola Montez, Notre- the 1970s, Miklós Rózsa (1954), The King’s Thief (1955), Misfits, Two for the Seesaw, Dame de , Farandole. And Conducts His Great Film Music. Tribute to a Bad Man (1956), Paris Blues, The Fortune in the year 2000: Auric: Suites Diane (1955), Lust for Life Cookie). from Rififi, La Symphonie Due at the end (1956), The World, the Flesh and See www.rykodisc.com. Pastorale, Le Salaire de la Peur; of April is Breakout (Jerry the Devil (1959) and King of and Dmitri Shostakovich: The Goldsmith, 1975 Charles Kings (1961). Screen Archives Fall of (complete original Bronson film), a 3,000-copy lim- Due in August is a 2CD set of Entertainment Forthcoming version), with suite from The ited edition. Superman: The Movie (John for late spring is Distant Drums, Memorable Year 1917. Williams, 1978). This will feature a 2CD set of four Razor & Tie Due April 27: everything heard in the movie scores for Pictures Milan April 13: Goodbye Reds (various). (over an hour of previously unre- films mastered from acetates Lover (). May 18: leased music) plus rare alter- located at Brigham Young Besieged. Molly has been can- RCA Victor April 13: nates and unused cues; it is University. Contained are celed. eXistenZ (). May being produced by Nick Redman Distant Drums (1951), Cloak 18: Endurance (John Powell). and Michael Matessino. and Dagger (1946, main and end Pendulum Forthcoming but See www.rhino.com. titles), South of St. Louis (1949) unscheduled is a limited edition Reel Sounds Due June 1 is and My Girl Tisa (1948, 13 min- CD (2,500 copies) of Destination Desert Blue (various). Rykodisc Upcoming in The utes); 24-page booklet. Coming Moon (Leith Stevens, 1950). Also Deluxe MGM Soundtrack Series after this will be a CD of coming is How to Save a Rhino Due May 4 is a 2CD of Films: Steiner’s score for Pursued

NOW PLAYING Films and CDs currently in release

Affliction Michael Brook Citadel Among Giants Tim Atack Analyze This Howard Shore Baby Genuises Paul Zaza Central Station , Antonio PintoMilan Cookie’s Fortune David A. Stewart RCA Victor The Corruptor Varèse Sarabande The Deep End of the Ocean Elmer Bernstein Milan Ed TV Reprise** Forces of Nature John Powell DreamWorks* Hilary and Jackie Barrington Phelong Sony Classical The King and I Rodgers & Hammerstein Sony Classical Life Is Beautiful Nicola Piovani Virgin Lock, Stock and Two Smoking Barrels David A. Hughes & Maverick** Maverick*, Varèse Sarabande The Mod Squad B.C. Smith Elektra** The Out of Towners Milan Payback Chris Boardman Varèse Sarabande** The Rage: Carrie 2 Danny B. Harvey Ravenous Michael Nyman & Damon Albarn Virgin Shakespeare in Love Stephen Warbeck Sony Classical She’s All That Stewart Copeland Tango Deutsche Grammophon True Crime A Walk on the Moon Mason Daring Sire *song compilation **combination songs and score

A PRIL/MAY 1999 6 Film Score Monthly (1947, noir ). FILM MUSIC CONCERTS UCLA’s Royce Hall in Los Order from Screen Archives Angeles, April 30; a premiere of Entertainment at PO Box 5636, Soundtrack performances that a new Schifrin commission at Washington DC 20016-1236; ph: you can attend—all around the world the Violoncelles Festival in 202-364-4333; fax: 202-364-4343; Beauvais, France, May 3-12; the http://www.screenarchives.com. premiere of Schifrin’s Latin Jazz Suite with the WDR Jazz Band Silva Screen Due in featuring and David April are U.S. editions of Sanchez in Cologne, Germany, : Part 2 June 18 and 19; and a film (Jerry Goldsmith, 1985, music concert in Jerusalem, expanded) and Zulu: The Film Israel on June 28. Scores of John Barry (newly See www.schifrin.com for more recorded compilation). This appearances and late updates. latter album was released in the U.K. as a 2CD set, but it LAWRENCE NASH GROUPÉ’s will be only one disc in the “Fantasy for Orchestra” will be U.S. premiered by the Symphony (who commissioned Sonic Images April 20: the piece) on May 21, 22 and 23. Christopher Franke: Epic Also on the program are works (includes unreleased film by and themes and new age). Stravinsky. May 11: The Snow Files, a Call 619-235-0804. compilation of Mark Snow As part of the annual music mostly from movies of JOHN WILLIAMS will conduct Tanglewood on Parade concert The the week, but including some several performances with the on August 4, Williams will con- Hollywood Bowl’s summer sea- X-Files selections (one CD, not Pops in Symphony Hall duct music from The Phantom son features film music aplenty: two). during May and June: May 23 at Menace. Williams will also con- July 13: Prokofiev’s Violin May 18: Babylon 5: The 7:30 PM; a concert called duct a Pops concert at Concerto and Ivan the Terrible Gathering (Christopher “Classic Film Music” on May 26, Tanglewood on August 30. (with film). Franke, TV movie). 27 and 28 (including music from Williams will conduct the July 16, 17: is June 15: Babylon 5: River of The Phantom Menace—Itzhak Orchestra at the guest artist with Souls (Christopher Franke, Perlman will be the soloist on Blossom Festival in concerts of and the Hollywood Bowl TV movie). the 27th); May 29; May 30 (Old his own music on August 27 Orchestra in a celebration of Also coming is The Timers Night, also featuring and 28. France: “Bastille Day at the Fabulous Ice Cream Suit conductor Harry Elllis Dickson); On October 1, Yo-Yo Ma will Bowl” (with fireworks). (Mader). June 3 (TECH Night at Pops); perform Williams’ concerto July 23, 24: John Williams June 4; June 6; June 10; June with the National Symphony conducts the Los Angeles Sony Coming on Sony 11 (Harvard/Radcliffe 25th Orchestra under the direction of Philharmonic in a film music Classical (besides Star Wars): Reunion Night); and June 12. . Also on the concert. May 18: The Violin (John The Perlman concert will most program at the Kennedy Center August 6, 7: Jerry Goldsmith Corigliano; Joshua Bell, vio- likely be broadcast and filmed to Concert Hall will be Arvo Part’s conducts the Los Angeles lin). June 15: Cinema promote the Sony Classical Fratres for twelve and the Philharmonic in a film music Serenade 2, a new recording album, Cinema Serenade 2. Dvorak cello concerto. concert—his first in Hollywood, conducted by John Williams Williams will conduct the including a world premiere com- (Itzhak Perlman, soloist) of Boston Symphony at JAMES HORNER’s planned missioned for his 70th birthday. Golden Age film themes, Tanglewood on July 11 in his Titanic concerts at London’s August 8: “Bugs Bunny on many newly arranged by newest concert work as well as Royal Albert Hall in May have Broadway II” with George Williams. September 7: Last Leonard Bernstein’s Symphonic been postponed. Previously, a Daugherty conducting Warner Night (Alexina Louie and Alex Dances from Titanic concert had been Bros. cartoons live to film. Pauk). and Mendelssohn’s violin concer- announced for the Hollywood August 26, 27: “Movie Night” Due in May is a 26CD box to, with Gil Shaham as soloist. Bowl, and it was also canceled. with John Mauceri and the set to celebrate the end of the At Tanglewood, Williams will The London concert may be Hollywood Bowl Orchestra. millennium, featuring all be one of several composers rescheduled at the Barbican September 7: Filmharmonic kinds of music from the Sony- working with composition fel- Theatre; watch www.filmscore- screening/performance of 1001 label catalogs. Didier Deutsch lows of the Tanglewood Music monthly.com. Nights (David Newman). is assembling two soundtrack Center; last summer he conduct- September 15: Tribute to discs to be included in the box; ed a film scoring seminar with LALO SCHIFRIN Upcoming with Johnny the volumes will later be several Tanglewood students. concert appearances for Lalo Mandel and (and released separately. On July 17, Williams will con- Schifrin are a Jazz Meets the the Clayton-Hamilton Jazz duct the Chicago Symphony Symphony performance in Orchestra). Super Tracks The next Orchestra at the Ravinia Nurnburg, Germany, April 25; Call 323-850-2000. (continued on page 8) Festival. “A Tribute to ” at (continued next page)

Film Score Monthly 7 A PRIL/MAY 1999 RECORD LABEL ROUND-UP • FILMS IN RELEASE

Zorro (Horner). for films shot at Lone Pine: Brigade, Nevada Smith, The June 5, Lone Pine Happy Trails, Bonanza, Wagon Brigham Young, Star Trek V, The New York FILMharmonic Film Festival; Concert of music Train, Charge of the Light Shadow, Around the World in 80 Orchestra will present “Music Days. from the Films of Alfred April 25, Agnes Scott Hitchcock” at BERNARD HERRMANN RETURNS College, Decatur; Fahrenheit 451 on October 13, in collaboration A suite of tributes and homages (Herrmann). with New York University’s Illinois April 25, North Tisch School of the Arts’ ohn Williams may be the world’s most famous film composer, Aurora S.O.; On Dangerous Department of Cinematic but before him, there was Bernard Herrmann, who continues Ground (Herrmann). Studies. The concert will be Jto be the film composer taken most seriously in the academic Michigan May 13, 14, 15 & conducted by John Mauceri and art worlds. 16, Detroit S.O.; and will feature music by A multi-media artist named cond. “Tribute to Henry Bernard Herrmann, Franz Douglas Gordon has created a Mancini” concert. Waxman, Dimitri Tiomkin and piece of installation art that goes Oklahoma May 23, Tulsa others. It will be part of a like this: The Paris Opera House S.O.; The Natural (R. Newman). week-long celebration of Alfred orchestra performed Bernard Pennsylvania May 8 & 9, Hitchcock’s work. Herrmann’s complete score to Lancaster S.O.; Carmen Fantasy See www.NYFO.com. Vertigo (1958). Gordon filmed in (Waxman). close-up the conductor, James Texas May 14 & 15, Amarillo Concert Listings Conlin, the entire time. The art S.O.; Shakespeare in Love The following are concerts fea- installation consists of going into (Warbeck), (Herrmann). turing film music pieces as a room and watching this film Utah May 13 & 14, part of their programs. Thanks (which is all around you) of the Southwest S.O., St. George; go to John Waxman of Themes conductor’s face while you hear Independence Day (Arnold), Hunt & Variations (http://tnv.net) the music. And it’s really a close- for Red October (Poledouris), for this list; he provides scores up: sometimes you’re watching just his ear, or just his hands, and Mask of Zorro (Horner). and parts to the . so on. Cool! The first installation of the exhibit is at the Atlantis Belgium May 3, Mons- Don’t be a fool! Due to the Gallery, The Old Truman Brewery, Brick Lane, East London, from musiques, Mons; Psycho lead time of this magazine, it April 1 through May 3. Admission is free. (Herrmann). is possible some of this infor- A revised version of the ballet, Macguffin or How Meanings Get France June 24, Orchestra mation is too late to do any Lost, is touring the U.S. for 21 performances from April through Regionale du Basse, Normandy; good. Always confirm the con- June. The ballet has been choreographed by Neal Greenberg and Psycho (Herrmann). cert with the orchestra’s box adapted from Herrmann’s score to Psycho (1960); performing is no Japan April 25, Shivesi S.O.; office; call local information or less than Mikhail Baryshnikov. Watch www.filmscoremonthly.com Addams Family Values look on the Internet. for further announcements. (Shaiman). FSM RKO 281 is a new HBO film about the making of , Alabama May 8 & 16, and will feature Bernard Herrmann portrayed by an actor in a For a list of music con- Phoenix S.O.; Gunfight at the small scene. Herrmann’s music will reportedly be featured in the certs, see www.cinemaweb.com/lcc OK Corral (Tiomkin), Mask of finale; the production is otherwise being scored by .

Vampire Slayer TV soundtrack. Color, Rhythm and Magic: Hatful of Rain on one CD, with ROUND UP Classic Disney Instrumentals other Herrmann material possi- (continued from page 7) Varèse Sarabande Due (light jazz versions of various bly to follow. promotional CD being pressed May 4: The Matrix (Don Davis Disney songs, arranged by Earl A fifth Franz Waxman: for the composer’s use—but score album), Noah’s Ark (Paul Rose). 3) Back to the Future Legends of Hollywood CD will with limited availability to col- Grabowsky). May 18: Amazing Trilogy (, cond. be recorded for future release lectors—is ’s The Stories, a new recording con- Debney). 4) Battlestar Galactica (cond. Richard Mills). Untouchables (TV), expected in ducted by Joel McNeely and (Stu Phillips conducting his May. There will also be a promo featuring the own music). Citizen Kane has Virgin Due in June is a CD of The Incredible Hulk (TV, main and end titles (John been held up over the past year score CD to the 1998 Psycho Joe Harnell) later this year. Williams), “” because it is still not fully remake, featuring Danny Due in late April from Super (Williams) and “Dorothy and recorded. Elfman and Steve Bartek’s Tracks and available commer- Ben” (). Next up in the Fox Classics adaptation of Bernard cially is Fatal Error (Ron Forthcoming in Robert series is a 2CD set of The Song Herrmann’s classic music. Ramin, TBS movie). Townson’s Film Classics series, of Bernadette (Alfred Newman, See www.supercollector.com. performed by the Royal Scottish 1943). Varèse’s Herrmann Due May is National Orchestra unless release from the Fox archives (Mark Mancina, songs). TVT Forthcoming but noted: 1) Citizen Kane (Bernard now looks like it will be Tender FSM unscheduled is the Buffy: The Herrmann, cond. McNeely). 2) Is the Night coupled with A

A PRIL/MAY 1999 8 Film Score Monthly John Brion Magnolia (d. Paul Thomas Restons Groupes. Anderson). Pino Donaggio Up in the Villa (Kristin Scott- Upcoming Assignments Michael Brook Getting to Know You. Thomas). Who’s working on what for whom Bruce Broughton Jeremiah (cable biblical East and West (d. Regis epic, theme by Morricone). Wargnier). Carter Burwell Mystery Alaska (Disney), Pushing Tin (d. Mike Newell). Breaking News Isn’t She Great? General’s Daughter (John Travolta, d. Simon John Du Prez Labor Pains. will score For A Story of a Bad Boy West), Being John Malkovich (d. Spike Jonze). The Dust Bros. Fight Club (d. ). the Love of the Game, the Sam Raimi film (co-composed w/ Chris Hajian), Arlington Wendy Woundings. Instinct (), starring Kevin Costner as an aging major Road. Teddy Castellucci Big Daddy (). Hoof Beat (Black Stallion-type movie), league baseball pitcher in a perfect game. History of Luminous Motion Stanley Clarke Marciano. Legend of Sleepy Hollow (d. Tim Burton), John Williams will score the massive (Good Machine), Mansfield Park (). Gabriella. Anywhere but Here (d. Wayne Wang). July 4 weekend movie of 2000: Bicentennial Hair Shirt (Neve Campbell). George S. Clinton Austin Powers 2: The Spy Evan Evans Table for One (Rebecca De Man, starring Robin Williams as an android Tyler Bates Denial. Who Shagged Me, Astronaut’s Wife (Johnny Mornay), Tripfall (Eric Roberts, John Ritter). who wants to become human (i.e. Data: The Thick as Thieves (Alec Depp, ). Shayne Fair & Larry Herbstritt Tequila Motion Picture). Baldwin), Coming Soon (Mia Farrow), Elia Cmiral Stigmata. Bodyshot. James Horner will produce an Guinevere (Miramax, Gina Gershon). Serge Colbert Red Tide (Casper Van Dien). Christopher Farrell Foreign Correspondence album of top acts performing the classic The Florentine, Deep Water Inferno (Jean-Claude Van Damme). (Wil Wheaton). song, “Mean Man Mr. Grinch,” which means (d. Ole Borneadal). Stewart Copeland Made Men (indie), George Fenton Anna and the King (Jodie he will almost certainly be scoring the David Benoit Perfect Game (Edward Asner). Simpatico (Jeff Bridges, Nick Nolte). Foster, Fox). upcoming live-action The Grinch Who Stole Elmer Bernstein The (Will Billy Corgan Stigmata (demonic possession, Frank Fitzpatrick Lani Loa (Zoetrope). Christmas (starring ) as well. Smith, d. Barry Sonnenfeld), Angel Face: The w/ Elia Cmiral). Bartok the Magnificent Horner has been working on a ballet in Story of Dorothy Dandridge (d. Martha The Red Violin (Samuel L. (Anastasia video sequel). Ireland with the Riverdance ensemble. Coolidge, HBO), Bringing Out the Dead (d. Jackson). Robert Folk Inconvenienced. John Ottman will score The X-Men Martin Scorsese), Chinese Coffee (d. Al Supernova (d. Walter Hill, David Michael Frank To Serve and Protect. for Bryan Singer, but it has yet to be deter- Pacino, replacing Howard Shore). sci-fi, MGM). The White River Kid (Antonio mined if he will edit the picture as well, as Peter Bernstein Susan’s Plan. Ride with the Devil (Ang Lee, Banderas). he did for Singer’s and Edward Bilous Minor Details, Mixing Mia, Civil , Jewel), The Confession (Alec Gregory’s Girl 2. Apt Pupil. Ottman is pursuing film scoring Naked Man. Baldwin, courtroom drama), Felicia’s Richard Gibbs Book of Stars, Muppets from full-time, and editing a movie would take Wendy Blackstone Life Beyond Earth (PBS Journey (d. Atom Egoyan). Space (songs). him out of that loop for up to a year. documentary). Mason Daring 50 Violins (Wes Craven), A Titus (Shakespeare, d. Julie A title song performer has yet to be chosen for Chris Boardman Bruno (d. Shirley MacLaine). Walk on the Moon. Taymor). the upcoming movie, The World Simon Boswell Dad Savage, Alien Love Don Davis Loran Alan Davis The Last Jerry Goldsmith , The Is Not Enough, but David Arnold Triangle, Warzone (d. Tim Roth), A Prediction (indie), Retribution (d. Richard Mummy, The (d. Paul does figure to play a role in the title song Midsummer Night’s Dream, The Debtors Van Vleet). Verhoeven), The Haunting of Hill House (d. this time (unlike Tomorrow Never Dies), as a (Michael Caine, Randy Quaid). John Debney Dick, Elmo in Grouchland, ). writer and/or producer. Christopher Brady Castle in the Sky (Disney Inspector Gadget, Lost and Found (comedy). Joel Goldsmith Shiloh 2. The Wild Wild West will feature a soundtrack animated), Hal’s Birthday. Joe Delia Time Served. Mark Governor Blindness (d. Anna Chi). album headlined by , but com- poser Elmer Bernstein has New Assignments written at least one song to be performed The Hot Sheet Evan Lurie Joe Gould’s Secret. on screen by Kevin Kline’s character. Hummie Mann After the Rain. is the composer for John Altman Vendetta (HBO, d. Nicholas Branagh, musical comedy). Stuart McDonald Diaries of Darkness. Ridley Scott’s Gladiator, and not , Meyer), RKO 281 (HBO, John Malkovich, George Fenton Chicago: The Musical Camouflage. as erroneously reported on the Internet. ). (Charlize Theron, d. Nick Hytner). John Ottman The X-Men (d. Bryan Singer). John Morgan and Bill Craig Armstrong The Bone Collector (d. Joseph Julian Gonzalez Price of Glory. Basil Poledouris Kimberly (romantic come- Stromberg have scored two Philip Noyce). Joel Goodman Cherry (, dy), For the Love of the Game (Kevin sequels to the Trinity and the Bomb docu- Angelo Badalamenti Holy Smoke. Shalom Harlow). Costner baseball movie, d. Sam Raimi). mentary: Atomic Journeys and Nukes in Steve Bartek Another Goofy Movie (Disney). Richard Hartley Victory. Gossip. Space (60 min. each). They should Michael Brook Buddy Boy. James Horner The Grinch Who Stole Eric Serra Joan of Arc (d. Luc Besson). released on DVD this year. Paul Buckmaster Mean Street. Christmas (Jim Carrey). Patrick Seymour Simian Line (). Gary Chang Locked in Silence (Showtime). The Sixth Sense, Jamshied Sharifi Muppets from Space. Current Assignments Edmund Choi The Castle (Miramax). Dinosaurs (Disney animated), Runaway Ed Shearmur Blue Streak. Mark Adler The Apartment Complex, Stanley Clarke The Best Man (replacing Brides. Alan Silvestri What Lies Beneath (Harrison Sterling Chase. ). Quincy Jones III Lighted Up. Ford, Michelle Pfeiffer horror comedy), Cast Eric Allaman Breakfast with Einstein, True Michel Colombier Dark Summer. Cleopatra (Hallmark TV minis- Away (Tom Hanks, Helen Hunt)—both d. Heart. Bill Conti The Thomas Crown Affair (Pierce eries). Robert Zemeckis. Ryeland Allison Saturn. Brosnan, remake). Benoit Jutras Journey of Man (IMAX). Mark Snow Crazy in Alabama (d. Antonio John Altman Legionnaire (Jean-Claude Van Mason Daring Limbo (d. John Sayles). Laura Karpman Annihilation of Fish. Banderas). Damme), Town and Country (Warren John Debney End of Days, Komodo Greg Kendall Next to You (Melissa Joan Ernest Troost A Lesson Before Dying (Don Beatty, Diane Keaton, d. Peter Chelsom). (Anaconda sequel or rip-off—you be the Hart). Cheadle). Craig Armstrong Best Laid Plans. judge!). Wojciech Kilar The Ninth Gate (Johnny Depp, John Williams Bicentennial Man (d. Chris David Arnold The World Is Not Enough (new Joe Delia Ricky 6, Fever. d. Roman Polanski). Columbus). James Bond movie). Patrick Doyle Love’s Labour’s Lost (Kenneth Daniel Lanois All the Pretty Horses. Debbie Wiseman The Lighthouse. Luis Bacalov The Love Letters.

Film Score Monthly 9 A PRIL/MAY 1999 UPCOMING FILM ASSIGNMENTS

Paul Grabowsky Noah’s Ark (Jon Voight, Keith Thomson), The Lady with the Torch Tom Morse Michael Angel, The Big Brass Ring. Keitel). miniseries). (, d. David Heeley). Deborah Mollison Simon Magus (Samuel Shark East of A (d. Ami Goldstein, David Alan Stephen Graziano Herman, U.S.A. Christopher Libertino Spin the Bottle (d. Goldwyn). Grier), The Curve (d. Dan Rosen), Me & Will Harry Gregson-Williams Earl Watt (Pate Andrew Michael Pascal). Mark Mothersbaugh Drop Dead Gorgeous (Patric Dempsey, Seymour Cassel). Bros.). Daniel Licht Splendor (d. Gregg Araki), (, Denise Richards, New Line). The Misadventures of Rupert Gregson-Williams Virtual Sexuality. Execution of Justice (Showtime). Jennie Muskett B Monkey. Margaret. Andrew Gross Be the Man (MGM, Super On the Run, Sancta Mortale, Roger Neill Big Man on Campus. Howard Shore XistenZe (d. David Cronenberg). Dave movie), Unglued (Linda Hamilton, The First Seven Years. Ira Newborn Pittsburgh (Universal). Lawrence Shragge Frontline (Showtime). quirky indie film). Mader Too Tired to Die, Row Your Boat, David Newman Broke Down Palace, Never Rick Silanskas Hoover (Ernest Borgnine). Larry Groupé Sleeping with the Lion, Claudine’s Return, Morgan’s Ferry (Kelly Been Kissed (Drew Barrymore), Bofinger’s Alan Silvestri Stuart Little (animated/live- Deterrence (Timothy Hutton, d. Rod Lurie), McGillis). Big Thing (d. ). action combination). Four Second Delay. Mark Mancina Tarzan: The Animated Movie . Marty Simon Captured. Random Hearts (Harrison Ford, (Disney, songs by ). The Green Mile (Tom Michael Skloff Cherry Pink (d. Jason Kristin Scott Thomas, d. Pollack). Hummie Mann Good Night, Joseph Parker Hanks, d. ). Alexander). Richard Hartley All the Little Animals (U.K. (Paul Sorvino), A Thing of Beauty. John Ottman Goodbye Lover, Lake Placid. Mike Slamer & Rich McHugh Shark in a indie), Peter’s Meteor, Rogue Trader, Mad David Mansfield The Gospel of Wonders Van Dyke Parks My Dog Skip, Trade Off. Bottle. About Mambo. (Mexico, d. Arturo Ripstein), Tumbleweeds Shawn Patterson The Angry Man. Elements (Rob Morrow). Captain Jack (Bob Hoskins). (indie). Jean-Claude Petit Messieurs les enfants, Neil Smolar The Silent Cradle, Treasure Island, Chris Hajian Lowlife (d. Mario Van Peebles), Mark Mothersbaugh Drop Dead Gorgeous Sarabo, Sucre Amer. A Question of Privilege. Story of a Bad Boy. (New Line). Nicholas Pike Delivered. Darren Solomon Lesser Prophets (John Todd Hayen The Crown, The Last Flight. God Said Ha! (Julia Robbie Pittelman A Killing, The Dry Season Turturro). John Hills Abilene. Sweeney), Physical Graffiti, The Runner. (indie). Scott Spock Free Enterprise (, Lee Holdridge Family Plan (Leslie Nielsen), Michael Richard Plowman Laser Hawk d. Robert Meyer Burnett). No Other Country. What are most of these things? Hell if (Mark Hamill, Canada), The Wild McLeans David A. Stewart Cookie’s Fortune (d. James Newton Howard Snow Falling on we know. Due to the volume of (western), Tom Swift (3D animated, Dana ). Cedars (d. ), Mumford (d. material, this list only covers Carvey), Noroc (France). Michael Tavera Girl, Excellent Cadavers Lawrence Kasdan). feature scores and selected high- Steve Porcaro A Murder of Crows (Cuba (HBO), One Special Delivery (Penny Steven Hufsteter Mascara (Phaedra Ent.). profile television and cable projects. Gooding, Jr.). Marshall), American Tail IV (direct to video). David Hughes & John Murphy The Composers, your updates are Untitled 20th Century Fox Mark Thomas The Big Tease. Bachelor (romantic comedy, Chris O’Donnell, appreciated: call 323-937-9890, Irish Project, Cider House Rules. Joel Timothy Waiting for the Giants. Renee Zellweger). or e-mail John Powell Endurance (documentary), Fresh Colin Towns Vig. Søren Hyldgaard The One and Only (roman- [email protected] Horses (DreamWorks). John Trivers, Elizabeth Myers Norma Jean, tic comedy). Zbigniew Preisner Dreaming of Joseph Jack and Me. Where the Money Is, Imposter Jeff Marsh , Wind Lees. Ernest Troost One Man’s Hero (Tom (Miramax, d. ). River (Karen Allen). Whispers (Disney), The Deep Berenger), The Island of Skog (animated), Alaric Jans The Winslow Boy (). Phil Marshall Rupert’s Land, Gotta Dance, Kiss Blue Sea (d. Renny Harlin). Miss Nelson Is Back (animated). A Taste of Sunshine (Ralph Toledo Goodbye. Robert O. Ragland Lima: Breaking the Final Justice, A Night in Grover’s Fiennes). Brice Martin Indian Ways (d. Tom Hobbs), Silence (Menahem Golan). Mill, The Forbidden City (d. Lance Mungia), Adrian Johnston The Debt Collector, The Chaos (d. Chris Johnston). Alan Reeves To Walk with Lions. Simon Sez (action). Darkest Light, The Last Yellow, Old New Wicked (d. Michael Steinberg), Graeme Revell Three to Tango, Idle Hands, Chris Tyng Bumblebee Flies Away. Borrowed Blue. The Limey (d. Steven Soberbergh, Terence Pitch Black (PolyGram), Untitled Michael Michael Wandmacher Twin Dragons Trevor Jones Frederic Wilde (d. Richard Stamp, Peter Fonda). Mann Film (Al Pacino). (Dimension), Operation Condor 2. Loncraine), Titanic Town (d. Roger Michel), Richard Marvin U-571 (Matthew David Reynolds Warlock (sequel), George B, Don Was American Road (IMAX). Notting Hill (Hugh Grant), Animal Farm (d. McConaughey, d. Jonathan Mostow, Love Happens. Wendy & Lisa Foolish. John Stephenson). Universal). Stan Ridgway Melting Pot (d. Tom Musca, Cliff Michael Whalen Romantic Moritz. Jan A.P. Kaczmarek Aimee and the Jaguar Dennis McCarthy Letters from a Killer (d. Robertson), Error in Judgment (d. Scott Levy), Alan Williams Angels in the Attic, Cocos: (Germany, d. Max Faerberboeck), Lost Souls. David Carson). Desperate but Not Serious (d. Bill Fishman), Island of the Sharks (IMAX), Princess and Iron Giant (Warner Bros.). John McCarthy Boy Meets Girl. Spent (d. Gil Cates Jr., Rain Phoenix), the Pea (animated feature, score and songs Laura Karpman Dash and Lilly (d. Kathy Gigi Meroni The Good Life (Stallone, Hopper), Speedway Junkie (Darryl Hannah). w/ lyrics by David Pomeranz). Bates, A&E). The Others, The Last Big Attractions. David Robbins The (d. Tim David Williams The Day October Died, New York (Ric Burns, epic docu- Cynthia Millar Brown’s Requiem. Robbins). Wishmaster 2. mentary), The Babe Ruth Story (HBO). Randy Miller Ground Control. J. Peter Robinson Waterproof (Lightmotive), John Williams Star Wars: Episode One—The Rolfe Kent Election, Don’t Go Breaking My Sheldon Mirowitz Say You’ll Be Mine Detroit Rock City (Kiss movie). Phantom Menace (d. George Lucas). Heart (Anthony Edwards), Oxygen. (Justine Bateman), Autumn Heart (Ally Gaili Schoen Déjà Vu (indie). Debbie Wiseman Tom’s Midnight Garden. Brian Langsbard First of May (indie), Sheedy), Outside Providence (Alec Baldwin). John Scott Shergar, The Long Road Home, Peter Wolf Widows (German, animated). (Trimark). Charlie Mole An Ideal Husband (Minnie Married 2 Malcolm (U.K. comedy). The Talented Mr. Ripley (Matt One Hell of a Guy, Nowhere Driver). Marc Shaiman The Movie, Damon, d. Anthony Minghella). Lane. Fred Mollin The Fall. Kingdom of the Sun (Disney animated), Killing Mrs. Tingle, In Too Chris Lennertz Lured Innocence (Dennis Andrea Morricone Liberty Heights. Story of Us (d. Rob Reiner). Deep (Miramax). Hopper, Talia Shire), Pride of the Amazon Ennio Morricone The Legend of the Pianist on Theodore Shapiro Six Ways to Sunday Hans Zimmer Gladiator (d. Ridley Scott, (animated musical). the Ocean (d. Giuseppe Tornatore), The (, ), The Prince of Roman movie), The Road to El Dorado Michael A. Levine The End of the Road (d. Phantom of the Opera (d. Dario Argento). Central Park (Kathleen Turner, Harvey (DreamWorks, animated). FSM

A PRIL/MAY 1999 10 Film Score Monthly THE LASERPHILE By Andy Dursin Get Your Paws Off My Discs, You Damn Dirty Laserphile!

oth DVD and laserdisc have offered a bounty of treats for movie buffs Bin early 1999, not only in the expected new releases, but also in a handful of reissues and announcements of titles with soundtrack-specific content. It used to be enough for a laserdisc to have a contained as a bonus supplement; now, we feel gypped if a new title lacks delet- ed scenes, , commentaries (and sometimes isolated score tracks) and more, even on the most mundane of movies. Meanwhile, the lower DVD price has contin- ued to hold, luring in new consumers. Can it get any better than this? With the amount of new releases promised for ‘99, it looks like it could. Director Franklin Schaffner and on NEW RELEASES location at the Fox Malibu Ranch for . Planet of the Apes series winning make-up design. Fox/Image Entertainment THX laserdiscs, sold Having grown up watching the films on laserdisc release, which includes a sterling separately, $34.98 each video (and all the TV episodes that were new THX-certified transfer, more accurate- irst and foremost among the titles repackaged and shown as movies like Life, ly letterboxed than the now-ancient Freleased in early ‘99 is a laserdisc bonan- Liberty, and the Pursuit of Justice on the CBS/Fox letterboxed disc that’s almost a za: the long-awaited, remastered widescreen Planet of the Apes!), I found the timeliness of decade old. The power of the soundtrack editions of Planet of the Apes and its four the film, over 30 years after its initial isn’t, obviously, on the level of today’s elab- sequels, courtesy of Image Entertainment. release, to be surprising, particularly since orate stereo mixes, but it’s still satisfying. After having been screened last summer dur- some of the social satire in the sequels direct- The movie’s amusing theatrical trailer— ing AMC’s 30th anniversary tribute to the ly addresses the moods and politics of the with Charlton Heston introducing the cast series—and released in a videotape box set— Watergate era. in and out of makeup—is included as an the new transfers represent the definitive Not so in the original Planet of the Apes, appetizer before the film starts. video presentation for one of the most popu- where the commentary in the script by After jettisoning a subplot that would lar sci-fi/fantasy series ever made, if not the Michael Wilson and Rod Serling is insightful have shown sexy, mute slave girl Nova most ambitious in ideas and scope. and thought-provoking. The reversal of man (Linda Harrison) to be pregnant at the end It’s curious that, even after four sequels, a with beast, the whole notion of evolution of the (a sequence that was live-action television series (plus an animat- being turned upside-down, and even how filmed but cut), producer Arthur P. Jacobs ed one), and decades of discussion, the origi- religion and science clash, are all addressed also threw away possible sequel ideas from nal Apes (1968) remains a classic that has in their screenplay, and yet the dialogue is both original Apes author Pierre Boulle and lost none of its potency or enter- intelligent and rarely heavy-hand- co-screenwriter Rod Serling when the time tainment value. Charlton ed. Only in the young ape Lucius’s came to make a sequel. Jacobs and associate Heston’s gritty performance as espite problems with “the older genera- producer Mort Abrahams eventually settled Taylor, the astronaut crashed on a D tion” does the film become dated. on British writer Paul Dehn to script a fol- world run by primates, has been all of the And of course, it is technically low-up, originally entitled “Planet of the mocked for its scenery-chewing blessed with Jerry Goldsmith’s Apes Revisited,” before it was determined drama, but he’s ideal and gives rewrites, sensational score and magnificent that one major plot element in Dehn’s treat- the movie the strong, stubborn revisions, production values. Even after ment—involving a half-human, half-ape protagonist the audience needs to multiple viewings, the raw inten- hybrid—would be discarded for fear that the identify with considering the far- and star sity of “The Hunt”—with inter-species mating would earn the film a fetched plot. Roddy McDowall tantrums, it’s Franklin Schaffner’s direction PG rating, unfriendly to its family audience and Kim Hunter’s performances drawing in the viewer—is some- (you had to work to get a PG back then, obvi- as a pair of sympathetic ape scien- amazing to thing to behold. ously). That, plus considerations involving tists, and ’s Dr. Goldsmith’s score, and the the effectiveness of the make-up design, Zaius, also remain firmly etched behold the original stereophonic sound- resulted in a script that constantly under- in memory, as does John finished film. track, have been transferred into went changes, even as filming began. Chambers’s outstanding, award- Dolby Digital for Image’s Despite all the rewrites and revisions, it’s

Film Score Monthly 11 A PRIL/MAY 1999 THE LASERPHILE (the film was theatrically ‘60s riot and protest movement. The only released in mono)—is otherwise film in the series to earn a PG rating (it’s far still hard to believe that what ended up on- quite effective. The movie’s trailer, inciden- more explicit than any of the others), screen in Beneath the Planet of the Apes tally, includes snippets of Taylor and Nova Conquest is straightforward and a bit melo- (1970) couldn’t have been better than it is. that were cut from the finished film. dramatic at times, and yet there’s a raw Here, James Franciscus substitutes for Fortunately, writer Paul Dehn redeemed power and edge that’s hard to ignore. Heston and the movie’s first half is a dull himself with Escape from the Planet of the Certainly it stands alone in relation to the chase picture with Franciscus’s Brent, an Apes (1971), which brought Roddy other pictures in the series, if nothing else, astronaut sent to rescue Heston, and McDowall and Kim Hunter’s original apes because of its intense and angry tone. Harrison trying to find the missing hero and into the then-present day as time travelers, Popular saxophonist was 23 when he scored Conquest, an assignment that came after Scott worked on vari- ous television soundtracks and cop shows, including Ironside, in the late ‘60s. While Scott’s score is The series’ approach ranges from less thematic, the timelessness of the original and far more (left) to era-specific references (like percussive, than Black Power) in Conquest (right). the Goldsmith and Rosenman avoid the gorilla army pursuing them. Once courtesy of Chuck Heston’s crashed ship efforts, it works because it fits the needs of they do, they stumble upon a race of under- from the original movie. Mixing social com- the film—ragged, disjointed and downright ground mutant humans who live in the mentary with humor in the structure of a primal. The soundtrack is remixed for stereo destroyed remains of and , Don Taylor’s film is a and the laserdisc’s transfer, from the origi- worship the last surviving atomic bomb. well-written and acted sequel, and the nal Todd-AO 35 elements, is again striking. Directed by Ted Post, Beneath has inter- switch in roles—with McDowall and Director Thompson initially wanted to drain esting art direction and an excellent use of Hunter undergoing the same mental tests most of the color out of the film, but settled matte paintings, but its script lacks the intel- that they put Heston through in the origi- on a militaristic design without primary col- ligence of the original and is far more rou- nal—is both clever and increasingly dis- ors, and the results give the film a distinc- tine. The political allusions to , with turbing, particularly when the government tive, cold look. the chimps staging a sitdown protest of the tries to execute the pair’s offspring for fear Although widely viewed as the weakest gorilla army’s desire to conquer the that it will create the ape civilization that entry in the series, the fifth and final Apes Forbidden Zone, are obvious and the movie the members from future Earth represent. film, Battle for the Planet of the Apes (1973), itself feels like it was the result of having too Jerry Goldsmith’s score, which mainly isn’t quite as terrible as some sources would many cooks brewing the . It’s also one of underscores the comedic aspects of the film have you believe. True, the screenplay by the most relentlessly dour films you’re with a “mod” sound during the first half, and Omega Man writers Joyce and John likely to find, particularly as the mutants becomes harsh and dissonant as the tone Corrington (Paul Dehn’s services were not take over the action in the final third and the changes in the second, works well and the retained on this picture, although he is cred- characters you’ve cared about for the better THX transfer on Image’s laserdisc is again ited with the story) isn’t on a level with the part of two entire films are killed off. an improvement on its CBS/Fox predecessor. best in the series, but at least the manner in ’s score has some intrigu- Curiously, Escape is the only one of the four which the tone and message of the picture ing passages but generally comes across as Apes sequels to retain its original mono- hearken back to the original film is effective being less effective than Goldsmith’s work, phonic soundtrack, most likely because there and at least modestly entertaining. even though it treads over most of the same are few action sequences and a stereo remix- Abandoning its immediate predecessor’s thematic ground. And what else can you say ing may not have been worth the trouble. violent tendencies, Battle is both geared to about an ending (suggested by Charlton (Whatever the case may be, Image worked bring the story full circle, and also—for the Heston) with narrator Paul Frees describing with the materials that Fox gave them, which first time in the series—to end in a cautious- the end of the world, fading to black while happened in this case to be mono.) ly hopeful finale, with ’s efforts for the credits next roll in stone silence? Talk The conclusion of Escape sets peace echoing the concluding words spoken about a desperate way out! the stage for the tough, action-minded by the Lawgiver (John Huston, in a cameo), At least the disc’s picture and soundtrack Conquest of the Planet of the Apes (1972), the deity of ape civilization. Roddy McDowall are both superlative. Like the original, which some Apes fans regard as the best of is back again, and while the long-promised Beneath was shot in Panavision and the the sequels. J. Lee Thompson took over the “final confrontation” between the apes and transfer is richer and more consistent than directorial reigns to chronicle how the ape mutant humans underwhelms because of the original CBS/Fox letterboxed laserdisc. baby from the preceding film—now a matur- budgetary restraints, the moving conclusion Rosenman’s score, meanwhile, is a bit too ing adult named Caesar (McDowall again)— does work, since it’s clearly meant to relate loud in relation to the dialogue, but the leads a simian revolt against the humans to our own society—we have the power to do soundtrack—originating from a stereo who have enslaved them by recalling the good, get along, and fight injustice, but

A PRIL/MAY 1999 12 Film Score Monthly whether we will or not is up to us. The future scheduled for such treatment is , include the already-withdrawn limited isn’t written in stone, and it is here where the with isolated Lalo Schifrin score, and com- pressing of Tomorrow Never Dies Special ambitions of the filmmakers results in a sat- mentary by Schifrin and director Brett Edition (MGM, $34.98), with a brief David isfying resolution to the series. Ratner. Arnold interview that appears to have been Certainly, Leonard Rosenman’s score— Image’s United Artists Horror Collection culled from a British documentary, and superior to his work on Beneath—is a major Vol. 2 (MGM/Image laserdisc, $99.98) laser (Warner, $24.98), with asset, lending an emotional resonance to the box-set will contain isolated, monophonic music by Patrick Doyle. climax and adding a rousing “March of the music and effects tracks for its four fea- Other new announcements of note, Apes” for McDowall and company, not unlike tured films: The Neanderthal Man (1953, albeit without any isolated scores: The Ten his theme from . The Albert Glasser), The Vampire (1957, Gerald Commandments (Paramount, $29.98) will letterboxed transfer of this Panavision film Fried), Curse of the Faceless Man (1958, contain a remixed Dolby Digital sound- marks the first time this movie has been Fried again), and Doctor Blood’s Coffin track spotlighting Elmer Bernstein’s clas- released on laserdisc domestically, and both (1961, Buxton Orr). The four-disc set will sic score; and Universal’s planned January its framing and the remixed stereo sound- be released in late April. DVD release for the Special Edition of 1941 track are crisp and effective. Recent isolated stereo DVD scores (continued on page 47) Trailers for each film are included on respective discs, which Image had pressed in Japan to ensure the best possible quality. While additional supplemental material would have been appreciated (economic con- siderations kiboshed the hopes of adding AMC’s outstanding documentary, Behind the Planet of the Apes, onto one of the discs), this is still the best way to enjoy the five-pic- ture series in its original widescreen propor- tions. Until that long-planned remake/sequel comes about (if ever), these lasers will remain state of the ape, err, art. And get your stinkin’ paws off me, you damn dirty ape!

The Searchers Image/Warner laserdisc, $39.95 Remastered and packaged as a Special Edition laserdisc, this is a somewhat disap- pointing presentation for arguably John Wayne’s finest film, and certainly one of the greatest westerns of all-time. However, neither the picture transfer nor the sound are that much of an improvement on Warner’s earlier letterboxed release, and the 33-minute documentary, produced by Nick Redman, is filled with priceless archival clips—but an unfortunate tendency to get sidetracked by erratic editing (closely resembling, of all things, the opening of David Fincher’s Seven!) and disjointed nar- ration, which will prove more of a distrac- tion than an asset for most viewers. If you have the original laser release or recent DVD issue of that package, wait for the remastered DVD next year—or just hang on to what you already have.

News and Notes Randy Newman’s score from Pleasantville (New Line DVD, $24.98) will be isolated in Dolby Digital sound, and will include Newman’s comments whenever his score isn’t running on-screen. Mark Isham recent- ly did this on New Line’s “Platinum Edition” DVD of , giving listeners the rare opportunity to hear Isham talk about how his score was utilized by the filmmak- ers, and the ever-troublesome task of having to write around preselected songs. Also

Film Score Monthly 13 A PRIL/MAY 1999 DOWNBEAT

Debussy, given the history of Vietnam I thought was appropriate. You focus on one thing and you have a certain inspiration Mostly New and Unreleased with that and then that translates into something else, so even though I’m not an expert in Vietnamese music they felt that I would have the sensibility to use this instru- mentation the same way I’ve worked on other things and pull it off.” Part of the job of scoring the film included figuring out what sounds not to use. “One thing that I was asked not to do was to use too many harps or , because Tony felt that that had been done before and was too referential. And I had my own hesitations about being referential in terms of the Western orchestral palette too, like strings and piano. So we had to work through to define and express certain things without sounding like a cliché.” Horowitz also blended source elements into the score. “There was a song that they used that I liked a lot, the Do Ai song which I completely deconstructed; I used some melodic fragments from that at the end of the film. I wanted to use melodic elements from the song as thematic material for the A Vietnamese spectacle: Tony Bui’s Three Seasons. central characters and then have all the themes weave together at the end under- neath the final version sung by the chorus. RICHARD HOROWITZ becoming a director: “I directed a film in Vietnamese music has the expressive quality Three Seasons 1969 called Fourth Person Singular that was of blues. There is an intrinsic feeling of com- he independent feature Three Seasons very influenced by Bergman with very dark passion and a tangible logic to the phrasing Tfollows four strangers in Saigon who are characters and was very psychological, and I of the ancient instruments.” slowly being alienated by the encroachment eventually decided to go back to music and Part of the glistening, metallic textures of Western culture into the “New Vietnam.” didn’t want to have anything to do with visu- Horowitz creates are produced by tradition- Filmed in Vietnamese using Vietnamese als. And any time anyone would ask me to do al Vietnamese gongs and finger cymbals. actors by director Tony Bui, the film is the a film score I would say no, that you had to “There’s a temple and automatically you first American movie shot in the country listen to my music with your ears and not think of gongs in a temple, and this general, since the war. Like Ernest Troost on One with your eyes, because visuals are cheap.” overall exquisitely static, languid pacing to Man’s Hero (below), composer Richard Preferring to develop his own musical the film, and somehow having these gongs Horowitz was brought onto the film by an voice, Horowitz avoided doing any film scor- really reinterpreted the meaning of tempo editor. ing until he was 40 and took the job on The for me, and they instilled this sense of poem- “I had a friend named Gabrielle Cristaini Sheltering Sky. For Three Seasons he has time into every glance and every gesture in who was the editor on The Sheltering Sky created a glittering, hypnotic score that only the film. I was able to evoke that with these and , up for hints at the conventions of the genre, for the gongs and create this very slow-paced doing this and recommended most part creating a sonic world rhythm that carried this thing along in an me,” Horowitz explains. Horowitz all its own. “The intention was to other-worldly way.” —Jeff Bond wrote original North African Join us make everything I do sound com- music for director Bernardo pletely unique, have a very strong Bertolucci’s The Sheltering Sky, as we identity and yet have all these TREVOR JONES collaborating with Ryuichi talk shop strong neuron connections to Titanic Town Sakamoto on some of the score. what you might imagine this Molly His career as a musician and com- with other world might be like.” Notting Hill poser goes back several decades composers Taking the historical colonization hen asked what kind of film music he and he has worked with artists of Vietnam by the French as a Wlikes to compose, Trevor Jones’s such as , , about jumping-off point, Horowitz response is “Big music!” It’s hard to think of Suzanne Vega, and John Hassel, a attempted to interpret anyone who wrote “bigger” music last year player whose transla- their Vietnamese music as it might be than the non-stop orchestral climaxes of tions of North Indian vocals were latest written by a French composer. Dark City and Desperate Measures. Then part of the roots of minimalism in “This combination of looking at there was the mythical sound of Lawn Dogs, the ‘60s. projects. the score through this impres- The Mighty and Merlin, scores which cast

Horowitz almost wound up sionist sensibility of Satie or their spell with a notable combination of ©1999 OCTOBERPHOTO FILMS

A PRIL/MAY 1999 14 Film Score Monthly synthesizers, symphonies, and har- music always remained hypnotic. “I didn’t monicas. want people to know what kind of instru- The start of 1999 finds Jones with a ments I was using on Dark City. They were Golden Globe nomination for his Mighty confused if it was orchestral or synthesized. theme song (co-written and given voice by That’s because I tried to fuse those sounds, Sting) and upcoming scores for Titanic and to get the most sonic range from them. Town, Molly and Notting Hill. Titanic Town “When I score a film, I want my music to has Jones approaching an IRA-themed sub- bring out the meaning of a scene. It has to ject once again, but on a more intimate scale. have an identity, so people will relate to it. Molly re-teams the composer with director Television is more difficult, because the ten- (Lawn Dogs) in a Charly-like dency is to score it constantly. Merlin had story about a simple woman-turned-super- commercial breaks every 15 minutes, and I genius. Notting Hill is a Julia Roberts-Hugh had to hold the audience’s attention for that Grant comedy that gives Jones an eagerly duration. They’re being continuously taken awaited chance to work with the creative out of the story, and I have to get them team of Four Weddings and a Funeral. straight back into it. So the result is non- “Molly is -oriented. I recorded it stop music. This has been happening a lot in here, and I loved doing it,” Jones comments films, which haven’t been scored continu- with typical good humor. “It features ously like this since the heyday of Hollywood acoustic guitars and an orchestra. Notting in the 1930s and ‘40s. The scores today do Hill uses a medium-sized orchestra, with what TV does, which is to say, ‘This is how strings, brass, and guitars. Beyond you’re feeling at this second.’ I try to make that, I can’t remember much about those the audience use their intellect.” scores! The only reason I survive in this Jones also takes pride in being named industry is because I have no memory. I go Chair of Music at Britain’s National Film from one horrendous experience to the next! and Television School. Not only does he All I know is that the scores I did seemed like want to inspire budding composers, but he good ideas at the time. hopes to build a bridge between American “I have an insatiable appetite to work,” and English attitudes towards film music. Jones continues. “The whole objective is to “When I’m scoring in Britain for the improve on the last score. I’ve tried to touch European market, there’s a lot less music, on every genre of film, and choose something and it’s a lot harder. The cues are slower and that’s completely opposite from the last shorter. I find that quite challenging, score I’ve done. After Notting Hill, which is because I’m using music as a language of a romantic comedy, I’ll do something very filmmaking, not as a tool to push people dramatic.” through a movie. But I also realize that I’m SCREEN Though he works in England, Trevor a composer for hire, and I’ve got to write Jones was born in South Africa. For a young what people want me to. The challenge is ARCHIVES boy caught in the racist society of the time, how to be an artist in a commercial environ- the cinema’s fantasy world not only gave ment. Film music is a fantastic, oddball job, Jones an escape, it gave him something he because it allows you to be both.” ENTERTAINMENT wanted to be a part of. “My reason for want- Of primary interest to Jones’s fans is his ing to become a musician in the first place new record label, Contemporary Media Large selection of was to score movies, so I left South Africa at Recordings. “I’ve remastered all of the stuff 17 with a scholarship to the Royal Academy I did on analog tapes to the digital format. So new domestic and of Music in England.” all of the scores that I did in my misspent Jones spent 12 years training at his pro- youth sound incredibly clean. Now I’ll be import releases, fession. His first job was for the BBC as a going to the record companies to find out music librarian. “It gave me a fantastic which of my scores I can put out.” Some of older releases and insight to all kinds of music. But I was lis- Jones’s first releases might be dialogue-free tening to music from 9 to 6 for four years, versions of Angel Heart and Mississippi out-of-print CDs and that’s pretty intense! It got to me after a Burning. Major credit cards accepted. while. When I went to Cambridge for my While the composer realizes the populari- post-graduate degree, my professor designed ty of Cliffhanger and Mohicans, he seems Write for free catalog! a course especially for me. I studied rock, genuinely unaware that a devoted fan base folk, jazz and ethnic music for four years. has been salivating for the release of such PO Box 5636 Then I went to film school, where the impe- scores as Excalibur and . “I Washington DC 20016-1236 tus was to make sure the music was loud, just sit in a little room on the other side of and that the audience would hear it.” the world, and write music,” he says. “I ph: 202-364-4333 Jones’s bombastic cues in Dark City have never actually believed that anyone wanted fax: 202-364-4343 certainly ensured this. Alex Proyas’s mind- my old scores. To find out that they do is e-mail: NipperSAE@.com blowing fantasy was also remarkable for its very flattering.” continuous use of music, a score that was as And what does the future hold? After hav- visit: www.screenarchives.com much a part of the environment as the archi- ing scored so many climaxes where mythical tecture. But with Jones’s unique touch, the worlds are destroyed and reborn, there’s one

Film Score Monthly 15 A PRIL/MAY 1999 DOWNBEAT cues later in the movie.” scored the director’s acclaimed first film, Most of Troost’s battle scene cues are sur- Praying with Anger, and when the script for subject that Trevor Jones is eager to tackle. prisingly lyrical, with choral underpinnings. Wide Awake was sold to Miramax, Ed was “I’d like to score the Bible!” he laughs. “It’s “They wanted all the battle scenes to be the first member of Shyamalan’s team to got some amazing dramatic elements, and more of an emotional beat as opposed to just come aboard. His subsequent score was I’ve always wanted to do a Moses theme.” playing the action. The music is adding an beautiful—at turns sad, innocent and mis- —Daniel Schweiger emotional dimension rather than pumping chievous—and caught the attention of the up the action.” One exception is the cue well-known Gorfaine/Schwartz Agency, who ERNEST TROOST “Pesadumbre,” a tougher, harder-edged signed him last summer. One Man’s Hero piece. “‘Pesadumbre’ is actually a guerrilla Scoring sessions for The Castle took place ne Man’s Hero is an historical epic group attacking a Mexican town, so it made at Center Studios in New York Oabout the Mexican-American War and more sense to play that as action.” City this past January. Choi’s challenge was a group of Irish-American fighters called The Troost found ways of presenting his mate- an interesting one: rescore the film utilizing Saint Patrick’s Brigade. The movie’s director rial in less-than-obvious ways. “‘Defeated his original themes but following the spot- is Lance Hool. “Lance had been trying to get March’ is another variation of Paddy’s ting cues—and often the instrumentation— this movie made for 20 years,” composer theme. The only place you hear that on the of the existing soundtrack. “We didn’t devi- Ernest Troost notes. “At one time John CD is the execution, where you suddenly get ate all that much from the style of the orig- Wayne was connected to it. It’s pretty anti- a recorder with an Irish drummer, and then inal score,” Choi explains, “I just made the American in a lot of ways and shows a sordid everybody joins in. That theme is put music my own. If it had a solo guitar we’d through a variation on stick to that; if it had a huge, soaring theme Composer/conductor ‘Defeated March’ in a in one area we’d stick to that but use my Edmund Choi (in white) minor key. I think in a lot of theme instead. We followed the cues about flanked by his the big cues like the execu- 90% of the time. Obviously, I could tailor it engineering staff: tion and the whipping, I more to the scene, whereas before they had Steven Webber, tend to come up with a lot slapped in a library cue and hoped it would Lawrence Manchester of cues and then put them sync up.” and Roy Fischer Clark; through a lot of variation— Choi’s “tailoring” consisted of using an The Manhattan Center weave them in and out of 84-piece ensemble—the majority of the New Studio scoring stage themselves and intertwine York FILMharmonic Orchestra—resulting and orchestra. them with other themes, so in a rich, sonorous sound that brings to it’s almost like Paddy’s mind the Ralph Vaughan Williams arrange- theme became kind of the ments of Irish and English folk songs. This spiritual perspective of the was complemented by some fine woodwind whole thing. That added a and brass passages and acoustic guitar over- third dimension.” dubs. “It’s amazing to have an orchestra When asked how he got this size, but is a man the job on One Man’s Hero, who will put the money on the screen,” Choi Troost came up with an explains, though he is quick to add that the increasingly common recording probably would not have taken answer: the film’s editor got place had it not been for the low-budget him onboard. While that union scale. The recording hall, an ornate part of American history, so the studios have may seem a roundabout route to a film scor- ballroom converted for scoring use, provided not felt that it was very commercial.” With ing assignment, Troost explains why it rich acoustics and prompted Choi to remark John Wayne permanently unavailable, the makes perfect sense: “I think an editor likes that the mixing wouldn’t require the often- film’s lead character, John Riley, is portrayed it when a composer can come in and make all needed addition of heavy reverb. by Tom Berenger. those cuts go away. They’re seeing all that “Jane Kennedy [the producer of both Troost was able to latch onto a currently because they work with it that way, so if you scores] was incredibly trusting of me,” Choi popular film music conceit that’s actually can make their work flow and help the movie says. “Any time you work with someone appropriate in this case. “They were looking in any way they like it.” —Jeff Bond who trusts you it makes your job so much for an Irish direction,” he admits, “which is easier. You never feel like you are under the interesting with all the Irish music in EDMUND CHOI gun or under the microscope. Every day I movies, but this is a movie where Irish The Castle wrote the score was a relaxing one.” Choi, makes sense for the subject matter. The hen the independent Australian at age 28, not only wrote but nearly fully whole opening of the movie is kind of a mon- Wcomedy The Castle was bought by orchestrated and conducted the sessions tage of the Irish leaving Ireland during the Harvey Weinstein’s Miramax for distribu- himself. Often the sessions were as much Potato Famine, so I wrote kind of an adagio tion this May, the call went out to find a an aerobics class as soundtrack recording: for strings with Uillean pipes. And that ada- composer to tackle the job of re-scoring the Choi would conduct each track, then dash gio, or a variation of it, is presented at the film. Initially, the soundtrack contained a upstairs to hear playback in the booth, end when the survivors are executed. Also, few original pieces and a library of orches- amid checking in with the producers for one of the central characters is named tral cues. Miramax, wanting to make the overall approval. He doesn’t forget the Paddy; he kind of represents the innocent in film their own, called upon young talent players, either: “It’s a tradition of mine to this movie, and he plays a recorder periodi- Edmund Choi for the task. buy the players lunch the first day of scor- cally throughout the movie. That theme is Choi is best known for his work done in ing.” It looks like Choi’s talent will very simple and kind of child-like, and that’s collaboration with director M. Night undoubtedly keep Hero Boy in business. interwoven throughout the big orchestral Shyamalan, whom he met in college. He —Mark Leneker FSM

A PRIL/MAY 1999 16 Film Score Monthly FSM KAY, READERS—TIME TO SLIP INTO YOUR TUXES, EVENING GOWNS AND BORROWED JEWELRY AND STRUT READER’S DOWN THE AISLE FOR FSM’SANNUAL READER’SAWARDS AND NO-PRIZES. AFTER YEARS POLL OOF SUFFERING, ANDY DURSIN FINALLY BROKE DOWN AND BEGGED US NEVER, EVER TO MAKE HIM DO THE READER’S POLL

AGAIN, SO THAT WEIGHTY BURDEN HAS BEEN PASSED ON TO

ME, ALONG WITH RUNNING TO THE DELI EVERY DAY FOR

LUKAS’S SANDWICHES. what’s FTER ITANIC RAISED THE WORLD SCONSCIOUSNESS OF A T ’

FILM MUSIC AT THE BEGINNING OF THE YEAR, THINGS LARGELY

returned to normal and movie 10. The Thin Red Line Hans Zimmer 4% The holy triumvirate of Jerry scores dipped back below the Honorable Mentions: Rush Hour Goldsmith, John Williams and radar for everyone but readers of (Lalo Schifrin), Les Miserables (Basil James Horner reigned supreme FSM. James Horner’s highly Poledouris), Gods and Monsters again this year, although on anticipated follow-ups to his dou- (Carter Burwell), Stepmom (John Goldsmith’s heavier output put ble-Oscar winner (Deep Impact, Williams). him in the top spot by an unusu- of Zorro and Mighty Jerry Goldsmith’s and ally wide margin. Williams still Joe Young) used the composer’s John Williams’s Saving Private generates tremendous loyalty, your notoriety for promotion (every Ryan were neck and neck in this but didn’t help himself with a available Horner CD seemed to category, with Horner’s Mask of low output (two scores) and a have a “From the Oscar-winning Zorro and Randy Newman’s spectacularly successful film composer of Titanic” sticker Pleasantville not far behind. (Saving Private Ryan) that did affixed to it), but while the new Placing surprisingly high was not strongly feature his music. albums sold respectably, none Goldsmith’s After the controversial Titanic mind generated the kind of break-out score, a brief Varèse album for a smash, James Horner impressed success Titanic achieved. movie that just Just as there was no runaway about completely favorite in this year’s Best tanked last sum- Picture Oscar race, readers’ mer. Hans choices for score of the year were Zimmer’s double- ? divided among a diverse pack of threat of The front-runners, with most people Prince of Egypt predicting a win for John and The Thin Red THE Williams’s Saving Private Ryan Line were fresh in even though many didn’t think readers’ memories, BEST much of the score. So without but so was the further ado, here’s what you much lower-pro- AND thought about 1998: file Dangerous The Number One Composer with his Number One Score. WORST Beauty from Best New Score George Fenton. While Life Is readers with The Mask of Zorro OF THE TOP TEN Beautiful had a good showing in (and to a lesser extent Mighty 1. Mulan Jerry Goldsmith 19% the “will it get an Oscar?” cate- Joe Young), while Randy 1998 2. Saving Private Ryan gory, it barely registered here, Newman’s work on A Bug’s Life John Williams 18% but several other scores chosen and Pleasantville brought his 3. The Mask of Zorro by readers as the year’s worst typically superb work back into Compiled James Horner 16% (Patch Adams, Armageddon, focus with fans. Hans Zimmer 4. Pleasantville Randy Newman 12% Godzilla and ) at generated interest with The and 5. The Horse Whisperer least registered a couple of votes Prince of Egypt and The Thin Thomas Newman 8% each. Red Line, Danny Elfman’s work Commented On 6. Small Soldiers Jerry Goldsmith 6% on A Simple Plan and Psycho 7. Best Composer brought him notice, and George by Burkhard Dallwitz/ 5% 1. Jerry Goldsmith 35% Fenton got a lot of mileage out of 8 The Prince of Egypt 2. John Williams 19% Dangerous Beauty. Even Trevor Jeff Bond Hans Zimmer 4% 3. James Horner 17% Rabin rated a vote here... and 9. Dangerous Beauty 4. Randy Newman 16% Bernard Herrmann got four. You George Fenton 4% 5. Hans Zimmer 12% go, Benny!

Film Score Monthly 17 A PRIL/MAY 1999 Best Record Label 4. The 7th Voyage of Sinbad 16% a comment on its superb sound Body Heat, Herrmann’s The 1. Varèse Sarabande 44% 5. Somewhere in Time 8% quality. Varèse Sarabande 7th Voyage of Sinbad, Barry’s 2. Rykodisc 27% 6. Midway 6% swept this category with their Somewhere in Time, Williams’s 3. FSM/Retrograde 14% 7. Viva Zapata! 6% popular 2CD set of Williams’s Midway and ’s Viva 4. Sony Classical 8% At least three persons put Superman: The Movie and Zapata! A bit farther down the 5. Marco Polo 7% our album in Herrmann’s The Trouble with list: Danny Elfman’s mostly Varèse Sarabande won this cat- the “Best New Recording” cat- Harry tying for first place with unreleased re-recording of egory by a wide margin on the egory, which we like to think is readers, followed by Barry’s Psycho, the only recording on strength of an ambitious series of re-recordings, but Rykodisc’s wide-ranging series of reissues won them reader hosannas Kilar’s haunting Portrait of a Lady (“becoming invaluable,” noted What Were We Thinking? or Elliot Goldenthal’s impressive one), and guess what? Our own Michael Collins any time.Winner of Silver Age Classics CD series A Look at Reader’s Choices of the Decade, and the posterity sweepstakes? It’s placed a respectable third, fol- Whether or Not We’re Still Listening to Them... Carter Burwell’s , which bril- lowed by Sony Classical for by Jeff Bond liantly accompanied a film that’s on its way to becoming a Wizard of their Williams and Horner hit theaters. I fear it will fall to later s you absorb and casti- Oz-like cult touchstone. albums and Marco Polo for generations (and later, more fascis- gate this year’s round-up finally getting out some of tic governments) to proclaim the of reader picks and pans, John Morgan’s and Bill A true brilliance of ’s Oscar Fallout let’s take a look at prognostications Stromberg’s great re-record- $100 million satire. The English Patient takes home the ings. of years past.That’s right, tough Oscar, and another score that guy—FSM’s writers and editors slipped below the radar of fans, Best New Album aren’t the only ones who get to live Oscar Fallout Rachel Portman’s Emma, becomes of Older Score with their mistakes (as well as Horner’s Oscar win for Titanic, one the first score to win a woman a 1. Close Encounters of the Third Kind uncanny foresight) for years after of the biggest-selling orchestral Best Original Score Oscar. 33% the fact. Here are the Reader’s soundtracks ever, was hardly a sur- 2. The Living Daylights 20% Choices of the past four years, prise—but Anne Dudley’s win for 1995 (Winter 1996, #65/66/67) 3. The Magnificent Seven 18% along with our insightful Monday The Full Monty was. Jerry Goldsmith 45 pts 4. The Greatest Story Ever Told 14% morning quarterbacking. Note how Elliot Goldenthal 33 pts 5. Taxi Driver 13% our completely arbitrary tabulation 1996 (Vol. 2, No. 2) A Little Princess Patrick Doyle 26 pts I don’t think readers could have system gets overhauled on a yearly This was the year before we figured Nixon John Williams 24 pts asked for a more beautiful basis.... out how to do percentages, but the Murder in the First Christopher Young 18 pts album than the expanded Close 1997 (Vol. 3, No. 3) year after we decided not to show Braveheart James Horner 16 pts Encounters of the Third Kind, Titanic James Horner 19% “point” tallies anymore (revealing Don Juan DeMarco rescuing John Williams’s mag- L.A. Confidential Jerry Goldsmith 15% our teeny-tiny samplings). So, Michael Kamen 15 pts nificent 1977 epic from its earli- The Edge Jerry Goldsmith 14% sorry: Apollo 13 James Horner 13 pts er slice-and-dice Arista LP 4. Air Force One Jerry Goldsmith 10% Mission: Impossible Danny Elfman Powder Jerry Goldsmith 13 pts (although you have to keep 5. Seven Years in Tibet John Williams 9% The Ghost and the Darkness Jerry Goldsmith Judge Dredd Alan Silvestri 11 pts Varèse’s reissue of the Arista 6. Amistad John Williams 8% Star Trek: First Contact Jerry Goldsmith How to Make an American Quilt album if you want the original 7. Starship Troopers Basil Poledouris 8% Michael Collins Elliot Goldenthal Thomas Newman 10 pts edited-together end title music). 8. Tomorrow Never Dies David Arnold 7% Sleepers John Williams The Scarlet Letter John Barry 9 pts The expanded 007 score The 9. Rosewood John Williams 7% The English Patient Gabriel Yared James Newton Howard 9 pts Living Daylights (John Barry) 10. Crash Howard Shore 5% The Hunchback of Notre Dame Just in case you think it takes a and the first-ever release of Talk about a round-up of the usual Fargo Carter Burwell good movie to generate a beloved Elmer Bernstein’s original suspects: the only unexpected Hamlet Patrick Doyle film score, check out the first-rate soundtrack recording of The entry here is Howard Shore’s Mulholland Falls Dave Grusin bombs included here: Judge Dredd, Magnificent Seven from gleaming Crash. It’s interesting The Spitfire Grill James Horner The Scarlet Letter and Waterworld. Rykodisc followed, with Ryko’s that Goldsmith’s L.A. Confidential Twister Mark Mancina Goldenthal’s Batman Forever was a long-coveted 3CD set of Alfred placed nearly as high as Titanic, The Phantom David Newman stunning breath of fresh air in ‘95, Newman’s The Greatest Story while Goldsmith’s quite similar The Portrait of a Lady Wojciech Kilar but the stench of Batman and Robin Ever Told almost tying with City Hall (1996) barely caused a rip- Does anyone remember what may have fans looking back at Herrmann’s Taxi Driver ple among fans—being connected Sleepers sounds like? While it Danny Elfman’s caped crusader (Arista’s second triumph of the to an Oscar-nominated movie can’t seems to take either a blockbuster scores with a bit more fondness. year) for fourth place. Just out- hurt. And Goldsmith’s score to the action/sci-fi movie (i.e., even a Interestingly, the most influential side of the top five were FSM’s box-office dud The Edge itself mediocre Star Trek movie like First score here is buried in the middle releases of The Poseidon slightly edged out the composer’s Contact) or an Oscar-nominated of the pack: Horner’s Braveheart, Adventure and Fantastic Voyage. massive Air Force One action score, prestige film to get Jerry which presaged the Gaelic influ- one of the biggest box-office hits of Goldsmith noticed by the public, ences of Titanic and is far more Best New Recording the year. Starship Troopers also Williams can score a Tidy Bowl popular with the general public 1. Superman: The Movie 26% showed up on readers’ lists of the commercial and get an Oscar nom- than any of the other works listed 2. The Trouble with Harry 26% year’s worst: a good number of fans ination. Similarly, is anyone still here, although Michael Kamen’s 3. Body Heat 17% took exception to FSM’s unmitigat- listening to the Oscar-winning The “Have You Ever Really Loved a ed promotion of the score before it English Patient? Give me Wojciech Woman?” tune from Don Juan

A PRIL/MAY 1999 18 Film Score Monthly this list that was actually used in 4. The Power and the Glory 11% Saving Private Ryan wound up Schifrin’s Anthology a movie. 5. The Best of the West 10% getting more than a few votes as (on his Aleph label), Silva 6. Others 10% the best “compilation” of the Screen’s : The Best New Compilation Some readers seemed confused year. Otherwise, Nick Redman’s Essential Jerry Goldsmith, Pony 1. 20th Century Fox: about the definition of the word Fox sampling on Varèse Boy’s The Power and the Glory: Music from the Golden Age 36% “compilation,” apparently rea- Sarabande, Music from the Music from NFL Films and 2. Dirty Harry Anthology 17% soning that it meant the same Golden Age, beat out other com- Rykodisc’s Best of the West collec- 3. The Essential Jerry Goldsmith 16% thing as “composition”—hence, ers by a wide margin, with Lalo tion following.

DeMarco rates a mention in that Shirley Walker 9 pts scores except for Danny Elfman’s the most obvious and forgettable department. Goldsmith’s big, Needful Things Patrick Doyle 9 pts bristling original, and in fact the John Williams efforts ever—but I romantic First Knight (his first com- The Three Musketeers only joker in the deck here seems have to wonder how often this CD pletely acoustic film score in Michael Kamen 7 pts to be Michael Kamen’s The Three appears in the normal listening years) managed to transcend the An embarrassment of riches. Like Musketeers, which doesn’t stand up rotation of Williams fans seven tanking of the film itself with fans. his collaborator , well against the composer’s other years later. Similarly, does anyone John Williams effortlessly strad- period epics like The Adventures of out there remember the score to Oscar Fallout dled the disciplines of popular and Baron Munchausen and Robin Cool World? Elliot Goldenthal’s 3 The year of Il Postino! Oscar nomi- “important” filmmaking in what Hood: Prince of Thieves. Alien was the real find here, while nations for Apollo 13 and Braveheart has to stand as the best year their both Goldsmith’s and foreshadow Horner’s victory of teaming ever had. Jurassic Park Oscar Fallout Wojciech Kilar’s Holst-like score 1997. After The Lion King won yet may not represent the artistic pin- Hey—where were the Disney ani- for Bram Stoker’s Dracula remain another Best Score nacle of mated scores? Nominated were huge influences on trailer music Oscar for a Disney Spielberg’s two period movies of the type tradi- and contemporary film scores. animated musical, commercial tionally beloved of the Academy the scoring category filmmaking or (Bernstein’s The Age of Innocence Oscar Fallout was finally split into Williams’s and Richard Robbins’s The The handwriting was on the wall by Dramatic and subtlety, but it Remains of the Day), and two law- 1992: any Disney animated score Musical/Comedy cat- was a stagger- and-order thrillers (James Newton written by Alan Menken was going egories, building fan ing special Howard’s The to win the Oscar. anticipation about effects mile- Fugitive and Dave Menken’s domi- whether James stone brilliant- Grusin’s unusual nation of this cat- Horner would win his ly mounted by piano-only score egory led to the first Oscar (he and Williams each the director, and Williams’s score for The Firm), but splitting of the received double nominations). is his last great adventure movie John Williams’s Best Score nomi- Film music nerds were crushed album (at least until The Phantom win for the stun- nations into when Luis Bacalov, a foreigner, Menace opens). Schindler’s List ning Schindler’s Dramatic and took home the statue for Best meanwhile turned the worldwide List was a fore- Musical/Comedy Dramatic Score; Pocahontas (Alan box-office records of Jurassic Park gone conclusion. segments a few Menken and Stephen Schwartz) into an afterthought. Perhaps better years later. Of predictably won for Best Comedy Lost in the shuffle was an equal- remembered is the big dance num- course, now it’s being recombined or Musical Score. ly influential score, Goldsmith’s ber Debbie Allen choreographed into one for 1999.While Far and Rudy, which has since become one highlighting the score nominees.... Away, Last of the Mohicans, Chaplin 1994 of the great movie trailer music and Dracula were mentioned as This was the year where John staples; Elmer Bernstein’s elegant 1992 (Feb./March 1993, #30/31) possibilities, only Barry’s Chaplin Williams didn’t do any film scores, collaboration with Martin Far and Away John Williams 37 pts rated a nomination. Goldsmith’s and it looks like we forgot to do the Scorsese, The Age of Innocence; Basic Instinct Jerry Goldsmith 30 pts popular Basic Instinct, not touted readers’ poll too. Maybe Bad Girls Bruce Broughton’s stupendous Bram Stoker’s Dracula by fans as Oscar material, did would have won—or . anti-Silverado western score, Wojciech Kilar 17 pts receive a nomination. (Angie?) Tombstone; and Danny Elfman Batman Returns Danny Elfman 14 pts It’s interesting to note that in finally breaking out of his comic Alien3 Elliot Goldenthal 11 pts these pre-Titanic days, James 1993 (Winter 1994, #41/42/43) book and comedy mold with an The Last of the Mohicans Horner’s negatives far out- Jurassic Park John Williams 49 pts adept dramatic score for Trevor Jones/Randy Edelman 10 pts weighed his positives with fans, Schindler’s List John Williams 49 pts Sommersby. Michael Nyman and 1492 Vangelis 10 pts and the composer’s three high- Rudy Jerry Goldsmith 41 pts Randy Edelman scored tremen- Aladdin profile efforts of the year (Patriot The Age of Innocence dous popular successes with The Alan Menken/Howard Ashman 9 pts Games, Thunderheart and Elmer Bernstein 16 pts Piano and Gettysburg, albums that Cool World Mark Isham 8 pts Unlawful Entry) were the front- The Man Without a Face still sell pretty well today Honey, I Blew Up the Kid runners for Worst Score of the Year James Horner 15 pts (Gettysburg was recently expanded Bruce Broughton 8 pts according to readers. FSM Tombstone Bruce Broughton 13 pts and repackaged). Shirley Walker’s John Williams’s Far and Away Sommersby Danny Elfman 12 pts Batman: Mask of the Phantasm received 37 points... 20 from Andy See pp. 41-42 for ordering information Gettysburg Randy Edelman 11 pts remains a more enjoyable listening Dursin and 17 from Paul MacLean. if you’re interested in any of the The Piano Michael Nyman 10 pts experience to these withered ears Just kidding. I must be the only one backissues referenced here. Batman: Mask of the Phantasm than any of the other Batman film alive who finds Far and Away one of

Film Score Monthly 19 A PRIL/MAY 1999 Oscar Guesses 5. Quest for Camelot Patrick Doyle 8% action music was over his U.S. a few votes, although whether DRAMA The most heavily-hyped movie Marshals score... am I crazy, or for their pop-single-heavy 1. Saving Private Ryan of the year failed to prompt a are the action licks in releases of scores like Lost in John Williams 83% score release, making David Insurrection and U.S. Marshals Space and Dark City or for their 2. Life Is Beautiful Nicola Piovani 13% Arnold’s Godzilla the favorite almost exactly the same?), Marc Sci-Fi’s Greatest Hits compila- 3. The Horse Whisperer unavailable score for readers. Shaiman’s sentiment-heavy dou- tion is unclear. Readers were Thomas Newman 4% Although it took less than half of ble-threat of Patch Adams and more concrete about some other COMEDY the monster film’s votes, Danny Simon Birch, and Nick Glennie- choices: Arista got a vote for the 1. Mulan Jerry Goldsmith 33% Elfman’s take on Herrmann’s Smith’s introduction of the rock packaging of Close Encounters, 2. The Prince of Egypt Psycho score was the second- vamp to 18th century France in Tom Linehan of West Roxbury, Hans Zimmer 33% most-desired release, followed by The Man in the Iron Mask. MA slammed GNP/Crescendo 3. Shakespeare in Love Carter Burwell’s The Spanish (“Hire a proofreader, guys!”) Stephen Warbeck 15% Prisoner, Bill Ross’s T-Rex and Worst Composer and Sonic Images (“No more 4. A Bug’s Life Randy Newman 7% Patrick Doyle’s Quest for 1. Trevor Rabin 24% Babylon 5 CDs!”), and 5. The Truman Show Camelot. 2. “Team Zimmer/Media Ventures”14% PolyGram was severely scolded Burkhard Dallwitz/Philip Glass 7% 3. Marc Shaiman 10% by one reader for not releasing 6. Pleasantville Randy Newman 5% HALL OF SHAME 4. “Horner” 10% Monsignor... in related news, No surprises here: few people Worst New Score 5. John Williams// the nation of Japan was voted for anything other than 1. Armageddon Trevor Rabin 20% Mark Isham/Nick Glennie-Smith/ maligned for failing to win Williams’s Saving Private Ryan 2. Saving Private Ryan Graeme Revell 7% each World War II. Then there was in the Dramatic Score category, John Williams 17% 23 composers were singled out Rykodisc, nominated by an irate despite numerous readers stating 3. Deep Impact James Horner 15% for abuse here, but before they Kyle J. Adamczak of Gainesville, that they didn’t think it was the 4. Godzilla David Arnold 12% decide to flee for the hills, any NY “for the incompetent mixing best score of the year. Only Life 5. The Man in the Iron Mask film composers reading this of vocals on A Funny Thing Is Beautiful rated more than a Nick Glennie-Smith 10% should note that most names Happened on the Way to the couple of votes out of the other 6. U.S. Marshals Jerry Goldsmith 6% were suggested by but a single Forum and for not separating contenders. In the 7. Halloween H20 person. So you’re not dealing the absolutely dreadful dialogue Comedy/Musical category Jerry John Ottman/Marco Beltrami 5% with hordes of enemies here— into its own tracks on the all- Goldsmith’s Mulan tied for first 8. Patch Adams Marc Shaiman 5% just a few crazed loners. Trevor talk, little-music release Equus.” place with Hans Zimmer’s The 9. Simon Birch Marc Shaiman 5% Rabin’s noisy Armageddon Prince of Egypt, with Stephen 10. Sphere Elliot Goldenthal 5% made him the high-profile tar- SELF-REFLECTION AWARDS Warbeck’s Shakespeare in Love While anything involving an get, but just about every major Best FSM Articles placing third... which may asteroid seemed to be what read- name came in for abuse: note 1. John Williams Buyer’s Guide ers wanted to position #5, which is occupied Vol. 3, No. 1, 2, 4 38% hear less of this by (among others) the world’s 2. Korngold Biographer Interview year, Saving favorite film composer, John Vol. 3, No. 9 25% Private Ryan also Williams, who was singled out 3. Philip Glass/Minimalism placed surpris- by at least one person for a dis- Vol. 3, No. 2 11% ingly high, indi- appointing ‘98 output. In fact, 4. Watch the Record Stores (CE3K) cating reader with votes for Jerry Goldsmith, Vol. 3, No. 4 9% ambivalence Danny Elfman (probably for 5. Bruce Broughton/Lost in Space about the way daring to re-record Psycho), Vol. 3, No. 4 9% John Williams’s Carter Burwell, Howard Shore 6. Titanic Essays Vol. 3, No. 3 9% score was spotted and Randy Newman, anyone in Hmm... people seem to like this Most Popular Guy, and his and how it func- this category is in pretty good John Williams guy. Just as schizophrenically-received score. tioned in Steven company. At least reader David Williams’s Saving Private Ryan Spielberg’s WWII Moraza had the decency to say was a shoo-in for the Best epic. David “Sorry!” after voting for Marc Dramatic Score Oscar, our volu- explain why Warbeck’s score Arnold’s Godzilla score seemed Shaiman. One additional note: minous John Williams Buyer’s could win after Goldsmith and to make its mark in every cate- people who don’t like James Guide attracted the lion’s share Zimmer split their votes among gory, with about as many people Horner always seem to refer to of reader votes for best FSM fea- Academy members (will the Jerry voting it the worst of the year as him as just “Horner.” ture, with Bill Whitaker’s Erich Goldsmith Oscar curse ever be there were readers who wanted Wolfgang Korngold bio piece and lifted?). By the way, Pleasantville to own it on CD. John Ottman’s Worst Record Label Doug Adams’s look at Philip did get a nomination—but not in Halloween H20 was singled out 1. Sony 42% Glass following closely behind, the category readers suspected. by a few readers, seemingly 2. TVT 21% and our look at the expanded more because of the heresy of 3. Rhino 20% reissue of Close Encounters, the Best Unreleased Score creating an orchestral take on 4. DreamWorks 14% Bruce Broughton Lost in Space 1. Godzilla David Arnold 48% John Carpenter’s early synth 5. Everybody Else 3% interview and Nick Redman’s 2. Psycho Bernard Herrmann, score than anything else. Sony took this category purely and Doug Adams’s Titanic arr. D. Elfman/S. Bartek 20% Also rating a mention were on the strength of its three-year essays rounding out the pack. 3. The Spanish Prisoner Jerry Goldsmith’s work on U.S. delay of Star Trek: The Motion Carter Burwell 16% Marshals (Andy Dursin noted Picture... does this mean they’ll Worst FSM Article 4. T-Rex: Back to the Cretaceous last issue what an improvement win Best Record Label next year 1. Foreign Scores/ William Ross 8% Jerry’s Star Trek: Insurrection for finally releasing it? TVT got Score Internationale 50%

A PRIL/MAY 1999 20 Film Score Monthly 2. Sound of Scuzzlebutt (South Park) but South Park”). Our inaugural Internationale.” Vol. 3, No. 7 21% “This Is Your Life, Johnny” Someone named Roman 3. Mail Bag 14% buyer’s guide cover rounded out expressed this common senti- 4. Laserphile 14% the top-five. ment: “Let someone else than Votes here were pretty evenly Jeff Bond write reviews of Jerry distributed, with only John Creative Essay Question Goldsmith scores; he always Bender’s Score Internationale Many readers pointed out the likes them, doesn’t matter breaking loose from the pack as mediocrity of 1998’s film scores whether they are the same as something that parochial-mind- as opposed to its bountiful slate the last time or not (though he ed, isolationist readers were of reissues, new releases of can point out his opinions clear- loathe to explore. (Too bad!) older scores and re-recordings, ly).” I wish Roman would point Other articles that attracted which most readers found far out this opinion clearly to Jerry reader ire were anything else more enjoyable than the new Goldsmith, who thinks I’m the that varied from FSM’s routine: scores being written. “This was scum of the earth for dissing the South Park cover story Loved it (above), hated it (below). a year in which the reissues and some of his scores. received just slightly more nega- Well, some did, anyway... re-recordings of older scores Matthias Wiegandt of tive responses than positive clearly outdid the new scores,” Germany wrote: “Being 33 and ones, while reader Ronald wrote Ronald Mosteller of Vale, in contradiction to your Bluhm wrote: “It wasn’t really NC. Several also noted that vet- Korngold issue preface, I love that bad, but I simply couldn’t eran composers like Goldsmith, Golden Age music the most and care less about your feature on Williams and Horner, while not would like to see those people NFL’s Greatest Hits” (Vol. 4, doing the greatest work of their interviewed who are still living, No. 1—hate that next year, careers, were still writing more such as Irving Gertz or Herman guys). consistently interesting scores Stein. And when does the time Our always abrasive Mail Bag than the up-and-comers, who come for essays about Roy Webb and Andy Dursin’s Laserphile often seemed hard-pressed to and the most underrated com- got singled out by a few people differentiate their work from poser of the whole Golden Age, (maybe that’s because laserdiscs everyone else’s. Daniele Amfitheatrof? Do it!” are dead, Andy!). One reader “This was not a good year for Meanwhile, Peter Sergides, of bitched about “negative bitch- film scores,” [email protected] San Ramon, CA had this some- ing,” while someone else aptly wrote. “There were only a few what less altruistic idea: “I singled out our “unabashedly good scores and most of them would like to see more reader glowing Prince of Egypt feature” me... you really like me! FSM’s came from accomplished com- ads in the magazine. After all, (Vol. 3, No. 10). And despite the lower-ranked writers can take posers such as John Williams, the magazine is geared toward fact that “Film” is the first the “Everybody but Jeff” vote Jerry Goldsmith, James Horner collectors of motion picture word in “Film Score Monthly,” as solace (my wife thought that and Randy Newman. Hans music.” certain readers found any dis- was hilarious). And while John Zimmer, Nick Glennie-Smith Finally, Rod Dicks of cussion of films per se as Bender received an outsized and the rest of the new wave Tumwater, WA had this to say: opposed to music in the maga- share of flack for his excellent produced mostly crap—not even “I’m sure glad you guys dropped zine infuriating. “Hate the film Score Internationale columns, worth mentioning.” most of the four-letter words reviews... just review music Peter Avellino of Los Angeles Brian McVickar had this to and the Sharon-Stone-style please,” one reader noted, while wrote: “All respect to Mr. Bond, say: “It seems to me that back-stabbing that has nothing another singled out our but I love the new Score Horner feels satiated by his to do with film scoring!” Downbeat feature, in which we Internationale, since I’ve really Oscar win and has now decided Rod, since when do four-letter interview composers about their gotten into sleazy ‘60s Italian to rediscover the allure of his words and Sharon-Stone-style work on specific film projects: music lately, and I hope this col- orchestral acrobatics of yester- back-stabbing have nothing to “Magazine is about music, not umn continues for a long time. year, evident in Zorro and do with film scoring? FSM the movie.” Maybe we should Lukas’s Psycho editorial flat-out Mighty Joe. Goldsmith had start warning composers to stop kicked ass.” another solid year; maybe not as talking about the movies they’ve riveting as 1997, but it yielded scored during interviews. Best Cover some wonderfully textured MAIL BAG 1. Erich Wolfgang Korngold scores that were still highly So much for tallying your opinions. Best Writer 2. Vol. 3, No. 9 38% individualistic for their respec- Next month Mail Bag returns and 1. Jeff Bond 36% 3. South Park Vol. 3, No. 7 17% tive films.” we will present your comments, 2. Doug Adams 19% 4. Sci-Fi Spectacular Vol. 3, No. 4 17% Here’s some advice that fell raves and rants without numeric 3. Lukas Kendall 19% 5. Titanic Vol. 3, No. 3 17% on deaf ears: “It would be better quantification. 4. John Bender 14% 6. John Williams Vol. 3, No. 1 10% and more open for your maga- Send your pronouncements to: 5. Andy Dursin / Golden Age fans came out of zine to talk about scores which FSM Mail Bag “Everybody but Jeff”/ the woodwork to praise our are not necessarily from an 5455 Wilshire Blvd, Suite 1500 Nick Redman/Bill Whitaker 3% each Korngold bio cover, while South American movie. Try to know Los Angeles CA 90036-4201 I put this down to a simple Park, our Lost in Space/Close what there is outside America!” or e-mail us at: Pavlovian response on the part Encounters Sci-Fi cover and implored Laurent Le Marchand [email protected] of many readers who just see Titanic formed a three-way tie from France. Laurent, try And don’t forget to check out our my name all over the maga- for second place (although one telling this to all the readers complimentary Film Score Daily at zine—either that or you like reader voted for “Everything who dissed “Score www.filmscoremonthly.com

Film Score Monthly 21 A PRIL/MAY 1999 AVAValiantaliant EffortEffort Franz Waxman Composing Prince Valiant

Hammerstein musical, Music in the Air, prior to this.) While the Universal mon- he arts have always reflected the ster movies had previously been tracked Tsocial conditions of their respective histories. with excerpts of classical pieces—which Film music in the 1930s, ‘40s and ‘50s was gave them a chilling if dispassionate air— just beginning to edge across the line Waxman chose to create a vigorously orig- between creative infancy and established inal score. He lent it a touch of his maturity. Composers understood the European grace, his forward-looking sen- demands and peculiarities of the medium, sibilities, and his emotive heart. Bride of but no avenue had yet been exhaustingly Frankenstein was a smash success, and explored. Artistically, it was an age of discov- Waxman’s massive contribution was evi- ery, an age of un-jaded sincerity and opti- dent. In a platitude befitting Whale’s mism, and, in many circles, an age of unpar- movie, Waxman brought the film to life. alleled support. In short, it was a world dia- From there, he never looked back. During metrically opposed to everything the young his nearly 40-year career in Hollywood, Franz Waxman had known. Waxman established himself as one of the Franz Waxman (1906-1967) arrived in early giants of film music. Hollywood in 1934. He had previously been “I knew Franz for one hell of a long living in Paris—a self-imposed exile from the social, time,” remembers . “I political and artistic turmoil of his native Germany. admired him—he was one of the best of all.” American film music promised to offer him artistic free- Composer Elmer Bernstein seconds the notion: “I always dom, and the young composer responded with some of the credit Franz Waxman with being one of the [greatest] influ- most rich and bewitchingly passionate music Hollywood ences on me. He was a very forward-looking composer. If you had yet heard. His sound was rooted in European refine- listen to his body of work, he was the most adventurous of all ment, which, when pollinated with the extroversion of the European composers. Miklós Rózsa was a great compos- American cinema, created the buoyant, detailed sound er, but Miklós Rózsa, in his film music, was not nearly as that now defines this era. The stops of artistic oppression adventurous—rhythmically and harmonically—as was had been pulled, and Waxman let himself soar. Waxman. He was an extremely energetic man and you find Waxman’s first big break came in the form of James that in his music. There’s a tremendous rhythmic energy. Whale’s 1935 The . (He scored a few But that came very much from his personality. He was some- European films and arranged for the Jerome Kern/Oscar body who just kept learning his whole life.”

• A RETROSPECTIVE B Y D OUG A DAMS • PHOTOS OF FRANZ WAXMAN COURTESY OF JOHN W. COLLECTION, COURTESY OF JOHN WAXMAN WAXMAN OF FRANZ PHOTOS W. ©1999 JOHN WAXMAN. ALL RIGHTS RESERVED

A PRIL/MAY 1999 22 Film Score Monthly Franz Waxman (with son John, seated) on the 20th Century Fox recording stage during sessions for The Virgin Queen (1955) following Prince Valiant. A Valiant Effort

MASTER OF VERSATILITY: Franz’s son, John Waxman, states, “I think that my Three diverse pictures father was such a chameleon that it didn’t matter if it from Waxman’s oeuvre. was [music for] gangs on the streets of New York, Franz, knights in Camelot, or contemporary drama. He was at home in all those idioms.” Offscreen Waxman’s remarkable success with The Bride of Frankenstein landed him a position as a music direc- Two non-film works tor for . He held the post for a few years, but eventually felt he needed to spend more Reviewed by Doug Adams time writing his own music, so he signed a compos- ing contract with MGM studios, which lasted from ★★★★1 1936 to 1943. MGM kept him busy with films like The Song of Terezin /2 Fury, Dr. Jekyll and Mr. Hyde and Captains FRANZ WAXMAN Courageous, and lighter fare such as The Ice Follies Decca 460 211-2 • 13 tracks - 57:00 of 1939 and Marx Brothers at the Circus. Hoping to work exclusively on dramatic films, Waxman relocat- f works like Prince Valiant best repre- ed once again, signing, this time, with Warner Bros. sent the film music side of Franz Warner Bros. was an enormous studio, however, and IWaxman’s life, and chamber works as glad as they were to have him, he was still a junior like Goyana (below) represent the concert member of the triumvirate of Max Steiner, Erich music side, then perhaps The Song of Korngold and Franz Waxman. Terezin best represents who Waxman was

As the century hit its midpoint, Waxman made FILM CORPORATION ©1954 20TH CENTURY FOX as a person. Says John Waxman, “If you his presence unmistakably felt with a one-two listen to The Five Sacred Trees of John punch for Paramount: he earned both the 1950 and Williams or The Song of Terezin by Franz Waxman, you might learn more about the of the composer than by listening to their most famous film scores.” The Song of Terezin is the latest in the Decca series Entarete Musik, a collection of works either written by composers who had their work suppressed by Nazism— DEMETRIUS AND THE DEMETRIUS AND GLADIATORS many of whom died in concentration camps—or by the survivors of Hitler, now honoring the victims. (Terezin, itself, was the site of the Nazis’ “showcase” camp—a front used to make it appear they were kind to their captives while, surreptitious- ly, they were killing them or exporting them for execution elsewhere.) John ©1935 UNIVERSAL PICTURES; Waxman relates, “This was [Franz Waxman’s] memorial to those people and to that period... This series is so important 1951 for best film score (then that, unless all the composers on the “Scoring of a Dramatic or Comedy Picture”) for Sunset Entarete Musik list are recorded, Hitler Boulevard and A Place in the Sun, respectively. This really wins the war, because then he really newfound clout allowed Waxman to operate as a basi- did kill these people off. Whether their BRIDE OF FRANKENSTEIN cally independent composer, and he never again signed music is good, bad, or indifferent is irrele- a long-term contract with a studio. vant—we should record this music, have a During this same time-frame, Waxman began to listen, and see if future generations will branch out into the concert world as not only a compos- want to embrace it. Give it the chance it er, but as a conductor and organizer. In 1947 he estab- didn’t have.” lished and funded the Los Angeles Music Festival. This Franz Waxman composed The Song of yearly event ran from 1947 until 1966 and attracted a Terezin in 1964, just three years before he world’s worth of prominent composers and performers. passed away. For his forces, Waxman elect- The festival saw the premieres of modern-day classics ed to use children’s choir, full adult cho- such as Stravinsky’s ballet, Agon and Sir William rus, a mezzo-soprano soloist, full sympho- Walton’s War Requiem. Waxman himself conducted the PICTURES,©1950 PARAMOUNT INC.; ny orchestra, and text from I Never Saw American premiere of Prokofiev’s 7th Symphony. Another Butterfly—a collection of poems David Raksin remembers the concerts fondly, but written by children imprisoned during the recalls that not everything always went perfectly. “One Holocaust. As his son recalls, Waxman time [Waxman] was supposed to have Oscar Levant play was in ill-health as he was composing the

the Shostakovich 2nd Concerto for Piano, and Oscar was SUNSET BOULEVARD

A PRIL/MAY 1999 24 Film Score Monthly work. “He had the flu. He had it for about sequences than a tions and recurring six weeks, in New York, in the winter. And series of perpetu- emphasis on diaton- it was during that time that he wrote most ally unfurling ic and whole-tone of the piece.” Waxman would persevere and ideas, each dissolv- constructions not complete his commission on schedule, ing and developing only adds to the marking the first of several occasions on into the next. accessibility, but which this piece would seemingly inspire Tonally-based marks the piece as the defeat of adversity. expressiveness Waxman’s own. For the work’s premiere, Waxman asked gives way to angu- Following are the mezzo-soprano Betty Allen to perform with lar twelve-tone light-hearted—and the Cincinnati Symphony Orchestra under rows. A Beethoven vaguely Stanislaw Skrowaczewski. Allen, a young, quote is upset by Shostakovich-like— attractive black woman, was in California eerie octave dis- “The Charm visiting her sister at the time, so the two of placements that Bracelet for them set off in a convertible for a cross- give it a floating, disembodied ambiance. Chamber Orchestra” (heard here in a 1990 country road trip—not an entirely safe Steady low string passacaglias are broken version completed by Arnold Freed) and proposition in the mid-1960s. Waxman him- by violent eruptions of dissonant brass. the more muscular Sinfonietta for String self was encouraged by the work to journey Even the finale movement ends with a dis- Orchestra and Timpani, which incorporates to Germany. Recalls John Waxman, “I quieting shiver that is at once remorseful, the timpani as a third low string voice think he was very proud of this piece, fearful, angry, and none of these. Perhaps rather than a reinforcing device. because when he was ill, just before he the work’s greatest strength is the incredi- “Tristan and Isolde” Love Music for died, he decided that he really had to go to bly wide trough of musical and emotional Violin and Piano; Auld Lang Syne Prague and see Terezin for himself.” territory it navigates. It never wears its Variations for String Orchestra, Violin and In a way, the final movement of intentions or its machinations on its sleeve. Piano; and Roumanian Rhapsodie No. 1 in Waxman’s Terezin adopted an autobio- It’s a work of incredible polish and passion, A Major for Violin and Orchestra showcase graphical touch. “The last lines became this and an undeniably important 20th century the playing of violinist Mark Kaplan. Of the incredible metaphor for him. ‘We want to composition. three, Auld Lang Syne best displays the live...’ That was also what he was strug- Also included on this disc is composer personal wit and detail Waxman brought to gling with, his own illness... He wanted to Eric Zeisl’s Requiem Ebracio, a more tradi- his writing. In its four movements, the clas- live; he wanted to work; he did not want to tionally choral/symphonic work incorporat- sic New Year’s Eve tune is injected with the die.” In a concluding coincidence, Waxman ing Eastern scales. In a tragic coincidence, spirit of five composers: Mozart, Beethoven, would conduct his work at the final concert Zeisl lost both his parents in the Terezin Bach, and a Shostakovich/Prokofiev hybrid of the final year of the Los Angeles Music camp, making the pairing on disc particu- entitled “Hommage to Shostakofiev.” The Festival. It was first and only time he pre- larly fitting. Roumanian Rhapsodie—written for but sented the work under his own baton, and ultimately cut from the film, Humoresque— it was the last time he would ever conduct. Goyana ★★★★ most resembles the Waxman of the film Decca’s new recording features the FRANZ WAXMAN world with its buoyant, folksy lyricism. Rundfunk Symphony Orchestra, Choir, and Koch International Classics 3-7444-2H1 Kaplan’s most virtuosic playing is heard Children’s Choir, and Della Jones as the 20 tracks - 71:21 here, though he never strays from the mezzo-soprano soloist, yet it is Waxman’s warm, romantic heart of the piece. music that is the centerpiece. His trade- och’s Waxman album leads off with Rounding out the disc are two more mark brilliant colors abound, as does his its titular work, Goyana: a collec- soloist-centered works. Introduction & irrepressible lyricism, but here his voice Ktion of four sketches for strings, Scherzo for Cello and Orchestra was to takes on a passion and gravity unlike any percussion and solo piano. The four short have been Waxman’s cello concerto, but he of his other works. The writing veers movements are based on a quartet of passed away before completing the work. between angrily pleading protests and a Francisco Goya paintings, and Franz The few existing minutes present an excit- sort of pensive hopefulness, as if seeking a Waxman perfectly captures the exotic ing series of expertly scored rhythmic placement for the Nazis’ atrocities among charm of the Spanish artist with an intrigu- motifs, which, sadly, Waxman was never the world’s greater scheme—even if none ing blend of melodic and texture-based able to expand upon. The disc finishes with will ultimately be found. styles. Of particular note are the color a trumpet and orchestra of Stylistically, The Song of Terezin finds effects Waxman achieves in combining mal- Waxman’s classic “Carmen” Fantasie. Waxman at his most modernistic, but his let percussion instruments with piano Trumpeter Rodney Mack’s dexterous per- most accessible. Even at their extremes, his (expertly performed by Christina Ortiz): formance retains the rustic charm of the experimental gestures (oftentimes recalling religioso chimes and block piano chords in more traditional violin setting, but with a the kaleidoscopic fluidity of ) “The Miracle of St. Anthony” and high-reg- charismatic forcefulness unique to this ver- remain grounded in a sense of drama-based ister and spidery piano arpeggios sion. As on The Song of Terezin, the perfor- balance and architecture. The eight-move- in “The Witches’ Sabbath.” At times, mances (here by the Orquestra Simfonica ment work (totaling nearly 40 minutes) is Waxman’s harmonic sense displays a densi- de Barcelona i Nacional de Catalunya), without any formal structure, but this only ty not unlike early Schoenberg or late under the perceptive baton of Lawrence helps it come across as less a collection of , but his distinct orchestra- Foster, are uniformly excellent. FSM

Film Score Monthly 25 A PRIL/MAY 1999 A Valiant Effort

in one of his regressive moods—he was just frightened to pictures for himself, although he did a lot,” states death,” Raksin remembers. “People never understood Burlingame. “If Zanuck wanted Al to do a particular pic- that, but he had this hideous stage fright which hit him ture, then Al would do it. But Al would often assign other sometimes, and he had a hell of a time conquering it. So, composers to do ‘A’ pictures if he knew that those com- Franz sent his [assistant], Maxim Gershunoff, to Oscar’s posers were right for the material. The two primary house to get him. Oscar, at first, didn’t want to come, but examples that come to mind are Bernard Herrmann and STAR WARS: James finally he agreed to. And, even though Oscar was in his Franz Waxman.” Waxman was set up with a flexible but Mason as evil Sir pajamas and bathrobe as usual, [Gershunoff] talked him significant two-pictures-per-year deal at 20th Century Brack (top right) vs. into bringing his full dress suit. So they went [to the con- Fox. It wasn’t an exclusive contract, but it told Waxman as good cert hall], and Oscar announced to Franz that he was that his work would be taken seriously at the studio. princess Aleta. unable to play and Among the first pictures Waxman was offered by Fox he apologized. was the biblical epic The Egyptian (1954). This was Franz said, ‘All Darryl F. Zanuck’s pet project, so naturally he first asked right, Oscar, don’t Alfred Newman to score the film, but Newman had his worry. I’ll play it.’ hands full with the musical extravaganza There’s No So Franz got ready Business Like Show Business. (In fact, Alfred Newman to go out to play, was so overwhelmed by the project he eventually enlisted and he looks the assistance of his brother, Lionel.) Zanuck suggested around and next to that Waxman get the project. Waxman, however, refused him stands Oscar the offer. He had previously accepted an invitation to con- in his full dress duct around Europe that summer. On top of that, suit! And he came Leonard Bernstein had asked him to conduct the Israel out and played the Philharmonic. “They were just starting out,” recalls hell out of it!” John Waxman. “He felt it was important to help them.” With visibility So, The Egyptian chores were split between Alfred came popularity, Newman and Bernard Herrmann, and Waxman was left and soon Waxman in need of a project to fulfill his Fox contract. found himself with a league of ardent A ROYAL OPPORTUNITY admirers—among It was around this time that two Fox projects crossed them Alfred Waxman’s desk. One was a biblical show entitled Newman. Newman, of course, was the immensely Demetrius and the Gladiators, a sequel to 1953’s The powerful head of music at 20th Century Fox, and Robe. The other was director Henry Hathaway’s Prince a fine composer in his own right. “Al and Franz Valiant. Valiant was a costume drama/action adaptation had a huge respect for each other,” notes film of the popular Prince Valiant comic strip. It stared Robert music historian (and author of an upcoming book Wagner as the title character, a pre-Psycho Janet Leigh as on the Newman family), Jon Burlingame. Since , and James Mason as the duplicitous villain. its in 1934, Darryl F. Zanuck had been It would call for a robust score steeped in leitmotivic ref- the head of 20th Century Fox. In 1939 Zanuck erences, British pastiches, and a sense of robust, extro- brought Newman on board as his music director, verted expression. Waxman accepted. and there was no one whose musical opinion the Waxman’s involvement on Valiant began the same way movie mogul held in higher regard. “Al Newman all of his projects did. He read the script and occasionally was a power to be reckoned with on the [20th watched a scene or two with the director and producer. Century Fox] lot in a way that few music directors When the entire film was done shooting, he gathered in the history of Hollywood have been,” says with the director, producer (Robert L. Jacks), and Alfred Burlingame. “If there was an issue, it was Al who Newman for the first full viewing. There they decided on had Darryl Zanuck’s ear.” the feel of the score—the dramatic texture—but not the Newman’s duties required him to oversee the specifics. Spotting and thematic decisions were saved for musical progress of each Fox project. This meant the second and third viewings. “My father always came that composers had far more contact with him than with home after seeing a picture, and he would tell us about it directors, producers, etc. Elmer Bernstein worked at Fox after dinner,” remembers John Waxman. “[He would during this period. “It’s hard to realize, but way back in say], ‘Oh I think such-and-such,’ or ‘I’m not sure,’ or the ‘50s, we didn’t have as much contact with filmmak- ‘This is where I’m going to go.’” ers as you have now,” he says. “When I worked at Fox— Screening number four involved orchestrators Edward when Alfred Newman was running the Fox music pro- B. Powell and Leonid Raab. Leonid Raab, Waxman’s reg- gram—my greatest contacts were with Alfred Newman, ular orchestrator, had worked with the composer since not the filmmakers. Alfred Newman was the go-between. his MGM days, beginning in 1936. Edward B. Powell was If you had musical problems you could ask his advice “the number one orchestrator at Fox,” says Jon because he was, himself, a superb composer. Those rela- Burlingame. “He was Al Newman’s right-hand man. tionships were very different in those days.” Eddie was not only a gifted musician, but one of the Additionally, Newman’s was the last word in assigning greatest orchestrators in the history of Hollywood.”

composers to projects. “Al would not always take the ‘A’ Powell, who had worked with such musical luminaries as FILM CORPORATION ©1954 20TH CENTURY FOX VALIANT PRINCE

A PRIL/MAY 1999 26 Film Score Monthly George Gershwin, was renowned for his talent with tume dramas. John Waxman recalls that many of the Fox strings. Even today, often reference the musicians felt the Prince Valiant score was very “Powell String Sound” in conjunction with this period. Korngoldian. (Waxman in particular was so impressed with Powell’s “I don’t think my father set out to do something in work that he eventually bought a house in Malibu to be that direction, because it was not his style,” he says. near his collaborator.) “But, the subject matter really lent itself. There were With his orchestrators, approach—and of course, his these characters all set in England, there was sword lucky pad of yellow Paramount music paper—in hand, fighting, all the obvious elements were there. So, being a Waxman began his work on Prince Valiant. “He took his classically trained composer (not unlike Korngold), my film music extremely seriously, and was extremely dedi- father used the same techniques.” It wasn’t a case of cated to it,” asserts Elmer Bernstein. “And [he] was very Waxman aping Korngold’s style, it was a case of him fol- quick to defend it. In that sense, he had a competitive lowing a successful blueprint. The Prince Valiant main nature—he wanted to be the best.” Serious- minded or not, Waxman was no stranger to genre demands, and he had no problem with developing adaptations of his own style. Valiant solicited not only Waxman’s intuitive- ly poetic, Romantic style, but an unusually heavy emphasis on leitmotifs. No less than six major character themes and a handful of recurring motifs were to lace the score [see sidebar]. Cleverly, Waxman used his themes not only to reflect the screenplay’s characteri- zations, but to expand upon them. Sir Gawain’s theme, for example, gently mocks the experienced knight’s self-importance with a slightly-too-sovereign set of string chords; it adds a touch of comic grace to Sterling Hayden’s somewhat literal-minded portrayal. Additionally, James Mason’s fine work as Sir Brack is scored with Waxman’s Dark Knight theme—a musical giveaway prefiguring the film’s dramatic second-act revelation that the two characters are one and the same. Completed, the Prince Valiant score con- veyed a sense of rugged elegance. It was brash and heraldic, but it never skimped on intelli- gence and detail. Most of the work was com- posed for full orchestra, but Waxman constantly separat- theme, for example, is a rip-roaring combination of With Oscar Levant ed his ensemble into small colorful panes, keeping the tex- climbing violin runs, clamorous brass eruptions, jovial rehearsing for the West tures rich but clear. The film’s landscapes were bathed in xylophone lines, and the kind of innate lyricism that Coast premiere of Dimitri light British woodwinds and strings, the rousing chases marks the finest of Waxman’s work. It was the same Shostakovich’s Second twisted their way down kinetic, percussive rhythmic combination of styles and attitudes that Korngold pio- Piano Concerto at the Los devices, and the heroism and gallantry of knighthood neered for these films, but it was Waxman’s original Angeles Music Festival, came alive in lush brass chorales. The score also main- assemblage—it was his composition. June 2, 1958. tained an excitingly modern sense—hoary traditions were Still, why should this work so well in a knights-in- brought up to date with odd harmonic structures, wiry armor costume drama? Like Korngold, Waxman’s music complex rhythms, and unusual instrumentations; one cue had its roots in the European concert hall. It was the stuff (“The Singing Sword”) even includes an electric violin. of the upper classes, old European money, and the estab- lishment. (This is not to insinuate that this music was the AN UNEXPECTED PAIRING exclusive domain of the well-to-do, but that it was per- In retrospect, it should have been an odd coupling of ceived of as an illustrious—and non-disposable—form of styles and settings. Prince Valiant told the tale of King musical culture, separate from traditions.) In Arthur and the Knights of the Round Table. It was set in addition to providing cohesion, the music lent import—a ancient Camelot. Late Romantic music was centuries feeling of consequence that transcended the story of the ahead (and considerably more sophisticated) than any- film. Not only were the characters, their actions and situ- thing historically specific to this project. Yet, not only was ations important, but it was important that the audience this music the norm for a film such as this, it was a watched these events. The thematic usage, which was smashingly good symbiosis. Prince Valiant was preceded generally based on tuneful, often pastiche melodies, only by such scores as Erich Wolfgang Korngold’s The helped get the point across—it made the musical struc- Adventures of Robin Hood and The Sea Hawk. Korngold ture more accessible while elevating familiar forms. So, laid much of the musical groundwork for these ripe cos- not only was it artistically pleasing, it reinforced (and fan-

Film Score Monthly 27 A PRIL/MAY 1999 A Valiant Effort

tastically decorated) established musical values. On the flip-side, the film provided the context necessary for experimental musics Waxman tended towards. Waxman’s Valiant score brought polytonality, shockingly dissonant sonorities, and odd meters into the mainstream at a time when such elements were regularly reserved for the auspices of the concert hall. But, the drama realigned the aesthetics of the music. It made sense to hear the Black Knight’s motif in three overlapping keys because (a) he was evil, (b) he was mysterious, and (c) he was wildly stabbing a lance at our hero! It was a perfect marriage of elements in that each gave the other a sense of accessibility and pro- The eponymous prince vided it room to grow. The drama could be all the more out- (Robert Wagner) and Sir landish when grounded in the regality of concert music, Gawain (Sterling Hayden) and the music could be as abstract as it needed in order to face the Knights of the portray the outlandish events. Round Table. Prince Valiant recorded at Scoring Stage One at 20th Century Fox in November of 1953. “It was a pleasure for a

sion. The end result is a nasty musical snarl Waxing Poetic: that is viscerally compelling, but without any sort of intellectual conclusion. A perfect Themes at work in Valiant By Doug Adams musical counterpart for the single-minded heathen Vikings.

ohn Williams’s Star Wars scores are a recognizable shape). Interestingly, there 5) THE DARK KNIGHT/ probably today’s best-known examples of seems to an alternate version of the theme SIR BRACK THEME Jleitmotif scores, where major characters written, but consistently crossed out, in the This fully developed theme comes in two and story points have memorable themes conductor’s scores [1a]. segments. The first is the tune itself, another befitting their roles. With anywhere from a second-inversion minor triad-based melody few notes to a long melody, the composer 2) BOLTAR’S MOTIF which is like an elaboration on [3], the captures the essence of the hero, villain, love Boltar is a friendly Viking allied with Valiant Mystery Theme. (Not surprisingly, the interest, etc., and works their themes in and and his family. Although only used in two Mystery Theme is usually used to foreshad- out of the score as the story dictates, altering scenes, this theme goes along way in depict- ow the non-specific threats against Val’s tempo, instrumentation and dynamics. The ing his friendly, seafaring nature. The tune family.) Additionally, Waxman often adds a tradition comes from Wagnerian opera, and has its origins in the hornpipe (a composi- lower neighbor tone a half-step below and it was utilized by Franz Waxman for a very tional/dance style associated with sailors) just before the final pitch to give the theme a different Wagner—Robert Wagner—in music of Britain, and even utilizes the tradi- diminished quality not unlike [4], the motif Prince Valiant. tional Scottish-snap rhythm (see bar 1, beat for the Evil Vikings, with whom Brack has Fans of Star Wars should be intrigued by 4). It’s usually set for solo horn or trumpet. struck up an alliance. The Brack/Dark how Waxman establishes his own musical Knight theme, however, conveys a greater universe for the Camelot knights, using 3) MYSTERY THEME sense of purpose than does the Vikings’— much the same philosophy as Williams’s for Coincidentally a near dead-ringer for Jerry hence the lower neighbor’s upward resolu- the Jedi knights. Although the themes may Goldsmith’s theme from The Shadow, this tion. This tune is second only to the Valiant seem effortless, they are all carefully con- short motif outlines and slightly ornaments theme in occurrence, and it goes through structed to convey the right “messages” for a minor arpeggio to represent the mysteries more variations than any other. Of particular each character. of Valiant’s quest. It’s especially associated note is its tri-tonal treatment in the cue enti- with King Aguar’s (Val’s father) Viking trou- tled “The First Chase.” The second segment 1) PRINCE VALIANT THEME bles. Its triadic—and often brass-based— of The Dark Knight/Sir Brack Theme is a Valiant’s represents the focal point nature gives it a regal yet ominous color. See compound meter, galloping accompaniment of Waxman’s score. As such, it goes through also its close relative, The Dark Knight figure that is often used by itself, particularly all sorts of machinations—major keys, minor Theme [5]. in a timpani/bass drum setting. keys; brass, winds, string ; tri- umphant, tragic settings; etc. Waxman 4) THE EVIL VIKINGS’ MOTIF 6) SIR BRACK’S “HERO” THEME builds his theme around two flexible ele- This five-note motif represents the hordes of This set of chords is used twice in association ments: a descending octave interval (which evil Vikings, and eventually comes to repre- with Sir Brack’s assumed heroism and makes the theme distinguishable in just two sent their leader, Sligone. Although brief, the knightly honor. Brack, of course, is also the notes, and without inferring any certain pitches suggest two triads—one minor, one Dark Knight, thus the theme is purposely mode) and an ascending/descending scale fig- diminished. This gives the final pitch both a misleading. Its close relation to the material ure (which can be set in any mode and retain cadential stress and an unresolved impres- we hear under the first sightings of Camelot

A PRIL/MAY 1999 28 Film Score Monthly composer to come work at 20th Century Fox,” says Bride of Frankenstein, Captains Courageous, A Place in Burlingame. “You knew you had the kind of solid, funda- the Sun, Demetrius and the Gladiators and Taras Bulba, mental support for your creative vision as a composer and and has inspired over four decades worth of large-scale an artist because Al [Newman] would back you on creative orchestral film scoring. Historically, it stands as a towering decisions. Plus, you had a fabulous contract orchestra of testament to the attitudes and abilities of film music’s the best musicians in town and that scoring stage had a Golden Age. FSM sound that’s never been duplicated since.” John Waxman was 13 in 1953, and attended the Prince Composer David Raksin is currently writing a book, If I Say So Valiant recording sessions after school. “I loved going to Myself. Elmer Bernstein keeps a busy schedule teaching and Fox,” he recalls, “particularly because it was such a won- composing. He’s currently working on Martin Scorsese’s Bringing derful studio to visit... I think [my father] enjoyed working in the Dead, Al Pacino’s Chinese Coffee, and Barry Sonnenfeld’s at Fox, particularly because the orchestra was so terrific The Wild Wild West. John Waxman is the founder of Themes and the caliber of player was at such a high level. He knew and Variations (http://tnv.net), a business which makes available that when he went to Fox, he would really have a wonder- to orchestras and facilitates new recordings of music from film ful orchestra to play his music. That was always great for and television. Jon Burlingame is writing The Newmans of a composer.” Hollywood, due from Schirmer Books in 2000. Doug Adams is a Today, Prince Valiant is regarded as one of Waxman’s frequent contributor to Film Score Monthly and can be reached at true masterworks. It resides on the same mantle as The [email protected]

assists in the deceit. Musical Examples 7) SIR GAWAIN’S THEME 1 PRINCE VALIANT THEME A rich and self-important theme for Sir Gawain, who has more honor than couth. Waxman often sets the theme in classically styled contrary motion for strings—the refined guise most likely a sarcastic poke at 1A PRINCE VALIANT THEME (ALTERNATE) the knight’s rough exterior.

8) ILENE’S LOVE THEME: Probably the most British of all of Waxman’s Prince Valiant themes, this bittersweet tune represents Aleta’s sister, Ilene, and her unre- 2 BOLTAR’S MOTIF quited love for Sir Gawain. Harmonically, Waxman allows major and minor triads to sift into one another, which gives the theme a romantic yet melancholic mood. The 3MYSTERY THEME melody is usually scored for solo instruments (oboe and viola, in particular) to underplay and mute its passion. 4THE EVIL VIKING’S THEME

9) ALETA’S THEME Like most adventure scores’ female themes, 5 THE DARK KNIGHT/SIR BRACK THEME this is Aleta as referenced through Val. In other words, it’s not so much a depiction of her character as it is an expression of Val’s romantic inclinations towards her. Waxman 6SIR BRACK’S “HERO” THEME treats this material as an adjunct of Valiant’s own theme. (In fact, Aleta’s is the B theme of the Main Title cue—a classic structure for 7 SIR GAWAIN’S THEME the genre reproduced in Williams scores such as Superman and Raiders of the Lost Ark.) Musically, both themes begin with a large open-intervalled figure (Valiant’s a descend- ing octave, Aleta’s an ascending minor sev- enth). This not only allows Waxman to easily 8 ILENE’S LOVE THEME superimpose other material (minor sevenths exist in all sorts of functional-tonality-based harmonies), but to reference the theme with 9) ALETA’S THEME just two pitches. FSM

Film Score Monthly 29 A PRIL/MAY 1999 z

OF Super Hits THELate‘70s By Jeff Bond Additional Reviews by Douglass Fake

JERRY GOLDSMITH BUYER’S GUIDE P ART THREE

he late ‘70s saw Jerry Goldsmith take on a much Academy Award for his chilling choral horror score for ’s supernatural thriller, The Omen. In higher profile after languishing in television during the wake of the Oscar win, more big productions came Goldsmith’s way, and he was as likely to provide out- the early part of the decade. In the aftermath of standing scores for garbage like Damnation Alley, Damien: Omen II and Irwin Allen’s The Swarm as he TIsaac Hayes’s Shaft, major-league film composers was for more respectable fare like MacArthur, Islands in the Stream and The Great Train Robbery. found themselves scurrying for cover in an era when Goldsmith practically defined the modern action score movie producers increasingly looked to pop songs for with his hammering music for the thriller their films. But in 1975 Goldsmith burst back onto the Capricorn One, with his eerie, disturbing score big screen with a vengeance on John Milius’s epic adven- to ’s Coma, and got a permanent ham- ture , an Oscar-nominated and merlock on with his brilliant scores for popular effort that was only overshadowed by Steven Logan’s Run, Alien and Star Trek: The Motion Picture— Spielberg’s at the box-office. in a way Goldsmith was repeating the Renaissance he Increasingly Goldsmith was sought out for more spec- had achieved at the end of the ‘60s with scores like tacular productions as the post-Jaws blockbuster men- Planet of the Apes, The Illustrated Man and Patton. Yet tality took hold, and the composer expanded the scope of the composer still found time to score TV movies like his efforts with scores like Logan’s Run and The Contract on Cherry Street and Babe, often winning Cassandra Crossing. Although his Wind and the Lion in the process. score lost out to John Williams’s Jaws at the Oscars, in Thanks to Intrada’s Douglass Fake and author Jon 1976 Goldsmith was to win his first (and so far only) Burlingame, we’ve been able to include information on

A PRIL/MAY 1999 30 Film Score Monthly some of the more obscure Goldsmith efforts (mostly TV Alien (1979) ●●●1/2 movies) of the period—good luck tracking these down Silva Screen FILMCD 003 • 10 tracks - 35:32 (many are quite well done) on broadcast TV or video. The climax of Goldsmith’s avant garde writing of the This is one of Goldsmith’s greatest periods, which is ‘70s, this bone-chilling sci-fi horror score was sliced and why many of the ratings are at the upper range of our diced beyond recognition by Ridley Scott and his editors, system: replacing some of Goldsmith’s cues with leftovers from the composer’s 1962 Freud score and ’s ●●●● A must-have. One of Goldsmith’s finest works Symphony No. 2. Even in its butchered form, that unquestionably belongs in every soundtrack lis- Goldsmith’s score retains its power to make the flesh tener’s collection. crawl, but his original work is even more disturbing and ●●● Highly recommended. Close to being a classic, imaginative. Whether due to his bad experience on this and a worthy album out of which you’ll get a great film or just the natural development of his style, deal of replay mileage. Goldsmith never again wrote such a completely uncom- ●● Recommended with reservations. A score that promising and dark score. achieves its goals within the movie but makes for less-than-gripping listening in album form. The Great Train Robbery (1979) ●●●1/2 ● If you buy this, Jerry Goldsmith will hate you because Memoir CD MOIR 601 • 10 tracks - 27:58 you’re collecting his albums like bottle caps. This is a brilliantly uncharacteristic period score full of sprightly energy and percolating with the rhythms of the Caboblanco (1980) ●●1/2 steam locomotives around which the story is set. Prometheus PCD 127 (Belgium) • 12 tracks - 39:35 Goldsmith always seems to have great fortune writing This peculiar rehash of ideas from Casablanca starring music for films, and this has to rank next in the Bogart role was barely released in to The Wind and the Lion at the top of the heap. It is cur- 1980 and made a quick exit to pay cable, where rently available only on an out-of-print CD from the Goldsmith’s rolling, Herrmannesque title music, with its Memoir label, coupled with The Wild Rovers—the track Spanish/Polynesian flavor, and some crisp and raucous and running time information above refers only to the jungle chase cues could be appreciated only by insomni- Great Train Robbery half of the disc. acs. The Prometheus soundtrack album was released over a decade after the film, and while it’s leavened by Players (1979) ●●1/2 source cues (more than 13 minutes of the album are If you thought Goldsmith scored his first on-screen taken up by of Roy Noble’s “The Very orgasm in Basic Instinct, you owe it to yourself to rent Thought of You” and a Goldsmith/Carol Heather collabo- this glamorized study of a studly tennis player (Dean Paul ration called “Heaven Knows”) it’s well worth having. By Martin) and his hot-blooded affair with Ali MacGraw. the way, Carol Heather is Carol Goldsmith, the compos- There’s at least one heavily scored sex scene and some ter- er’s second (and current) wife. rific, energetic tennis music that lays groundwork for Star Trek: The Motion Picture, of all things... Goldsmith saw in Star Trek:The Motion Picture (1979) ●●●● the tennis scenes a lot of excitement and created stirring Columbia/Legacy C2K 66134 • 18 tracks - 65:04 orchestral allegros that added sweep and color, particular- Considering how much television work Goldsmith ly in the “winning” montage. His love theme for did in the ‘60s, it’s amazing that he never scored MacGraw and Martin, for piano and strings, is typically an episode of the original Star Trek. (Goldsmith’s rich and flowing in a major key. The theme for Maximilian name was on a short list of desired composers for Schell, darker and minor-keyed, is scored for solo trumpet the series pilot, but he was unavailable at the in a Chinatown-esque fashion. time.) Between the composer’s undisputed mas- tery of the science fiction genre (having just come Damien: Omen II (1978) ●●● off Alien) and his prior collaboration with Robert Silva Screen FILMCD 002 • 10 tracks - 34:20 Wise on The Sand Pebbles, his assignment to Star A heavier, fuller-sounding adaptation of Goldsmith’s Trek: TMP was an obvious choice, and the result original Omen score, Damien is essentially the same was one of the composer’s most spectacular, imag- music, but it does feature a spectacular, driving new inative and popular scores. opening (with a diabolically bouncing electronic rhythm) Ranging from brassy, syncopated bombast (with an and cues like “Sleepless Night” that add atmospheric unforgettable opening march) to the Herrmannesque new material to the brew. mystery of the composer’s music for V’ger, the score is a series of orchestral showpieces that was initially Capricorn One (1978) ●●● released on a great-sounding, digitally edited LP. The GNP/Crescendo GNPD 8035 • 12 tracks - 39:36 long-delayed Sony reissue finally offers up previously Goldsmith’s seminal action score coalesced ideas he’d unreleased music like the Vulcan planet and shuttle toyed with in Logan’s Run, Twilight’s Last Gleaming and cues, but also neglects terrific music like the just about every other ‘70s movie into a brutally efficient, Enterprise’s first rendezvous with V’ger (“Meet unadorned style marked by a bellicose, martial title cue of V’ger”) and Goldsmith’s remarkable, first-draft takes brass, strings, bells and percussion— blat an on “The Enterprise” and Spock’s shuttle arrival. The ostinato of a minor-sixth interval in alternating 6/8 and Oscar-nominated score lost out to Georges Delerue’s A 5/8 bars. The rest of the score has lonely trumpet solos Little Romance... anybody remember that one? emphasizing the isolation of the film’s betrayed astronaut

Film Score Monthly 31 A PRIL/MAY 1999 heroes; grumbling, moody suspense cues; and propulsive, Moroder’s influential Midnight Express), setting the virtuoso action set pieces—especially when Telly Salvalas doings of a group of aging Nazis led by Dr. Josef Mengele (?) emerges as a cropdusting pilot to rescue the hero. (Gregory Peck hamming it up in a rare villain role) to the Interestingly, Goldsmith’s style tune of a brutally menacing Viennese waltz. It’s a heavy, changes between the film’s dry, spare sound and the dark and dense score that’s also fiendishly funny. lush, rich and full arrangements made for the re- The original LP featured a lengthy “suite” of edited- recorded Warner Bros. soundtrack album; Goldsmith’s together cues as the lone track on side one; side two fea- post-Capricorn One scores mostly feature this bigger, tured a song (“We’re Home Again”) and two additional heavier sound. GNP/Crescendo’s CD couples the album cues, including the memorable death-by-Doberman send- recording of Capricorn One with the 1981 Outland— off for Peck’s Mengele. This is reproduced on the CD, the track and running time information above refers which is an act of archaeology to get nowadays, a 1989 only to the Capricorn One portion. (The film sound- limited edition from Masters Film Music sold through track is unreleased.) the Varèse Sarabande CD Club. A Japanese reissue (same music) is equally scarce. Coma (1978) ●●● Bay Cities BCD 3027 • 10 tracks - 37:01 Magic (1978) ●●● Michael Crichton made hospitals scary in this thriller Tribute to Jerry Goldsmith SPFM 101 • 6 tracks - 16:41 with Genevieve Bujold unraveling a conspiracy to use Richard Attenborough’s sexed-up take on William comatose patients for body parts. Goldsmith returned to Goldman’s post-Twilight Zone novel of a troubled ven- his Bartók roots late in the decade for this clangy, per- triloquist’s apparent possession by his dummy received cussive suspense score, notable for its spotting (there is an ingeniously disturbing score from Goldsmith, who no music for the first 45 minutes of the film), nerve- gave voice to scary anthropomorphosized dummy “Fats” wracking cadaver room cues and dissonant piano perfor- with a maddening, see-sawing motif and icy mances. The Bay Cities CD revives the original MGM cool strings. One brilliant cue develops a lyrically beauti- album, including source cues like “ Strut” (yeah!)... ful love theme and sends it in headlong collision with the but the pop-flavored love theme arrangement is actually “Fats” harmonica motif, foreshadowing the film’s down- used in the movie. beat conclusion. (Goldsmith also provided music for a terrific television teaser ad for the film.) The Swarm (1978) ●●●1/2 This was one of four scores included on the Society Warner Bros. BSK-3208 • 10 tracks - 36:28 (LP only) for the Preservation of Film Music’s Tribute to Jerry It’s uncertain whether John Williams, producer Irwin Goldsmith CD given to attendees of a 1993 dinner hon- Allen’s composer of choice, was ever asked to work on oring the composer; track info above refers to the this hilariously incompetent film about killer bees. At Magic portion. any rate, Goldsmith (who hadn’t worked for Allen since scoring a second-season episode of Voyage to the Bottom Twilight’s Last Gleaming (1977) ●● of the Sea in 1965) took the job, produced a stupendous Silva Screen FILMCD 111 • 13 tracks - 38:33 action score, and valiantly went down with the ship. As Goldsmith supplied a gritty and percussive military score in so many of Goldsmith’s projects, the Warner Bros. for this tale of a mad general (a tired Burt Lancaster) soundtrack album remains the only artifact of this who takes control of a nuclear missile silo. This fits per- motion picture that anyone would ever care to remem- fectly between Capricorn One, ber. and The Swarm—the action cues are thrilling—but Interestingly, Goldsmith’s title cue blends the puls- there are a few draggy, effects-oriented suspense cues ing rhythms of Capricorn One with the moody that bog down the album, as does the sub-par playing by playing associated with his theme for the TV detective a German orchestra. series . The brash, buzzing bee attack This was released in 1992 as a commercial release by music anticipates effects the composer would later Silva Screen, and a 500-copy limited edition from the employ in Alien; Goldsmith takes the old “Flight of the Goldsmith fan club in England—the same disc in differ- Bumblebee” concept to a massive, fortissimo conclu- ent packages. sion. “Bees Inside” still ranks as one of the most excit- ing action cues the composer has ever written, and his Contract on Cherry Street (1977) ●●●1/2 exuberant end title music (heard over shots of lab-coat- TV movie ed scientists dancing around like idiots after defeating This is an above-average TV-movie thriller with Frank the bees) is equally memorable. emerging from acting retirement to play a NYC So far Warner Bros. has neither released their album cop who takes on the mob after his partner is killed. Now on CD nor licensed it to anyone else—a shame, since it’s personal... Goldsmith wrote 50 minutes of music there’s around 90 minutes of music in all, blasting with emphasizing complex and piano rhythms that Goldsmith action mania. Good inside gag: the main surfaced in his subsequent (and more visible) score for theme starts B, low E, high E—get it? “B-E-E?” Capricorn One. The lengthy car chase is one of Goldsmith’s longest and most exciting action cues; The Boys from Brazil (1978) ●●●1/2 Goldsmith is often admired for his action scores, and this Masters Film Music SRS 2001 • 4 tracks - 39:03 is one of his best. Goldsmith received another Oscar nomination for this Particularly notable is the instrumental color: Within tongue-in-cheek thriller score (but lost out to Giorgio the large orchestra Goldsmith abandoned ,

A PRIL/MAY 1999 32 Film Score Monthly horns and , but added an entire choir of trombones. The Omen (1976) ●●● The resulting sound is often pounding and intense, par- Varèse Sarabande VSD-5281 • 12 tracks - 35:10 ticularly in the action music. Trombone is also promi- This is it: still the lone Oscar-winner in Goldsmith’s nent (playing against strings) in the warmly melodic repertoire, and while it’s an incredibly influential, dis- main and end titles. tinctive horror score, you’ll be hard-pressed to find any- one who thinks it’s the composer’s greatest work. Often Damnation Alley (1977) ●●1/2 ridiculously identified as a rip-off of Orff’s Carmina This pathetic “adaptation” of Roger Zelazny’s hypnot- Burana (hey, Orff didn’t invent Latin chants), the orig- ic, post-apocalyptic novel was, incredibly, 20th Century inal score in the trilogy is an astringent, Stravinskian Fox’s follow-up to their release of Star Wars. chamber-style work with truly creepy subtle moments Nevertheless, Goldsmith’s score to Damnation Alley is mixed in with the more spectacular grand guignol-style outstanding, with terrific cues for the film’s ridiculous set pieces. The complete score is isolated in stereo on “Landmaster” all-terrain vehicle that almost convince Fox’s most recent laserdisc of the picture. you that you’re watching an exciting movie. It also fea- tures a gorgeous, Logan’s Run-style finale. While the The Last Hard Men (1976) score remains unreleased, the main and end titles (4:11 Music from Goldsmith’s 1966 Stagecoach and 1969 100 worth) were re-recorded by Goldsmith for his Varèse Rifles score was tracked into this late-era Chuck Sarabande Frontiers album (VSD-5871). Heston western about the pursuit of a gang of rapists (does this make the title a pun?) when Leonard High Velocity (1977) ●●1/2 Rosenman bowed out of the project. Goldsmith wrote Prometheus PCD 134 (Belgium) • 11 tracks - 33:53 no original music for it. A glum, low-budget adventure filmed in the , High Velocity was actually made in 1974 The Cassandra Crossing (1976) ●●● but sat on the shelf for a few years. Goldsmith’s score RCA OST 102 (Italy) • 11 tracks - 35:04 (released on a great-sounding Prometheus CD in 1994) Goldsmith wrote a great, driving action score with a is spare and moody, with some similarities to Under distinctly European sound for this bizarre conspiracy Fire in its lyrical moments, albeit with the edgy, per- movie about a passenger train full of botulism-infected cussive effects of Goldsmith’s Chinatown-era. One victims hurtling toward a fateful appointment with a motif for piano surfaced 15 years later in Basic Instinct; big and poorly constructed mountain bridge. Goldsmith the opening is similar to Medicine Man, with a lengthy contributed a sweeping, melancholy theme for strings tropical piece. and electric harpsichord (also warbled as a song on the album) with some heavy electric bass accents, and a Islands in the Stream (1977) ●●● number of spectacularly propulsive action cues full of Intrada RVF 6003D • 13 tracks - 51:17 wild rhythmic changes and odd meters... the most This score to an adaptation of an Ernest Hemingway thrilling of which, “Helicopter Rescue,” plays out dur- novel filmed by longtime Goldsmith collaborator ing the transfer of a large, infected St. Bernard dog Franklin Schaffner is long held up as Goldsmith’s per- from the train to a helicopter. The only downside of this sonal favorite composition. It contains some marvelous score is a sub-par performance, recorded in Italy; passages, in particular a lengthy, complex and brightly Goldsmith is credited with his own orchestrations. lyrical marlin fishing sequence and a post-Jaws shark attack sequence which Goldsmith scored with aggres- Logan’s Run (1976) ●●●1/2 sive South Seas rhythms á la Jerome Moross’s The Bay Cities BCD 3024 • 12 tracks - 41:33 Sharkhunters. One year before Star Wars changed all the rules, this Goldsmith’s re-recording of the score for Intrada drab Michael Anderson adaptation of the pop sci-fi (done during his sessions in Budapest for Lionheart) novel was the state-of-the-art in filmed science fic- suffers from a languid feel and the elimination of a cli- tion. Now it looks like one long disco dance sequence, mactic action cue which would have broken up an but there are a few good scenes scattered about and if album that sometimes feels redundant. The original you lose interest in the plot you can always stare long- soundtrack (a spectacular recording) is unreleased. ingly at the young Jenny Agutter. Goldsmith’s spec- tacular score ranges from a syrupy, lyrical main MacArthur (1977) ●●1/2 theme (lyrics: “As we follow the sun...”), to mesmeriz- Varèse Sarabande VSD-5260 • 11 tracks - 33:37 ing (and enjoyably cheesy) electronic passages, to Goldsmith returned to the military biopic with this some of the most vibrant, thrilling action music in the study of the WWII and Korean war general (a bespec- composer’s repertoire (“Intensive Care” and “You’re tacled Gregory Peck) who eventually let his ego get him Renewed” almost qualify as modernistic ballet) and fired by President Harry S. Truman. Goldsmith’s two evocative illustrations of the futuristic outdoors supercharged Sousa-style military march is tough to sit (“The Sun” and “The Monument”). The Bay Cities through on CD (the brass sonics will scrape your CD of the original MGM LP is a must-have, but this eardrums clean), but the score’s quieter moments are score deserves an expanded album. gorgeous, including an impressive low string reading of the traditional Japanese tune “Cherry Blossoms” Breakheart Pass (1976) ●●● arranged by Goldsmith. This unusual period thriller about an American secret agent on a train full of munitions in the 1860s boasts

Film Score Monthly 33 A PRIL/MAY 1999 one of the most spectacular fight scenes ever filmed Babe (1975) ●●● (between Charles Bronson and boxer Archie Moore, on TV movie top of a snow-covered boxcar traveling over high moun- Goldsmith won one of numerous Emmy Awards for his tain trestle bridges) and one terrific Goldsmith score. The sensitive, bucolic score for this biopic about Olympic ath- unforgettable title theme sails a thrilling bridge out over lete Babe Didrickson (Susan Clark). Goldsmith’s title a wonderful honky-tonk piano riff, and there are tons of music was spun out from piano and guitar solos, eventu- percussive traveling music built around mechanistic, ally taken up in full flower by strings in a manner not locomotive-inspired rhythms. The suspense cues are dry, unlike that of The Other. but the title music and action material warrant an album. (1975) ●●● Take a Hard Ride (1975) ●●● TV movie Tribute to Jerry Goldsmith SPFM 101 • 7 tracks - 16:53 Starring Lee Remick and Richard Crenna, this was a ten- Goldsmith must be one of the only major Hollywood film der and touching story of an abandoned child being composers to have a period western under raised in the backwoods of Indiana by a childless couple. his belt, but if there’s a rule about the composer’s output, Goldsmith imbued the TV movie with his customary it’s that all Jerry Goldsmith western scores rule, dude! skill, keeping his half-hour of music sensitive, simple and Opening with a deceptively modest figure, the warm, with harmonica adding to the outdoor color, and score explodes into a rip-roaring western theme and fea- widely spaced strings accompanying the gentle melodies. tures a boatload of wonderful, Stravinskian rapid-fire Interestingly, the main theme bears a striking resem- action cues as well as beautiful, reflective lyrical cues for blance to one Goldsmith wrote for a 1972 episode of The guitar, flute and strings. Available in an excellent suite Waltons (titled “The Love Story”). on the Goldsmith SPFM Tribute CD, this awaits a more accessible (and longer) official release. The Reincarnation of Peter Proud (1975) ●●● This is a creepy supernatural film with Michael Sarrazin Medical Story (1975) ●● possessed by the soul of a murder victim from years ear- TV theme lier. Goldsmith’s score is a highlight of his supernatural Goldsmith wrote the theme for this would-be competitor oeuvre, with a weird and moody title melody put through to Chad Everett’s Medical Center, but orchestrator a series of increasingly fluid, half-heard variations amid Arthur Morton handled the score itself. Goldsmith’s reams of eerie, disturbing electronic effects. It’s far more sudsy romantic theme gains a lot of excitement from a musically accessible than something like The Mephisto repeating perfect-fourth horn bookend that will remind Waltz, but equally experimental. some of his Oscar fanfare. Ransom (1975) ●● Breakout (1975) ●●1/2 Silva Screen FILMCD 081 • 7 tracks - 24:12 While Goldsmith’s scores for Sean Connery are always An obscure Sean Connery thriller, Ransom is no Wind talked about, no one seems to recall that his music for and the Lion, but it does boast a rich, extended and pow- the fine films of Charles Bronson has been almost as erful theme for horns that gets a workout in both the good, albeit flying much farther below the radar of the film and the album. Also featured: some cool, sneaky average video-renter of today. Breakout involves Bronson writing for harpsichord and orchestra and a lengthy as a daredevil pilot hired to get political prisoner Robert “flight” pursuit cue that opens up into some surprising- Duvall out of a Mexican prison. It’s in the style of High ly jazzy lyricism. Silva Screen’s CD couples the score Velocity and other South-of-the-Border efforts from the with The Chairman, both from inferior sources; track composer, and like many Goldsmith scores of the period info above refers to the Ransom portion. has never been available in any form. The Wind and the Lion (1975) ●●●● Archer (1975) ●● Intrada MAF 7005D • 14 tracks - 38:44 TV series theme Goldsmith’s Oscar-nominated score for this Sean starred in this series as Lew Archer, the pri- Connery-Candace Bergen romantic period adventure vate dick created by Ross McDonald, which ran for about remains one of his finest, most rousing and wildly three months on NBC. In contrast to the time-honored romantic compositions ever, and it would have surely gumshoe setting, Goldsmith’s theme is almost totally won an Oscar in 1975 had it not been for a little movie electronic for its first third (actually foreshadowing his called Jaws. From Goldsmith’s exultant, barbaric title approach to a lot of Runaway) before launching into a theme to the frenetic opening action cue (“The robust, brassy adventure theme. Horsemen”) to what still may be the crowning achieve- ment in the composer’s action scoring repertoire Adams of Eagle Lake (1975) ●● (“Raisuli Attacks”), The Wind and the Lion is a perfect TV series theme match of old-fashioned Hollywood pageantry and This is a short-lived television series with Andy Griffith Goldsmith’s unerring sense of cultural oddity. Available reprising the sheriff character he created in the 1974 on a great-sounding Intrada CD, no fan of Goldsmith’s television movie, Winter Kill. The drama only ran for a output should be without this score. half-season before being replaced. Goldsmith scored the titles, basing them on his trumpet solo theme from the Next Issue: Jerry Goldsmith: The Watergate Years! earlier movie, reminiscent of Breakheart Pass.

A PRIL/MAY 1999 34 Film Score Monthly Best ★★★★★ REVIEWS Really Good ★★★★ OF CURRENT Average ★★★ RELEASES Weak ★★ ON CD Worst ★ SCORE RATINGS ★★1 and Other attempts to convince us (along Payback /2 for brass and saxes. ★★★1 Disaster Classics /2 with director Jan DeBont’s CHRIS BOARDMAN & VARIOUS It’s been pointed out that FSM VARIOUS sweeping helicopter shots of the Varèse Sarabande VSD-6003 is partially responsible for the Varèse Sarabande VSD-5807 countryside) that we 11 tracks - 36:23 Payback score because we 12 tracks - 69:35 should be very excited about com- ayback is based on the same released the CD of Pelham, thus his is the first in a new peting groups of tornado chasers. Pbook as John Boorman’s exposing contemporary Tbatch of highly anticipated John Williams had a double dose Point Blank, which starred Lee Hollywood to the music (it re-recordings produced by of disaster in 1974, also supplying Marvin. The new film stars Mel showed up in a trailer for the Bill Varèse’s Robert Townson. The music for Mark Robson’s Gibson and features a score Murray comedy Larger Than project apparently began under Earthquake, a film that made The which is a remake of David Life—from a subway thriller to the baton of the departed Joel Towering Inferno look like a work Shire’s brilliant The Taking of an elephant movie). And it’s true McNeely (who conducts The of artistic genius. Williams must Pelham One Two Three. I that we pine for the days when Towering Inferno, Twister, have about had it with the genre declared a self-moratorium on film scores sounded like Pelham, Independence Day and The by then, because his Earthquake griping about temp tracks a while and wouldn’t be appalled if a Swarm) and finished under John main title theme is a virtual back. It’s become the most boring composer or director heard the Debney (who tackles Earthquake, replay of the melody from his topic in the world: every compos- CD and said, “Hey, that would be The Poseidon Adventure and Towering Inferno end title—with er seems to be forced to copy a cool way to score a movie Titanic), although the remaining some pop backbeats that aren’t some other piece of music at some today.” But there’s a difference cues (from Dante’s Peak, Volcano well handled by the Royal point, and there doesn’t seem to between being inspired by some- and Outbreak) are the original Scottish National Orchestra. be anything to be done about it. thing and simply ripping it off. film recordings released by Jerry Goldsmith had the dubi- Also, when you accuse someone of The point of making people listen Varèse. ous honor of scoring the film that borrowing a specific piece of to this stuff is to show that all The Towering Inferno (1974) broke Irwin Allen’s box-office music from the temp these days, film scores don’t have to sound was probably the first theatrical winning streak, The Swarm it’s just as pos- film to showcase the beginnings (1978). Joel McNeely’s take on sible that of John Williams’s blockbuster Goldsmith’s exultant, rhythmic they’re borrow- style, and he wrote a bustling, end title music is excellent, large- ing from a high-energy main title that ly matching Goldsmith’s original tracked cue remains one of the most rousing album performance. John that is itself a and enjoyable works in the com- Debney’s recording of Williams’s fourth-removed poser’s oeuvre. Townson title music to The Poseidon copy of some serendipitously recorded the only Adventure gets off to a great other cue that three tracks I ever used to listen start, but lacks the power of found itself to on the old Warner Bros. LP: Williams’s original version. The tracked into a “Main Title,” “Planting the next three original cues from film a few Charges and Finale” and the Dante’s Peak, Volcano and years earlier. glitzily romantic end title, “An Outbreak effectively capture the Payback is a special case, the same, that there are infinite Architect’s Dream.” “Planting high points of those scores (I like because for once we’re not talking stylistic avenues to go down. the Charges” is a great, slowly Alan Silvestri’s growling horn about a copy of some already While it would have been cool to pulsing and lengthy suspense cue effects from Volcano), and Joel redundant piece of program see someone do something which takes the brooding low McNeely’s recording of “The Day music (Horner’s “Bishop’s inspired by Pelham, when the brass textures and modernistic We Fight Back” from David Countdown” from , for recreation is this close, I really effects of Williams’s underscore to Arnold’s Independence Day example), but something that still believe deserves a The Poseidon Adventure and adds appears to have at least a few sec- ranks as a fresh and distinctive credit. Chris Boardman did a a compelling rhythmic structure. onds of introductory music not piece of music. David Shire’s pul- great job of rearranging Shire’s As in all the Varèse re-recordings, heard on the original album. sating, serial jazz title music to ideas, and the rest of the score at the sound is rich and spectacular, Finally, for anyone who hasn’t Joseph Sargent’s The Taking of least attempts to go off in other but there are occasional, jarring had enough of Titanic yet, there’s Pelham One Two Three is indeli- directions (there’s 14:51 of it missteps in the performance and a lengthy suite of material from ble and instantly recognizable here, coupled with classic r&b at least a couple of what appear that film conducted by Debney. once it’s been experienced. Chris hits). But it’s sad to realize that to be mis-transcribed notes. Williams fans will have to have Boardman’s version features tex- people will walk out of this movie, Following the generous 19:42 this CD for his three disaster tures that are more metallic in very probably talking about its of Inferno, everything on the CD scores, particularly for the other- spots, but the overall recreation is great theme music, and they will is available elsewhere: Mark wise unavailable-on-CD music spot-on, with a minor-third bass never know who was actually Mancina’s opening to Twister from The Towering Inferno. ostinato, pulsating rhythm sec- responsible for it. —J.B. bursts with rapid-fire energy as it —Jeff Bond tion, and very idiosyncratic lines (continued on the next page)

Film Score Monthly 35 A PRIL/MAY 1999 SCORE about me. Nearly 50 years later, scores for childhood. Here, If there’s one problem, it’s that Bernstein is still going strong, Michelle Pfeiffer is a mother who this music feels alien to the social The Deep End of the Ocean and while his career has had its suffers the loss of her child, only world of children today. In To Kill ★★★1 /2 ups and downs, his inimitable to be reunited with him years a Mockingbird, the melodies ELMER BERNSTEIN style has meshed with more gen- later. The opening theme has a came effortlessly out of the Milan 73138 35873-2 res of film than most composers maudlin quality that unfortu- Depression-era setting, as if they 9 tracks - 30:07 could ever dream of. Like nately recalls an afternoon soap, were tunes the children them- hat a joy it is to have an ketchup, it generally tastes the but the album soon proceeds to selves would sing (and actually, Wambassador of good taste same, but it goes on some impor- classic Bernstein passages, at they do). Here, Bernstein’s ges- score a contemporary movie. tant foods no matter when or turns wondrous, joyous, sus- tures evoke a delicate innocence, Elmer Bernstein scored his first where you eat them. penseful and sad, as pioneered so but it feels like one the characters movie in 1950. That’s when my The Deep End of the Ocean is long ago on To Kill a themselves would not know. dad was two years old—forget the latest in Bernstein’s oeuvre of Mockingbird. Either that, or the movie is little

time, would want to combine Theme goes on to paint a lurid his two main interests and emu- picture of Barry’s life for the SOMEWHERE IN TYPE late his heroes, Erich Wolfgang next ten years, detailing his vari- Korngold, Max Steiner, Franz ous affairs and marriages (most Two Reviews by James Southall Waxman and Bernard notoriously to the actress Jane Herrmann. He never wanted to Birkin) while barely mentioning be anything other than a film his various film scores. A Life in composer. Music, on the other hand, sticks He took a roundabout route much more rigidly to analyzing to get there, though; at the his film commissions while time, Britain still had a eschewing private biographical National Service, whereby stories, right up to Swept from youngsters were drafted into the Sea (including a fascinating the army at the age of 18 for a insight into Corina Brouder, who two- or three-year stint. During provided the haunting vocal for this period, Barry formed a that score, and with whom Barry band with his friends in the plans to work again) and army; it was clear even at this Mercury Rising. early stage that he had talent Both tomes will be greatly as both an arranger and com- interesting to fans of the compos- poser, and upon his discharge, he persuaded his father to give ONE MAN, TWO STORIES him financial backing to form John Barry: A Sixties Theme A Sixties Theme dishes personal the John Barry Seven, his jazz by EDDI FIEGEL details of Barry (pictured with Jane group. Constable Publishers (London), Birkin) while A Life in Music hews ISBN 0-09-478530-9, 262 pp., £16.99 more to the professional side—both fter dubious success with make fascinating reading. ABarry on vocals, the deci- John Barry: A Life in Music sion was made to “go instru- by GEOFF LEONARD, a radio journalist in Britain who mental,” and the Seven achieved PETE WALKER & claims to have followed Barry’s phenomenal fame in the U.K., GARETH BRAMLEY work with fascination from an performing both covers of stan- Sansom & Company (Bristol), ISBN early age, while Leonard, Walker dards and original works by 1-900178-86-9, 244 pp., £24.99 and Bramley are the well-known Barry. The band also got a lot of Barryphiles behind the Play It work accompanying singers of iographies of John Barry are Again record label, which has the time, both well-established Blike the number 18 bus—you released much Barry (and other) and up-and-coming. One of these wait all your life for one to music on CD. was the young Adam Faith, appear, and then two come along Barry has led a fascinating life, whose singing career blossomed at once. John Barry: A Sixties and been immersed in cinema in the late ‘50s with Barry’s Theme by Eddi Fiegel and John and music virtually from the assistance. Eventually, Faith was Barry: A Life in Music by Geoff womb. His father owned a chain cast in a film, Beat Girl (1959), Leonard, Pete Walker and of cinemas in the Northeast and it was only natural that Gareth Bramley were published England, and Barry was at home Barry should be asked to provide just one week apart. The former in the projection box by his the music—and so his first film takes a gossip-column approach teens; concurrently, he developed score was written. to the composer’s high-flying life a keen interest in , Up until this point in his life, in the ‘60s, while the latter takes and then jazz. It was only natur- the two books are fairly consis- a more dignified look at his al that the young John Barry tent in their approach; but here, career as a whole. Eddi Fiegel is Prendergast, as he was at the things begin to differ. A Sixties

A PRIL/MAY 1999 36 Film Score Monthly more than a weak . recorded work, so the short run- director (please, let’s not get into In any case, so many com- ning time is for financial reasons) it), he at least deserves credit for posers today are so bland and is an idiot—the CD ends just giving Elliot Goldenthal some boring. Just hearing 30 seconds of when it’s getting boring, and so major assignments and for apply- a Bernstein score makes you real- you listen to it again. ing composer Mychael Danna to ize that it doesn’t have to be that —Lukas Kendall this latest (roundly reviled) “psy- way. Composers should find chological thriller.” Danna tends ★★★1 scales, chords, colors and combi- 8mm /2 to apply specific ethnic instru- nations thereof that they make MYCHAEL DANNA mentation and techniques to the their own, and write music worth Compass III COM 0110 films he scores in order to allow hearing. Anyone who passes up 20 tracks - 50:09 us to view the movie’s subject Milan’s CD solely because of its hatever you might think matter through a different per- half-hour length (it’s a U.S.- Wof Joel Schumacher as a spective, and the approach has added immeasurably to films like The Ice Storm and The Sweet er. Fiegel’s is better as a casual painstaking research to com- Hereafter. read-through (it is fascinating to pile—every piece of Barry music 8mm is pure melodrama, read about the company Barry ever released is listed. Fiegel’s however, and here the effects kept, including Michael Caine merely contains a half-complete have uncomfortable associa- and Terence Stamp) while filmography. tions. Seven scribe Andrew Leonard’s will have greater Kevin Walker is again out to being thrown off the scent by the longevity as a reference manual. here is an undoubted differ- explore the nature of evil, and Moroccan elements. —J.B. The former certainly benefits Tence in focus between the Danna’s score has the same trag- from having access to Barry for books, but serious Barry fans are ic gravity that Howard Shore Playing by Heart ★★★ new interviews and anecdotes, urged to pick up both. A Sixties brought to Seven and The JOHN BARRY & VARIOUS but the authors of the latter are Theme provides 250 pages of Silence of the Lambs. As Nick Capitol CDP 7243 4 97991 2 7 greater authorities on the com- celebrity anecdotes, while A Life Cage’s detective moves from the 13 tracks - 58:31 poser and have drawn on more in Music has 250 (twice-as-large) rarefied atmosphere of his client laying by Heart is a relation- resources to attain their goal of pages of musical and historical (as gloomily depicted in the Pships drama set in Los providing the ultimate reference insights. This gulf in class is com- opening cues “The House,” “The Angeles which teases and eventu- guide. The two books’ attitude to pensated in part by a difference Call” and “The Film”) to the ally reveals the connections criticism is markedly different: in price—the latter biography is gritty underworld of crime and between a sizable cast of dis- Fiegel basically refrains from any more expensive. porn (“Missing Persons,” parate characters. The film kind of negative musical criticism It is difficult to believe in this “Hollywood”) Danna brings the attracted stellar actors—Sean (which is hardly surprising, given day and age, but John Barry was Moroccan effects he’s chosen for Connery, , Gillian that the book is “authorized”), enormously famous in the 1960s; this film to the fore. “Missing Anderson, Anthony Edwards, which becomes tiresome, while he really was treated like a rock Persons” is an exciting, elegant Madeleine Stowe, , Leonard, although he doesn’t star. No other film composer has cue, with the wild Moroccan Dennis Quaid, , actually criticize things per se, ever come close to this level of instrumentation and percussion Ryan Philippe—and is somewhat quotes from reviews written at fame and it is doubtful that any backed by a slithering carpet of given over to them with many the time of many of the scores to ever will again. (Sure, everyone’s low strings surging and coiling talky and actor-y scenes. provide opposing viewpoints on heard of John Williams, but how beneath the ethnic dances. The Musically, Playing by Heart the materials. On the other hand, many times have you seen pic- composer takes the action-movie straddles no less than four Leonard’s work seems almost tures of him getting off of planes cliché of walls of high-octane, worlds. First off, there are the afraid of revealing personal or drinking in bars?) These days, kodo-style percussion into an contemporary pop songs which details of Barry’s life, giving it a Barry has drifted back into the interesting new direction with should be enjoyed by ordinary scrapbook-like feeling, while relative anonymity of his peers, the effects he brings to bear in humans (performers include Fiegel dives into the deep end of but with new movies, concerts the climactic “Rainstorm,” which Bonnie Raitt and Moby), the that pool headfirst. and concept albums on the hori- features shrill, whistled same way they come in and out of As far as pictures go, A Sixties zon he promises to keep active. Moroccan war chants. the movie as source music. Then, Theme contains about a dozen Ultimately there will be a need But is Danna using the alien there is the Chet Baker jazz pages of black-and-white photos for a true biography combining sound of Middle Eastern music world, represented on the CD by which have mostly been seen views of his personal and profes- as a corollary for evil, alienation, “Everything Happens to Me,” many times before, and concen- sional lives, as only one composer “the Other,” the multi-ethnic meant to evoke the film’s themes trate on Barry’s earliest days, biography has thus far done— makeup of Los Angeles, or what? and atmosphere, and alluded to in while A Life in Music has literal- Steven C. Smith’s Bernard Somehow I can’t believe it’s the the film’s dialogue. Third are sev- ly hundreds of photographs and Herrmann: A Heart at Fire’s former, but Schumacher’s film eral airy and upbeat cues by album covers, over half in color, Center. Until then, these two doesn’t have much more to say Christopher Young—added late and many of which have never books are more than most fans other than that families are good into the picture, and not appear- been seen, right up to the com- could ever dream of having. FSM and evil is bad. This is really the ing on the album—and fourth is poser’s triumphant London con- most conventional film that the distinct and bittersweet world cert in April 1998. It also John Barry: A Life in Music is now Danna has scored, and the of John Barry. includes an extraordinarily com- available in the U.S. from FSM; see results make for a lengthy and This last component should be plete discography, something that pg. 40. John Barry: A Sixties Theme involving album (courtesy of the most interest to FSM’s must have taken months of is as yet unavailable on these shores. Compass III), if you can avoid readers. Although originally tout-

Film Score Monthly 37 A PRIL/MAY 1999 SCORE best to score the scenes taking melody to a “Flight of the showy but not excessively virtu- place at a youth-oriented club Bumblebee”-type tempo on flute, osic, which works well with the ed as a return to Barry’s jazz with actual dance music. and “Piranhas Are a Very Tricky essential lyrically quality of the roots, the score is more a continu- All in all, Barry’s music does Species” sounds like an improv concerto. ation of his classic melding (since not gel completely with Playing from Louis Prima’s drummer. Lyrical or not, the 42-plus Body Heat) of a jazz rhythm sec- by Heart’s unusual structure, but Every cue has an upbeat tempo minute piano concerto (all three tion with orchestra, as most it adds considerable weight to its and the score meshes well with movements frustratingly relegat- recently accomplished in the last themes of love and time. The the source tracks. One cue, ed to a single track) is probably track of his concept album, The totality of Barry’s contribution “Snowflake Music,” is not origi- the harshest music to be found on Beyondness of Things. Special will soon be released by Decca in nal to Rushmore, but is from this otherwise soft-spoken disc. mention must be made of the England. —L.K. Mothersbaugh’s score to Bottle As Schifrin himself notes in the exquisite soloists: Chris Botti Rocket, a film directed by brief liner notes, this is the most ★★★1 (trumpet), Mike Lang (piano) and Rushmore /2 Rushmore’s producer, Owen understated he’s been since his (bass). Two tracks MARK MOTHERSBAUGH Wilson. score to The Fox (1968). Besides can be found on Capitol’s song & VARIOUS Although short, the score is the two moody, old-school collection: “Remembering Chet” London 314-556-074-2IN02 enjoyable. The quirky, ensemble “Something to Believe In” cuts, (4:28), a minor-moded and 20 tracks - 49:19 arrangement is reminiscent of the there are two Silvestri-style- somber composition, and the con- es Anderson, the director ‘60s and ‘70s jazz scores from magic cues and another song, cluding “End Game” (4:44), Wof Rushmore, admits in masters like Barry and Mancini. “No-One [sic] Home.” Balakirev’s which shifts to major and soars the liner notes of this album that In today’s big-budget, big-sound “Islamey” and Simply Red’s aloft on a quintessentially Barry he had intended to score his madness, kudos to Disney and “We’re in This Together” round construction of melody and sim- entire film with British Invasion Touchstone for financing a film out what ends up a mixed bag. ple—and perfect—chord changes. rock and roll hits. He felt that the that didn’t need to break box- —Doug Adams Playing by Heart consists of loud, angry songs from bands like office records (or sound systems) many slice-of-life snapshots, but the Kinks that wore blazers and to be a great film, and kudos to Tango ★★★★ from time to time somebody ties were the perfect musical Mothersbaugh for putting a LALO SCHIFRIN & VARIOUS stumbles onto a larger issue— analogy to the main character of great-sounding score behind it. Deutsche Grammophon 459 145-2 GH there’s an encounter, revelation, the film—a loud, angry teenager —Tim Kurkoski 22 tracks - 63:03 or expression (not to mention a who wears a blazer and tie. nteresting factoid about Lalo character dying of AIDS). It is What Mark Mothersbaugh Something to Believe In ★★★ ISchifrin number 38: he played here that Barry’s music is used, brought to this quirky prep LALO SCHIFRIN piano for . and as Barry’s music always school comedy was a deserved air Aleph Records 008 Piazzolla, of course, was one the of sophisti- 9 tracks - 67:29 world’s predominate composers of cation. His lthough the cover for this artful tangos. (He’s best known nine score ACD boasts of Placido to film music fans as the guy who tracks total Domingo’s rendition of the title composed the thematic tune from a precious song, and although the disc con- 12 Monkeys.) This pegs 9:45 of the tains two separate versions of Argentinean Schifrin as the obvi- CD’s run- said tune, the true feature of the ous choice for Tango—a film that ning time. album is Lalo Schifrin’s second uses Hispanic dancing as its There is piano concerto. Under the capa- major story-telling vehicle. He but one dis- ble fingers of soloist Jeffrey was also the right choice. For the tinct theme, Biegel, the Piano Concerto #2 film, Schifrin assembled a hand- a catchy (“The Americas”) is a startlingly ful of tango compositions, seven phrase for diverse work that often sounds of which now reside on this disc. does—from Midnight Cowboy to the main character, Max, heard like a close relative of Schifrin’s Each is more or less written for Dances with Wolves to everything on “Sharp Little Guy” and “The Jazz Meets the Symphony series, the standard tango band of a else—it shifts the tempo into a Lad with the Silver Button.” The though the concerto doesn’t quite handful of strings, piano, and low gear but elevates the feelings rest of the score feels like a sam- obtain the same sense of focus. bandoneon (a close relative of the to a high one. The strong sense of pler box of chocolates from differ- Few composers today are as apt accordion)—the major exceptions macro structure, the simplicity of ent scenes in the film. The cohe- as Schifrin in obscuring the being the symphonically dramatic the melodies, and the size but rel- sive element (the chocolate) is the seams between the opposing “La represion,” which utilizes full ative stasis of Barry’s orchestra almost classical sound that styles they’ve welded together. In orchestra and chorus, and “Tango make his scenes all about poten- Mothersbaugh brings out of an the three movements of this con- para percussion,” which is com- tial, rather than actions. ensemble that includes flute, gui- certo (“Blues,” “Tango,” and posed solely for percussion. Unfortunately, the film is tar, mandolin, harpsichord and “Carnival”) the composer travels What’s interesting about somewhat clunky in transitioning . through a wide trench of popular, Schifrin’s use of the tango form is in and out of Barry’s cues (some Beneath this umbrella of modernistic, and Neo-Classical that the song-construction has are all but inaudible), but there sound, Mothersbaugh samples phrases while allowing each to seemingly lent his style a new probably was not much choice as from a variety of styles. “Friends become informed of the others’ focus. His usual sprawling sense his music would not have been Like You Who Need Friends” is peculiarities. Schifrin’s orchestra- of color is given a tight frame in appropriate for the more light- an organ-powered war chant, tions are as colorful as always— which to shine, but the result is hearted and contemporary sce- “Hardest Geometry Problem in though some of the ideas manage all the more accessible. The tango narios. For example, as much as I the World” moves from a to pass by more quickly than one forms also give Schifrin a chance love King Kong, it was probably Greensleeves-esque guitar would hope. The piano writing is (continued on page 42)

A PRIL/MAY 1999 38 Film Score Monthly feature selection Prince Valiant

The Classic Adventure Score by Franz Waxman! Prince Valiant (1954) is a stirring knights-and-adventure work in the classic tradi- tion of The Adventures of Robin Hood and Star Wars. It features a dynamic set of themes and variations for the hero, princess, villain, mentor (sound familiar?) in a stirring symphonic setting. Stagecoach/The Loner The CD includes the complete score as it survives Original soundtracks by Jerry Goldsmith! Stagecoach is the 1966 remake single CD) of the John Ford western. The Fantastic Voyage music Mainstream CD is a re-recording; ...exclusive to FSM! The Complete Unreleased this CD is the first release of the Score by Leonard original soundtrack, as conducted by the composer. The Loner is Goldsmith’s complete contribution to the 1965 western TV series by Rod

mono mix originally made for the film. It’s an audacious, rip-roar - ing hunk of Mexican adventure, never before available. You’re Patton/The Flight gonna love it! $19.95 of the Phoenix Classic Jerry Goldsmith Rosenman! Fantastic Voyage war soundtrack plus rare is the classic 1966 science fic - Frank DeVol adventure tion movie which follows a minia- score on one CD! Jerry turized surgical team inside the Serling (sounds like Rio Goldsmith’s Patton (1970) is a human body. The score by Conchos): main and end titles brilliant definition of General Leonard Rosenman (composer and two episode scores. Patton, from the jaunty Patton of Lord of the Rings, East of $19.95 march to the echoplexed trum- Eden and Star Trek IV ) is one of The Wild Bunch FSM marketplace pet triplets that conjure up the his most famous and has never restored edition. Limited ghosts of an ancient, martial been available in any form. It is a availability courtesy past. Previous albums have Warner Home Video! The been re-recordings; this is the classic score, in original film soundtrack. T h e brilliant stereo, to the 1969 Flight of the Phoenix (1965) is Sam Peckinpah western. The 76- Welcome to the a superb about The Return of Dracula minute CD was meticulously 2CD set also FSM a cargo plane that crashes in restored and remixed by Nick including Redman for inclusion only with Marketplace. I Bury the Living, The the 1997 laserdisc of the film; We’re pleased Cabinet of Caligari a n d to offer hard- Mark of the Vampire. From the composer of Star Trek’s to-find, “Amok Time” and “Catspaw” unusual comes this historic 2CD set of soundtrack- four of his early horror scores: powerful, modern orchestral related prod- The Return of Dracula (1958) is work with breathtaking musical ucts. based on the , I Bury colors, presented here in com- plete form, in stereo. To order, use $19.95 the handy The Poseidon mailer the Sahara desert. Frank Adventure/ bound into the The Paper Chase DeVol’s rousing, kinetic score magazine melodically delineates the film’s Original unreleased sharply drawn conflicts and the soundtracks by John characters’ struggle against the Williams! The Poseidon THE CLASSICS CHARTER CLUB encroaching threat of the Adventure is the classic 1972 desert. Irwin Allen disaster movie, with Want to step to the front of the line? $19.95 Williams’s stunning title theme Simply send us your name, address and credit card and suspenseful interior information (VISA, MasterCard or American Express), Original soundtrack by passages. The Paper Chase is and we will send you automatically each CD as it is the Living (1958) features Jerry Goldsmith the acclaimed 1973 comedy released. You can return any disc for a full refund or creepy harpsichord, The Cabinet Never before released! drama about Harvard law credit within 30 days. Each CD will cost $19.95 plus of Caligari (1962) has a beauti- 100 Rifles (1969) is Jerry students, with music ranging shipping ($3 U.S./Canada, or $5 rest of world); charges ful, romantic theme, and Mark Goldsmith’s most outrageous from a light pop love theme to will be processed at the time of shipping. of the Vampire (1957) recalls western score, featuring belli - Baroque adaptations to the Pre-order A Send me Everything! Fried’s score for Stanley cose brass, wild percussion and haunting “Passing of Wisdom.” Pre-order B Send me each subsequent Kubrick’s The Killing . 24 pg. melodic Mexican nuggets. The Also includes Americana 6-min. Silver Age Classic CD for $19.95. booklet. $29.95 CD features the score twice: in main title to Conrack (1974). Pre-order C Send me each Golden Age (Shipping charges are same as a newly remixed stereo and in the $19.95 More cool stuff on the next page! Bernard Herrmann (1911- will be astounded at what is over 2,000 soundtrack CDs, books 1975) stands as a towering probably the biggest collec- rated from one to five ...for music lovers figure in film music: not only tion of Barry photographs in “bones,” with complete cred- was he the most influential the world, from all stages of its and track lists for each film composer of all time, his career—at work, at disc. Many of the reviews are who scored such classic home, and at events. Also by FSM’s hardy veteran writ- films as Citizen Kane, included is a complete ers: Jeff Bond, Andy Dursin, Vertigo, Psycho and Taxi film/discography and album Lukas Kendall and Paul Driver , but he was an irasci - and film artwork, some in full MacLean. The ultimate guide ble, passionate personality color. for those indecisive moments Published by Samsom & Co., while looking at catalogs or U.K. 244 pp., hardcover, discs in a used bin. Includes illustrated. cross-indexes by composer,

FSM marketplace $44.95 title, rating, orchestrator, conductor, performer and views with Rózsa, Raksin, Overtones and song title, as well as a com - Herrmann, Mancini, Jarre, Undertones: pilation CD of tracks from Schifrin, Barry and Shore. Reading Film Hollywood Records. If you are a film student Music $24.95 interested in writing about by Royal S. Brown The Music of film music, you have to read Royal Brown is best-known Star Trek: this book. as the longtime film music Film Composers Profiles in Style Published by University of columnist for Fanfare maga- Guide by Jeff Bond California Press. 396 pp., zine, whose illuminating 1997-1998 Fourth This is the first-ever history softcover. reviews have placed film Edition of Star Trek soundtracks, $24.95 from the original series to music in a serious academic Compiled and Edited the movies to the new incar- context as well as enter- Dimitri Tiomkin: A by nations, by FSM’s own Jeff famous for his temper and Portrait Vincent J. Francillon outbursts. This 1991 book is This is the ultimate resource Bond, with a foreword by by the definitive biography of for finding out what com- Star Trek II and VI director This 1984 book (T.E. Books, the legendary composer, posers have scored what Nicholas Meyer. Featured are out of print!) by the late covering his film, television, films—over 2,600 com- interviews with composers Christopher Palmer is the radio and concert work as posers cross-referenced with Jerry Goldsmith, Alexander authoritative study of leg - well as his personal life: from 25,000 films! Never be puz- Courage, Fred Steiner, Gerald endary composer Dimitri his beginnings in New York zled again. Also contains Fried, Leonard Rosenman, Tiomkin (1894-1979). Long City through his three mar- agency contacts, Academy Cliff Eidelman, Dennis out of print, a few copies riages and many professional Award winners and nomi- McCarthy, Ron Jones, Jay have surfaced from the U.K. associations. nees, record company Chattaway, David Bell, Paul publisher and are now for This book is actually still addresses and more. 8.5” by Baillargeon; producer Robert sale—when they’re gone, in-print, but it can be hard 11”, 416 pp. Lone Eagle Justman; and music editor they’re gone! The book is to find. It is a brilliant illumi - Publishing. Retail price $55; Gerry Sackman. hardback, 144 pp., and nation of the musician and Special to FSM readers: The book also contains an divided into three sections: a the man and probably the $39.95 up-to-date, complete list of biography, overview of best film composer biogra- every score written for all Tiomkin in an historical per - phy ever written. tained with their sharp Out-of-Print—Cheap! four TV series; a guide to spective, and specific cover- Published by University of observations. Overtones and McNally’s Price understanding how certain age of his major landmarks California Press. 416 pp., Undertones is his 1994 Guide for Collectible (Lost Horizon, , hardcover. book, the first-ever serious Soundtrack Records the Hitchcock films, Giant, $39.95 theoretical study of music in (1950-1990) 55 Days at Peking and many U.S. Exclusive—Only film. It explores the relation - by Keith and Dorie more). Also includes a com- from FSM ships between film, music McNally plete filmography, 41 b&w John Barry: A and narrative and chronicles This 1994 LP price guide photos, and 9 color plates. Life in Music the aesthetics of the art was an attempt by mail- Rare! by Geoff Leonard, form through several eras. order dealer West Point $24.95 Pete Walker and Key works analyzed are The VideoHound’s Records to compete with Gareth Bramley Sea Hawk (Korngold), Soundtracks: the existing soundtrack This 8.5” by 10.75” tome is Double Indemnity (Rózsa), Music from the guide by Jerry Osborne. 240 a definitive history of John Laura (Raksin), Prokofiev’s pages in all, it features 780 Barry’s music and career, music for Eisenstein, photos of from his earliest days as a Herrmann’s music for rare album covers along with British rock and roller to his Hitchcock, and several exhaustive listings (over most recent films and scores for the films of Jean- 2300 in all) for 12”, 10” and London concert. It is not a Luc Godard. A supplemental 7” LPs, plus sections on personal biography but television soundtracks, origi - shows were tracked and rather a comprehensive nal casts and foreign edi - credited; Classic Trek manu- chronicle of every single tions. It also has a lengthy script excerpts from Fred thing John Barry has ever introductory section with Steiner, Gerald Fried, Sol done: from records to films essays on soundtrack LP col- Kaplan and to television to concerts, lecting, including information (in their own hand); and with plenty of primary on foreign markets. complete cue sheets from source material from Barry McNally’s Price Guide orig - selected episodes and films. and his many collaborators. inally sold for $29.95. Now Published by Lone Eagle James Bond fans will be Movies, Broadway out-of-print (West Point Press. 224 pages, softcover, thrilled by the many behind- and Television Records itself having gotten the-scenes photographs out of the business), remain- illustrated. $17.95 Edited by Didier C. (from scoring sessions for ing copies are available from A Heart at Fire’s Deutsch, You Only Live Twice, FSM for a mere: Center: The Life and Foreword by Lukas Diamonds Are Forever and $9.95 Music of Bernard Kendall The Living Daylights) and Herrmann This massive 1024-page information relating to 007. section fea- by Steven C. Smith book contains reviews of In fact, Barryphiles overall tures Brown’s probing inter- Recordman on liner notes. Elfman Pt. 1, John Ottman lifestyle—in his own #51, November ’94 Howard (The Usual Suspects), Robert words—from his Shore (Ed Wood), Thomas Townson (Varèse books video methods of Newman (Shawshank Sarabande), Ten Most ...for composers composing to his Basil Redemption), J. Peter Influential Scores, Goldsmith The Click Book love of sailing and Poledouris: Robinson (Craven’s New documentary reviewed. Comprehensive Timing the sea. The video His Life and Nightmare), Lukas’s mom * #63, November ’95 James Tables for Synchronizing runs 50 minutes Music interviewed; music of Heimat, Bond Special Issue! John Music to Film and includes An intimate visit Star Trek; promos. Barry & James Bond (histo- Created by USC student and footage of Basil with the * #52, December ’94 Eric ry/overview), Eric Serra on composer Cameron Rose. conducting and at composer of Serra, Marc Shaiman Pt. 1, GoldenEye, essay, favorites, Click-tempo tables for 6-0 work on Conan the Sandy De Crescent (music more. Also: History of through 32-0 frame click- mock-ups of Barbarian, Big contractor), Valencia Film Soundtrack Collecting Pt. 3, tempos (6-0, 6-1, 6-2, Starship Troopers, as well Wednesday, Free Willy, Davy Crockett LPs. etc.)... Each timing table Music Conference, SPFM FSM marketplace Starship Troopers and as dozens of behind-the- covers beat 1 to beat 999 Conference Pt. 1, StarGate * #64, December ’95 Danny Lonesome Dove. Take a scenes and family photos, at the given click-tempo... liner notes, Shostakoholics Elfman Pt. 2 (big!), Steve tour of his work and and special appearances by Large, bold, easy-to-read Anonymous. Bartek (orchestrator), click-tempo values and #53/54, January/February Recordman Meets Shaft: The equivalent metronomic val- ’93 Conference Report, Star sheets; sexy album covers; ’95 Shaiman Pt. 2, Dennis Blaxploitation Soundtracks, ues at the top of each Trek music editorial. music for westerns; ’93 in McCarthy (Star Trek); Sergio Kamen Pt. 3, re-recording page... Timing, frame and * #33, May ’93 12 pp. Book review. Bassetti, Jean-Claude Petit & House of Frankenstein. footage breakdowns for reviews, classical/film con - * #44, April ’94 Joel in * #65/66/67 rhythmic subdivisions within nection. McNeely, Poledouris (O n Valencia; Music & the January/February/March ’96, each click-tempo—including * #34, June ’93 16 pp. Deadly Ground); SPFM Academy Awards Pt. 1; 48 pp. T. Newman, Toru compound meters... Listing Morricone tribute & photos; rumored LPs, quadraphonic Takemitsu, Robotech, Star and tutorial of standard tim- lots of reviews. LPs. Trek, TenInfluential com- ing-conversion formulas for * #45, May ’94 Randy #55/56, March/April ’95 posers; Philip Glass, Heitor 24 fps film speed... Tutorial Newman (Maverick), Graeme Poledouris ( The Jungle Villa-Lobos, songs in film, in SMPTE-to-Absolute time Revell ( The Crow); Goldsmith Book), Silvestri ( The Quick best of ‘95, film music docu- conversion... Frames-to- in concert; in-depth reviews: and the Dead), Joe Lo Duca mentary reviews (Herrmann, Seconds conversion tables The Magnificent Seven and (Evil Dead), Oscar & Music Delerue, Takemitsu, “The for U.S. and European film Schindler’s List ; Instant Liner Hollywood Sound”). and video speeds. 430 pp. Notes, book reviews. #68, April ’96 David Shire’s Price is the industry standard * #46/47, June/July ’94 The Taking of Pelham One for click books; this one Patrick Doyle, Newton Two Three; Carter Burwell gives more value for money! Howard (Wyatt Earp), John (Fargo), gag obituaries, $149.95 Morgan (restoring Hans Apollo 13 promo/bootleg Salter scores); Tribute to tips. New Edition! Henry Mancini; Michael #69, May ’96 Music in Plan 9 1999 Film/TV Nyman , col- from Outer Space; John Music Guide Goldsmith SPFM award din- lectible CDs. Walsh’s funny movie music From the Music Business ner; orchestrators & what * #48, August ’94 Mark glossary; Herrmann & Rózsa Registry they do, Lost in Space, recy - Mancina (Speed); Chuck radio programs; Irwin Allen Is your career worth invest- cled Herrmann; spotlights on Cirino & Peter Rotter; Richard box set review; Bender’s ing $95? Contains exhaustive Chris Young, Pinocchio, Bruce Kraft: advice for aspiring “Into the Dark Pool” column. directories of record labels, Lee film scores. composers; classical music in #70, June ’96 Mancina music publishers, film/TV * #35, July ’93 16 pp. films; new CAM CDs; (Twister), final desert island music depts., music supervi- Tribute to David Kraft; John Cinerama LPs; bestselling Pt. 2, Recordman’s Diary, movie lists, Jeff Bond’s sum- sors, music editors, compos- Beal Pt. 1; scores vs. songs, CDs. SPFM Conference Report Pt. mer movie column, TV’s er representatives, com- Herrmann Christmas operas; #49, September ’94 Hans 2. Biggest Hits book review. posers, clearance companies, Film Composers Dictionary. Zimmer (The Lion King), #57, May ’95 Goldsmith in #71, July ’96 David Arnold recording studios, performing #36/37, August/September Shirley Walker; Laurence concert, Bruce Broughton on (Independence Day), Michel rights societies, and music ’93 40 pp. Bernstein, Bob Rosenthal on the Vineyard; Young Sherlock Holmes, Miles Colombier, Recordman Goes libraries—names, addresses, Townson (Varèse), Richard Salter in memoriam; classical Goodman interviewed, ’94 to Congress, Bond’s summer contact numbers. Kraft & Nick Redman Pt. 1, music in films; John Williams Readers Poll, Star Trek movie column. $94.95 Pt. 2; reviews of in concert; Recordman at the overview. #72, August ’96 Ten Best CAM CDs; collector interest flea market. #58, June ’95 Michael Kamen Scores of ‘90s, T. Newman’s articles, classic corner, fanta - #50, October ’94 Alan (), Royal S. Brown The Player, Escape from L.A., back issues sy film scores of Elmer Silvestri ( ), (film music critic), conductor John Mauceri, ref- ...of Film Score! Bernstein. Mark Isham; sex & sound- Recordman Loves Annette, erence books, Akira Ifukube * #38, October ’93 16 pp. track sales; Lalo Schifrin in History of Soundtrack CDs. Volume One, 1993-96 John Debney (seaQuest concert; Morricone Beat CDs; Collecting Pt. 1. #73, September ’96 Issues are 24 pp. unless DSV), Kraft & Redman Pt. 2. that wacky Internet; *#59/60, July/Aug. ’95 4 8 Recordman on War Film noted. * #39, Nov. ’93 16 pp. Kraft pp. Sex Sells Too (sexy LP Soundtracks Pt. 1; Interview: Most 1993 editions are & Redman Pt. 3, Fox CDs, covers, lots of photos), David Schecter: Monstrous xeroxes only Nightmare Before Christmas Maurice Jarre interviewed, MovieShipping Music; Ifukube info: CDs Pt. * #30/31, February/March and Bride of Frankenstein Miklós Rózsa Remembered, 2,CDs/video: obituary. $3 first ’93 64 pp. Maurice Jarre, reviews. History of Soundtrack #74,item, October $1.50 ’96 Actioneach Collecting Pt. 2, film music in Scores in the ‘90s (intelligent Basil Poledouris, Jay * #40, Dec. ’93 16 pp. Kraft additional Chattaway, John Scott, Chris & Redman Pt. 4; Re-recording concert pro and con. analysis); Cinemusic ‘96 Young, Mike Lang; the sec- The Magnificent Seven. #61, September ’95 reportU.S./Canada. (Barry, Zhou Jiping); ondary market, Ennio * #41/42/43, Goldenthal (Batman Forever), Vic$5 Mizzy first interviewed. item, $3 Morricone albums, Elmer January/Feb./March ’94 4 8 Kamen Pt. 2, Chris Lennertz * each#75, Novemberadd’l rest ’96 Barry:of Bernstein Film Music pp. Elliot Goldenthal, James (new composer), Star Trek: Cinemusic Interview (very The Motion Picture (analysis), big);world. Recordman Books: on War $5Film Collection LPs; 1992 in Newton Howard, Kitaro & each U.S/Canada, review. Randy Miller ( Heaven & classical music for sound- Soundtracks Pt. 2, Bond’s #32, April ’93 16 pp. Earth), Rachel Portman, Ken track fans. review$10 restcolumn. of world. Matinee temp-track, SPFM Darby; Star Wars trivia/cue #62, October ’95 Danny * #76, December ’96 SCORE They Died With Their Boots On larly Steineresque, glassy and ★★★★ trembling treatment in “Mystic (continued from page 38) MAX STEINER Teapot—Owl”) and a lovely to dole out some more of his Marco Polo 8.225079 bouncing melody introduced in immediately catchy bass lines— 25 tracks - 70:05 track 2 (“Custer Arrives”) which here in a slippery chromatic ans of Max Steiner should speaks to Custer’s indomitable style. (Does any film composer Fgo week-kneed at the character. Steiner’s penchant for write better bass lines than prospect of listening to a new quoting traditional themes as Schifrin?) The “Tango del recording of what I assume is easy emotional markers for the atardecer” is especially qualified most, if not all, of his score to audience gets taken to extremes in this regard. “Tango barbaro” the classic histori- here: Steiner references “The is a stand-out work as well with cal epic They Died With Their Battle Hymn of the Republic” as its wildly rhythmic and disso- Boots On, with Errol Flynn por- well as “Dixie” throughout the Tramp, Tramp” and “The Girl I nant finale. traying Custer from his entry score’s early battle sequences, Left Behind Me,” as well as Tango fans should also find a into West Point to his death at reinforcing for any audience Mendelssohn’s wedding march, lot to enjoy in the included ver- Little Big Horn. Marco Polo vet- members whose attention has various trumpet revellies, “Rule sions of Piazzolla’s “Calambre” erans Bill Stromberg, John wandered that they are indeed Brittania” and “America.” and the classic “La cumparsita,” Morgan and the Moscow watching events from the Civil Steiner’s own material is just but some of the other works are Symphony tackle the score with War: also given the treatment as catchy in its own way and has a bit lightweight. The rating is gusto, creating one of their bet- are “When Johnny Comes the advantage of not throwing for Schifrin’s work, which is ter albums. There’s a nice, mel- Marching Home,” “The Battle the viewer out of the film every highly recommended. —D.A. low love theme (given a particu- Cry of Freedom,” “Tramp, time he or she has to stop and reflect “Hey—that’s ‘Dixie’!” string and woodwinds, The most effective (and subtle) Things That Go Bump and scratchy “Danse quotations are from the exciting Macabre” violin solos fife-and-drum march “Garry Little Evil Things Volume One throughout.“It’s After Owen,” an anthem for Custer ★★★ Me” is narrated by and the 7th Cavalry that Framac Music ISBN 1-891007-01-7 Macchia himself. received a more straightforward 5 tracks - 55:29 yet infinitely more ironic treat- Little Evil Things Volume Two ment in Arthur Penn’s skewer- ★★★ ing of the Custer legend, Little Framac Music ISBN 1-891007-03-3 Writer/composers Big Man. It contrasts beautifully 4 tracks - 71:20 Macchia & London with Steiner’s love theme in the & cue “March Out—Sioux.” TRACY LONDON Water,”the story of a man with Steiner’s musical treatment of ittle Evil Things is an attempt hydrophobia, has a lot of shifting, Crazy Horse and his Sioux war- Lto cross-breed the sensibili- submerged, undulating textures; riors seems to take its cue from ties of old-time suspense radio my only real disappointment was the word “Crazy,” but it’s actu- broadcasts, , with the L.A. satire “Blubb,”the ally less clichéd and more sym- and Stephen King (which are all tale of a gigantic mound of left- pathetic than the thrumming somewhat related anyway). over liposuction fat that threatens war drums he used to character- Writer/composers Frank “Parasites,”with a man’s body Beverly Hills.This was the perfect ize the Native American foes in Macchia and Tracy London have being invaded by maggots, is a opportunity to lampoon the musi- his later The Searchers. concocted a series of short horror more graphic version of Ray cal conventions of giant monster Steiner was a master at creat- stories for which Macchia has Bradbury’s short story “Fever movies, but Macchia’s score ing Mickey Mousing effects (like composed background scores Dream.”While you might think maintains a small-scale, droll the chugging, snare-drum-driven using synths, samples and some that this would be an appealing and ironic tone instead. train music in “Grazioso— small acoustic groupings.The listen for older children, there’s The composer plays quite well Train”) that added immeasur- music is brash, sometimes car- definitely an adult sensibility at against the narration throughout ably to the swaggering, heroic toony horror material, particular- work in many of the stories (“You both albums and this really does character of many of the films ly in the high-tension vignette look like shit,”someone observes capture that creepy, black feel- he scored. The hammering, “Transformation.”“Little Evil in one of them). ing of some of the older Twilight relentless “Little Big Horn” cue Thing” features an almost blasé, Volume Two features longer, Zone scores. Of course, like a is certainly a highlight of his tongue-in-cheek, Thomas more elaborate stories, and some comedy album, Little Evil Things career. The CD includes around Newman-type opening, and of the material is pretty wild. 1 and 2 may not hold up under 30 pages of exhaustive liner somewhat tongue-in-cheek narra- “Sisters” tells the story of two repeated listenings once the notes (I always love reading tion by London. It’s unusually women literally joined at the hip punch-line finales of the stories about the reactions of Russian descriptive music that would who just don’t get along. Siamese are known. But it certainly musicians, people who are from never be allowed in a contempo- Twin catfight—yeah, baby! The scores as a novelty. —J.B. an almost completely alien cul- rary movie.“The Quiet Child” is second album has a more con- ture, upon playing American a variation on the old “It’s a Good temporary feeling, kind of like Order Little Evil Things directly film music), and there’s appar- Life” segment of The Twilight thirtysomething goes mad. from the company at 877-LIL-EVIL ently a videotape recording of Zone, with a moody opening of Macchia’s music for “It’s in the or see www.littleevilthings.com. this performance at the BYU Film Music archives.—J.B. FSM

A PRIL/MAY 1999 42 Film Score Monthly CONFERENCE REPORT

ILM PRODUCERS, DIRECTORS, COM- Sounding Off on Soundtracks POSERS, MUSIC SUPERVISORS, AND By James Miller FSTUDIO AND RECORD LABEL EXECU- TIVES GATHERED IN NEW YORK CITY ON

NOVEMBER 10, 1998, FOR A DAY-LONG

CONFERENCE ON “THE PHENOMENON OF

THE SOUNDTRACK.” THE EVENT WAS PART

OF A FOUR-CITY FILM MUSIC FESTIVAL PRO-

DUCED BY KNITMEDIA AND SPONSORED BY

DIVX, the much-maligned “pay-per-view”

DVD format. The festival included film Festival attendees included music concerts in Chicago, Los Angeles, San (clockwise from top left) Shudder to Think, Michael Kamen and Carter Burwell Francisco, and New York, by such artists as idea. As Ottman explained, “Sound effects who really write concert pieces and stunt the Randy Newman, Carter Burwell, Ryuichi people get so involved in their work that they growth of composing.” In preparing for his Sakamoto and Mark Isham. lose sight of the overall film.” He added that own concerts in the DIVX soundtrack festi- The first discussion panel of the day fea- the score is often seen as a threat to the val, Endelman said he “reconceived” his film tured producer Anthony Bregman (The Ice songs for the soundtrack album. If the com- music, making each piece an entity on its Storm), writer/director Stacy Cochran (Boys) poser is present, he can defend the score and own. and director Morgan J. Freeman (Hurricane encourage the mixers to let the songs and Following the composers panel, Michael Streets). The general consensus was that sound effects take a back seat. Kamen took the floor as the day’s keynote Hollywood is hot on “music-driven films” Ottman, a self-described “film score speaker, winning everyone over with his can- (read: song compilations sell). The panel also freak,” was blunt in his assessment of con- dor, humor, and obvious passion for music. agreed that licensing songs takes up too temporary film scores. “Film music sucks Long before he began working in film, much time, energy, and money, and that now,” he said, criticizing most of today’s Kamen played oboe at the , while soundtrack deals can help finance scores for working on a superficial level, where most of the music being written and films, the result is that commercial consider- serving the moment with no sense of devel- performed was “of an intellectual basis.” The ations often take precedence over purely opment. He cited examples like Armageddon appeal of becoming a film composer was the musical concerns. No surprises there. where the music is created “by committee.” opportunity to write melodically in a tonal The next panel featured composers Carter The result: “all climax, no foreplay.” idiom. “I love film music so much because it’s Burwell (Fargo), John Ottman (Apt Pupil) Burwell, although unconvinced that bad all storytelling and emotion,” he said. and Stephen Endelman (Flirting with scoring is a new thing, agreed that good film Unfortunately, timing music to picture Disaster) sounding off on the difficulties music “should not be telling you the same requires a certain amount of mathematical posed by temp tracks, short composing thing you’re seeing on-screen,” calculation; something Kamen schedules, and competition from songs and and should instead create “a par- does not enjoy. He learned early on sound effects. The composers suggested a allel universe to the film, telling a The pros not to focus too much energy on number of ways to handle these frustrations. story of its own.” gathered in the mathematical aspects of scor- Burwell follows a simple rule of thumb and ing. On his first film assignment, deals with only one person during the scor- Concert Killers four cities he tortured himself working out ing process—the director. “I don’t let pro- The most surprising statement precise timings for every cue. ducers’ comments influence my music. If came from Stephen Endelman, to perform, When he arrived at the scoring they don’t like it, they can fire me or funnel who criticized the trend of film reminisce, sessions, he discovered that the their comments through the director.” music “being elevated to the sta- video reels to which he had com- Burwell stressed the importance of a good tus of contemporary classical compare notes posed had been transferred at the relationship with the film editor. “I often say music.” He argued that a lot of wrong speed: all his calculations to myself, I wish I could have a few more film music doesn’t stand up to and do a little were wrong. Thereafter, he beats. I’ll go to the editor and ask for a little music written for the concert hall. bitchin’ and resolved never again to worry too more or less, usually at the end of a scene.” His concern is that the program- much about timing and relies on Being present during the sound mixing ming of film music in serious con- moanin’. his music editor to take care of sessions, although tedious, is also a good cert venues “could kill composers (continued on page 46)

Film Score Monthly 43 A PRIL/MAY 1999 SCORE INTERNATIONALE Betty Curtis. It was a mystery to collectors as to why SLC would leave off the vocal, especially since Upperseven is a prime exam- ple of a whole score which revolves around a strong main theme song. It didn’t take long From Rome, with Love for the answer to make its way through the mighty “collectors grapevine”: the by John Bender Upperseven master tapes had been found in good condition, but the main title vocal had vanished from the GDM archives in Rome. Early in 1998 Wolfgang was in the thick of production on his Our Man from R.O.M.E. anthology when he suddenly had the self- realization that he just might be insane enough to attempt a full-scale re-recording of the Upperseven vocal. Of course, the most important aspect of such an agenda would be the performer, and this would have to be a woman. As is so often the case, fate took a hand in the affair. Wolfgang had, a few years earlier, conducted a radio interview with Hubert von Goisern und die Original Alpinkatzen (Hubert von Goisern and the Original Alpine-Cats). At the time Hubie STHE SAYING GOES, IMITATION IS THE SINCEREST FORM OF FLATTERY. IN WHICH and his “cats” were a successful band in Austria and Germany. What had set them CASE, HER MAJESTY’S AGENT 007 HAS BEEN FLATTERED UP THE KAZOO. DURING apart was an unexpected contemporary invention on the Scandinavian tradition of THE DECADE WHEN LOVE WAS FREE AND BATMAN WAS ADAM WEST, SEVERAL yodeling. No small portion of their fame was A attributable to their lead singer, a beautiful EUROPEAN NATIONS WERE USING THEIR CINEMA TO REFLECT BACK AT US BRITS AND young lady with a highly trained voice named Sabina Montes. Sabina, along with YANKS THEIR OWN IDEAS OF AN INFALLIBLE SPY. EVEN THE JAPANESE GOT IN ON THE ACT. giving voice to the hybrid yodeling, had also been experimenting with “throat singing,” a I’m sure you’ve seen or heard of the Woody the crazy Euro-world of “Kiss Kiss Bang shamanistic technique taught to her by an Allen movie, What’s Up, Tiger Lily? That Bang!” with the harvest of their skills: Piero actual Mongolian practitioner. flick is actually an Allen-dubbed version of a Piccioni, Carlo Savina, Nico Fidenco, Belying her porcelain sex-kitten appear- 1965 Japanese called International Armando Trovaioli, and more, many of them ance (she’s turned down film roles built on Secret Police: Key of Keys. heavy-hitters. The films they worked on this stereotype) Sabina, at 24, was already Compared to other countries, the have become obscure, but for we soundtrack an accomplished artist, and obviously one Germans and seem to have gotten lovers the manna continues to fall, thanks, not afraid of a challenge, when Wolfgang the greatest number of their Bond rip-offs this time, to Mr. Wolfgang Maier. contacted her to discuss his “Upperseven” dubbed into English and exported. From Germany’s answer to England’s Lionel scheme. I had the pleasure of interviewing some of the titles, such as Lightningbolt; Woodman, Wolfgang has been a dedicated Sabina on just this topic, and we spoke about Kiss Me, Monster; New York Calling Secret collector, and is now an independent produc- her first professional excursion into the fan- Agent Super Dragon; Spy Today, Die er of classic Italian and German film score tastic world of Italian film music (please Tomorrow; and Two Female Spies in reissues. Being a Euro-collector for many bear in mind that English is a second lan- Flowered Panties, one can get a sense of the years has positioned Wolfgang, like guage for Miss Montes): high-camp entertainment value that these Woodman, so that he is now able to re- JB: How did Wolfgang approach you for films possess. Although never blessed with release the most prized scores (both these this project? the open-ended budgets of the Broccoli- guys are cognizant of the best titles, and hey, SM: What does approach mean? Saltzman productions, the foreign counter- in this business that’s half the battle!). JB: I’m sorry, how did Wolfgang go about parts did often have grade-A composers pro- Wolfgang’s new anthology of Italian secret asking you to do this song? viding their scores. Even Ennio Morricone agent themes, Our Man from R.O.M.E. SM: Well, last year in the spring he called took his shots at the genre with his writing (Ceraton/Lifestyles CT/LS 0301, 20 tracks, me. He said there is a film music which he for Matchless and Operation Kid Brother, 54:07) is burdened with nothing but the can’t put on a record because the version the latter starring Neil Connery, Sean’s good stuff. where a woman sang on it, this is lost. He younger brother. The Italian filmmakers The disc kicks off with Wolfgang’s auda- has a clean copy of the vocal version without were determined enough with this lookalike cious coup, his successful resurrection of singing [the original backing track, or “TV” production to bother surrounding Neil with Bruno Nicolai’s exceptional main title vocal mix], and he asked me if I want to do this. I many of his sibling’s costars from the United for Upperseven: L’Uomo da Uccidere (1966). told him that I love jazz very much. So he Artists series: Daniela Bianchi (Tatiana SLC, the late, great Japanese film music sent it to me, and oh, I love this song! I Romanova), Adolfo Celi (Largo), Bernard label, re-released Upperseven in 1997, a typ- thought, “Wow, yeah, this is it!” I love this Lee (M) and Lois Maxwell (Moneypenny). ically pristine Japanese production, and kind of music, and I think with the modern Other Italian composers who were to grace complete but for the wonderful vocal by music that we have now there are no more

A PRIL/MAY 1999 44 Film Score Monthly such composers. And so I learned It’s now hard to imagine the song performed tious themes from Agente Special LK and “Upperseven,” and in about two weeks I any other way. Kiss Kiss Bang Bang, a cool suite from Carlo come to Regensburg and we make this song. If Our Man from R.O.M.E. had Sabina Savina’s A Gentar si Muore Facile, and JB: You only had two weeks to rehearse? Montes’s “Upperseven” followed by nothing Umiliani’s swinging theme to Due Mafiosi SM: Wolfgang had sent me the good ver- else but 19 tracks of toilets flushing it would Contro Goldginger, which is beautifully sion without singing, and the film’s original still be a must-have item. In fact, enhanced with a cameo by Edda Dell’Orso. vocal [taped from a video], but this old vocal “Upperseven” is joined on this disc by a fine Simultaneously with Our Man from was so eeeoooaaarrrr [Sabina makes a sound gathering of carefully selected tracks, some R.O.M.E. Wolfgang has also released a relat- like a Walkman playing down on dying bat- never before available. Included is the vocal ed two-score CD by , Agente teries], it was terrible! I had the text [lyrics] and instrumental of Berto Pisano’s and 077 Dall’oriente con Furore and Missione which Wolfgang wrote for me, and so I Jacques Chaumont’s main title for Kill! (the Morte Molo 83 (Tsunami TOS 0306, 23 learned it. I listened to the old version maybe English-dubbed print of the 1972 film was tracks, 58:59). Both scores are for ‘60s five times, but it was really absolutely bad! I called Kill! Kill! Kill!). I first heard this Italian spy films. Besides being an obvious sang a hundred times the lyrics with the amazing orchestral eruption of violence and collector’s item (buy this now or say good- good instrumental version. energy on Peter Blumenstock’s promotional bye to these two scores forever) this disc also JB: Did Wolfgang explain anything to you release of last year, Crippled Champions: turns out to be a pleasurable listen when about Italian cinema, and its music from The Soundtrack Generation. He ran the experienced in its entirety, the direct result that period? vocal by Doris Troy. Logic dictated that, of Wolfgang spending countless hours work- SM: Yes, he did. He showed me much CD sooner or later, I would come across the most ing diligently at editing and arranging the and records, and so I was getting into it. But daring, brazen, title track power-ballad cues until they flowed like honey, one into you know, I love that time, for example I love ever—I’ve been immersed in film music for the other. MMM 83 has a main theme that Marilyn Monroe very much. over 20 years and I’m not afraid to pro- reeks of some probable JB: I can’t believe you just said that. In all nounce that Kill! is probably the ultimate, affiliation. Personally, I’m convinced Piccioni honesty, when I first listened to your record- the last word in testosterone-injected film recycled a rejected western composition for ing I was reminded of Marilyn Monroe! Your theme fury. You don’t play this piece, you this espionage caper. singing is much better of course, but you cer- tainly possess something in your style which invokes Marilyn’s sultry spirit. Your voice is Prepare to very feminine, very sexy. It is so appropriate that you connected with this project. Bruno meet the Nicolai’s Upperseven, with all of its James Double-O Bond ‘60s sound, really allowed for you to get into the mode of that marvelous period. Doppelgangers, SM: When Wolfgang first heard me sing “Upperseven” he said, “Wow, it’s great!” But and femme for me it was just how I felt about this song. fatale Sabina It’s not me, it’s the music is so wonderful. Montes—who One of the prime movers of the pinnacle epoch in Italian film music, Alessandro gives voice to Alessandroni, was a in Nicolai’s “Upperseven” original recording over 30 years ago. Wolfgang and Sabina respectfully visited the Maestro at his home and played their fresh detonate it! Here is a quick sampling of the take on Nicolai’s classic theme. Alessandroni sulfurous lyrics: Calabria Cops + Dusseldorf Desperadoes was so enthused by the potency of Sabina’s They bought the law—yeah, Bought it! = Good Music for You and Me! interpretation that he responded, “Oh, I’m Bought it! Bought it! The last, but not least, in Wolfgang’s cur- now an old man, how can I join you? I wish I Sweep free on bail—Laughin’! Laughin’! rent batch of three is Die Schwarzen Adler was young again and could work with you!” Laughin’! von Sante Fe (Dolce Vita SK 1174, 34 tracks, As for my initial response to Sabina’s Kill the bastards—Bastards! Bastards! 62:37). The Black Eagles of Sante Fe was a “Upperseven,” I was surprised. On the tech- Bastards! 1965 German, French and Italian co-produc- nical side I was amazed by the authenticity Kill them, kill them, kill them! tion. Made in the heat of the European cine- of the aural texture recreated—pure 1960s. Troy was born to sing this incredible ma’s western fever, the film starred Lex I’ve since learned this is due to Wolfgang’s theme. Her striking, androgynous voice has Barker, Forrest Tucker, and a young Rita doggedness at finding a recording studio that just enough strength to cut through Pisano’s Moreno. The same year The Black Eagles hit still had in their possession a functional blasting horns, unrelenting percussion and theatres, the German label International 1960s microphone. Aesthetically, I knew crashing string clusters. The skill and preci- released an EP (IN-EP 408). This record has Wolfgang would select a woman who could sion with which this difficult composition become the rarest of all German film score sing with full competence. What I didn’t has been arranged and conducted has re- 45’s, with only a handful still known to be in expect was such a distinctive and personal- inflamed my awe of the Italian film music existence. The score was composed by Gert ized response, especially from so young an community. Every time I play Kill! it’s like Wilden, a name that could ring a bell with artist as Sabina. Besides a hefty dose of discovering film music again for the first readers in possession of more extensive, cos- breathy sensuality, at several junctures time. If you have yet to hear it, I envy you— mopolitan collections. Early last year Pete throughout the piece she employs some you cannot be prepared! Blumenstock’s Crippled Dick label released unusual vocal maneuvers—and they work. Other tracks include more Nicolai, infec- two Wilden CDs, Schoolgirl Report and I

Film Score Monthly 45 A PRIL/MAY 1999 SCORE INTERNATIONALE Italians, however, do not see crime as a desta- Told You Not to Cry (FSM Vol. 3, No. 4, pp. (violent police thriller) was a bilizing element attrib- 43, 48). The Black Eagles is most definitely genre born of an American utable to some form of by the same hand. The sound is bold and influence; in this instance, ungodly “other” who energetic—no lazy cues here! As with his the single seed from which must be expunged, but work on the erotic films and the krimis, this the format sprung was Don rather as a manifesta- score has been designed so as to be much Siegel’s 1971 masterpiece tion of problems involv- more conspicuous, and comparatively incon- Dirty Harry. But, as with ing every Italian. The gruous, than that composed for American the spaghetti western, this music on Blumenstock’s productions. Wilden is adept with melody, police genre was not just a brand new CD of and there are a number of juicy themes here, mimic of whatever was com- themes, my favorite being “Cliff and Blade” (track ing out of Hollywood. Italian Beretta 70 (Crippled Dick 14). This is one of those wonderful filmmakers, under economic constraints, Hot Wax CD HW 053, 14 tracks, 52:25) Bernstein-style prairie tunes; emphatically needed to be opportunistic with their defines the Italian perspective of “crime is paced at an easy canter, it’s also graced with attempts at initiating substantial formulaic us.” a big, breezy string section and the requisite trends within their own industry. They mere- The exciting, hard-driving cues on this harmonica solo. ly used the international success of Siegel’s beautifully packaged disc represent The crystal-shell insert, beneath a clear film to fuel a decade’s worth of significantly action/thriller music for the common tray, bears a photo of Gert Wilden, on which Italian cop thrillers, exploitation films that man—a rock opera that’s played at street he has autographed each using a silver metal- were socially relevant within that society. level, where real people live and die. Like a lic marker. This release has been limited to By comparing the music for the dozens of lot of Italian film music this stuff is hot and only 300, and apparently Japanese collectors poliziotteschi with the Dirty Harry films wet, almost too dramatic. The instrumen- have already made a rabid dash at gobbling scored by Lalo Schifrin, a clear picture can be tation frequently involves a tight cluster of up a sizable portion of that number. had of the contextual differences between the synth, electric guitar and bass, sometimes (Someday I must share with you my tragic two groups of pictures. Because the brass, and all riding a racing, molten wave tale of crossing paths with a gang of Japanese Eastwood series reflected our American fron- of percussion towards an arrest or a car collectors!) If our regular dealers aren’t tier/capitalistic/puritan sensibility of equat- crash. Only Armando Trovaioli’s Blazing presently listing this, I suggest you contact ing crime with an extremely individualized Magnum theme gets dressed-up enough to Soundtrack Deletions at Hillside House, 1 “land/money/morality” threat, the films had include woodwinds and a layering of vio- Woodstock Road, Strood Rochester, Kent to paint their villains as wholly evil. Schifrin lins. It’s a great collection of tracks from 12 ME2 2DL, England; ph: 011-44-1634-711- had little choice but to focus on this “bad films and 13 different composers, including 053. They might have copies on hand. boys” agenda and came up with a grandly top talent such as (his Three years ago Peter Blumenstock, on his innovative , almost a kind of “Folk and Violence” is the quintessential private Lucertola label, released a CD featur- spooky horror-jazz (consider that his poliziotteschi anthem), , ing four scores from Italian poliziotteschi. main title would work nicely Goblin and Luis Bacalov. An essential disc Like the spaghetti western, the poliziotteschi in the new vampire-hunter flick, Blade). The for any major collection. FSM

FSM READER ADS

1 ,000,000 SOUNDTRACKS, and on any format The Last electrical converter made by invited. First ad placed in this genre. ORIGINAL CASTS, Place on Earth (Jones). Genette. Please email for price and For sale: Porgy & Bess U.K. Philips R TELEVISION, NOSTALGIA LPs! Chuck Mymit (98-40 64th Ave, details. 07522 L (1959) LP soundtrack Rare originals, limited editions, Forest Hills NY 11374) is looking for Scott Hutchins (1504 East 83rd (ex+/ex); special white sample label. imports, reissues, most mint condi- a VHS copy of the PBS film Moviola Street, Indianapolis IN 46240-2372; Unique advance jacket made in tion! Catalog—$1.00. about composer John Barry. Also [email protected]) has the following Holland with “Advance copy for the Soundtrack/Television Valueguide— looking for a piano lead sheet for items for sale or trade: Midnight Run International press” printed on front $10. 1,000,000 VIDEO MOVIES! the title music of Body Heat (Elfman, sealed), Defending Your Life and back. Science fiction, horror, silents, for - (Barry). (Gore, sealed), Tie Me Up! Tie Me Greg Shoemaker, 2839 Rathbun eign, cult, exploitation, all ! Joey T. Stiklius (90 Edson Ave, Down! (Morricone, sealed), Jason Drive, Toledo OH 43606) has sound- Rare titles found here! Catalog— Waterbury CT 06705; ph: 203-757- Goes to Hell: The Final Friday (mint, tracks on vinyl, movie items. $1.00. Big descriptive catalog—$10. 4686) is looking for a CD of The not sealed). Make an offer. Nothing’s mint, so no mint prices. RTS/FS, Box 93897, Las Vegas NV Fourth Protocol (Lalo Schifrin). Gordon Lipton (2808 East 11 St, Two 33¢ stamps nets you a list. 89193. NY 11235; ph: 718-743- Wijk Walter (Draaiboomstraat 49, For Sale or Trade 2072) has the following CDs for sale 2160 Wommelgem, Belgium; ph/fax: Wanted Michel Coulombe (3440 Mont- or trade: Man Who Would Be King 0032-3-233-31-86) has CDs for sale Christopher Allen (PO Box Royal Est, Montréal, Québec H1X (Jarre, $25), Cousteau: Cape including rare items like The Relic 540352, Dallas TX 75354; 3K3, Canada; ph: 514-529-0133, Form/Channel Island (Scott, $25), ($100), I Know What You Did Last [email protected]) seeks The [email protected]) has the follow- Lionheart Vol. 2 (Goldsmith, $25), Summer ($100), Apollo 13 authentic Lighthorsemen on CD. ing CDs for sale: Flesh + Blood Merlin of Crystal Cave (Shaw, $20), promo ($75), Tokyo Blackout Jim Bianco (ph: 609-751-2011, ($235), The ‘Burbs ($175), Dressed to Kill (Donaggio, $20). Your ($200), Jane Eyre ($200) and many fax: 609-751-3414) wants anything SpaceCamp ($175), Raggedy Man list gets mine. more titles. Write or fax for list. Stewart Copeland (post-Police only) ($200), Bernard Herrmann Concert David Parsons (139 Village Way, score related—promo CDs, inter- Suites ($350). Postage fees are Pinner, Middlesex HA5 5AA, England; Both Wanted & For Sale/Trade views, unreleased, etc. included. ph/fax: 0181-866-3529; david.par- Michael Mueller (5700 Grelot Rd Paul Ettinger (RR#3 Jack Hirschorn (marble@war- [email protected]) has LP records #1033, Mobile AL 36609; ph: 334- Shubenacadie, Nova Scotia, BON wick.net) has for sale 1929 RCA AR- of soundtracks, original casts, radio, 414-1417; [email protected]) 2HO, Canada; ph: 902-758-1377; 1264 Theremin, ex. condition with TV, comedy for sale. Lists available has the following CDs for sale or [email protected]) wants on CD many vacuum tubes; 4 legs; sound- by email or snail mail. Send IRC’s or trade: The Boys from Brazil (Masters Trinity and Beyond (Stromberg and ing board; 2 original antennae; elec - cash to the value of £3/$5 for hard Film Music, $70), Under Fire (Warner, Morgan); on LP StarCrash (Barry); tro-dynamic loudspeaker; theremin copy snail mail printouts. Want lists Japan, $200), Wild Rovers/The Great

A PRIL/MAY 1999 46 Film Score Monthly “It was so bad I nearly lost the gig.” THE LASERPHILE CONFERENCE REPORT After listening to Michael Kamen, the last (continued from page 19) (continued from page 43) two panels, which focused mostly on the ($34.98) was bumped to March 23. Although any problems that arise. Kamen also takes a business aspects of songs, were anticlimactic. the DVD was to have included most of the “free-wheeling” approach to conducting, pre- The first was devoted to music supervisors, supplements from MCA’s Deluxe letterboxed ferring streamers to click tracks. He began including Alex Steyermark (many laser box-set (which sold for $124.98), John conducting at the age of three—to records. “I films), Randall Poster (Rounders), Susan Williams’s isolated stereo soundtrack was not gave some fantastic performances in my liv- Jacobs (54), Bonnie Greenberg (Ed TV), and announced to be one of them. ing room,” he said. Jeffrey Kimball (). Because composing is a solitary occupa- Because their duties include choosing songs Anchor Bay Goodies tion, Kamen explained that he rarely gets to and making temp scores, music supervisors Anchor Bay continues to aggressively license meet other film composers. One of the excep- are often seen as the enemy of film com- titles from a variety of sources on DVD. A tions occurred when he participated in a film posers. Sometimes, however, music supervi- handful of movies appeared from the vaults of music panel with Danny Elfman and Alan sors help facilitate an effective balance ABC’s library in January (including a great- Silvestri at Sundance. It was a rare opportu- between score and songs. Jeffrey Kimball, for looking transfer of Sam Peckinpah’s Straw nity to compare notes. They all agreed that example, talked about arranging for Danny Dogs, along with Duel in the Sun and the one of their greatest frustrations is coming Elfman and Elliot Smith, who contributed long-forgotten Sean Connery western up with a tune they know is right for a film score and songs to Good Will Hunting, Shalako), while Anchor Bay released a hand- and being told by the director that he doesn’t respectively, to meet and exchange samples ful of Italian horror meister Dario Argento’s like it. Kamen went on to share some specif- of their music during the making of the film. best films in February, including Tenebre, ic examples of his experiences with directors. Phenomena and Demons. (Check the “Andy’s Who Are the Decision Makers? Aisle Seat” section of our FSM website for Fun with Directors The final panel included music department reviews of these individual titles.) After seeing Die Hard for the first time, executives, Randy Spendlove (Miramax) and For 1999, Anchor Bay has licensed a pack- Kamen said, “I thought it was a rampant Mark Kauffman (New Line), and record label age of Disney titles for DVD release, including piece of shit. When they asked me to use execs, Sharlotte Blake (London) and Scott The Black Hole, which will make its Beethoven’s Ninth, I said, ‘If you want me to Greer (Epic). The good news is that both widescreen debut on March 30, complete with bastardize German music, I’ll fuck with Miramax and New Line expressed their com- a remastered Dolby Digital soundtrack. For Wagner!’” The director, John McTiernan, mitment to continue issuing separate score later in the year, the company has tentative argued that he was doing an homage to and song albums whenever possible. The bad plans for remastered DVD editions of Never Stanley Kubrick, who had used Beethoven’s news is that movie studios and record labels Cry Wolf, Condorman and Something Wicked Ninth in A Clockwork Orange. Kamen still care more about song albums because, of This Way Comes—and wouldn’t it be nice if agreed to use the Beethoven, but only if course, they make a lot more money than the original, Georges Delerue-scored version McTiernan also agreed to use “Singin’ in the score albums. Film music fans can at least could somehow be found in the Disney vaults Rain,” another tune featured prominently in take heart in this: according to the panelists, and screened for the first time? (Anyone A Clockwork Orange. “I decided to have fun score albums are becoming even more suc- interested in this film should also seek out with it,” Kamen said. “What else can you cessful than song compilations outside the Image’s letterboxed laserdisc release, since it do?” Later, when working on Robin Hood, United States, especially in Asia. It seems contains an insightful audio commentary the film’s director told Kamen he envisioned that song compilation albums have been from and the effects supervi- the film as a 12th century drama and want- around a lot longer overseas than in the U.S., sors, touching upon the changes and re- ed the music to reflect that vision. Taking the and consumers outside our shores are get- shoots the troubled production went through director at his word, Kamen put together a ting tired of song-based soundtracks. If and before completion.) temp score made up entirely of medieval when this trend will ever come to America is Speaking of alternate versions, Anchor Bay music. The experiment did not go over well. anybody’s guess. FSM has a “Director’s Cut” of Army of Darkness lined up for next Halloween, while the This AUCTION is a A Certain Smile The Horsemen European cut of Supergirl is currently “in means of reaching A. Newman, Columbia 1194 (AM) Delerue, Sunflower 5007* (AM) the works” for a letterboxed DVD bow, collectors who do not exclude VINYL 20.00 15.00 LPs from their soundtrack and relat- Checkmate In Harm’s Way Goldsmith, RCA though no date has been set as of yet. As ed collections. I deal almost exclu - J. Williams, Columbia 1591 (AM) 1101* (AM) 40.00 Jerry Goldsmith (and Helen Slater) fans are sively in vinyl not (yet) available on 30.00 Lilies of the Field CD. Issue 3 lists a year. To receive a East Side, West Side (TV) Goldsmith, Epic 26094* (AM) 25.00 well aware, the longer Supergirl includes copy, write or fax me. This auction is K. Hopkins, Columbia 2123 (S) 15.00 Monsignor alternate music cues and generally runs an abbreviation of my regular lists, An Elephant Called Slowly Williams, Casablanca 7277* (AM) excluding CDs. All LPs listed here are Blake, Bell 1202* (PH) (S) 12.00 40.00 smoother than the abbreviated version AM (Almost Mint) or S (Sealed). PH Freud Goldsmith, Citadel 6019* My Geisha Waxman, RCA 1070* TriStar released in the U.S. Chances are that means there is a punch hole (dele- (AM) 25.00 (AM) 40.00 tion). Minimum bid as shown U.S. $ Flesh & Blood McLintock! Anchor Bay is taking their time and possibly only. Postage is extra. Auction ends Poledouris, Varèse 81256* (AM) De Vol, UA (Japan Imp.) 946* (AM) looking for more pristine elements to utilize June 4. Stereo indicated by *. 20.00 20.00 Les Galets d’Etretat Our Mother’s House for the DVD since the pan-and-scan print LPs Schifrin, Warner 1777* Garvarentz, Barclay 80133* (S) (PH) Delerue, MGM 4495* (S) 35.00 used on their VHS release last year was dark, (AM) $30.00 40.00 The Southern Star grainy, and in mono, despite its originating The Borgias Go, Go, Go World! Garvarentz, Colgems 5009* (S) Delerue, BBC Ent -428* (AM) 20.00 Oliviero-Nicolai, Musicor 3059* (S) 20.00 from the longer European edition. Batman (TV) (PH) 25.00 A Summer Place/Helen of Hefti/Riddle, 20th Fox -4180* (AM) Great Expectations Troy 60.00 M. Jarre, Pye 18452* (AM) 25.00 Steiner, FMC #1* (AM) 25.00 Next Time More lasers and DVDs! Send all com- The Chairman Goldsmith, Tetra The Golden Seal The Silver Chalice Waxman, ments and queries to [email protected], and don’t 5007* (S) 15.00 Barry-Kaproff, Compleat 6001* (S) FMC #3* (AM) 25.00 Triple Feature (3 scores by 20.00 Mancini, Challenge forget to check www.filmscoremonthly.com/aisleseat Trovaioli/Dankworth) Epic 24195 Heidi (TV) J. Williams, Capitol 602 (AM) 40.00 for more reviews. (AM) 20.00 2995* (S) 25.00 13 Jours en France

Film Score Monthly 47 A PRIL/MAY 1999 RETROGRADE Charles Gerhardt, 1927-1999 THE PASSING OF A LEGENDARY CONDUCTOR MARKS THE END OF AN IMPORTANT ERA IN SOUNDTRACK APPRECIATION

by Robert E. Benson

harles Allan Gerhardt, conductor, record Light Classical Music was an incredible success, selling producer and music arranger, died February in massive quantities. The success of this album prompt- 22, 1999 in Redding, California, from com- ed dozens of others, mostly lighter fare—pop tunes and Cplications following an operation for brain “mood” music, all done in high style and recorded with cancer. He was 72. state-of-the-art sonic quality. Born February 6, 1927 in Detroit, Michigan, Major classical projects included a 1961 set of Gerhardt showed extraordinary musical instincts at an Beethoven symphonies with Rene Leibowitz and the early age, playing piano when five and composing and Royal Philharmonic; a 1965 set of Rachmaninoff’s orchestrating when nine. His early years were spent in works for piano and orchestra with Earl Wild, Jascha Little Rock, Arkansas. He and his family moved to Horenstein and the Royal Philharmonic; and a 12-LP Illinois after the 10th grade where he finished his pub- set, Treasury of Great Music, with the Royal lic schooling. He served in the U.S. Navy in World War Philharmonic led by some of the greatest conductors of II as a chaplain’s assistant in the Aleutian Islands and the era: Fritz Reiner, Charles Munch, Rudolf Kempe, was a life member of the Veterans Sir John Barbirolli, Sir Malcolm Sargent, Antal Dorati, of Foreign Wars. After the war he and Jascha Horenstein with whom Gerhardt had a par- continued his education at the ticular rapport. University of Illinois, the College Early in his career Gerhardt met famed recording engi- of William and Mary, and the neer Kenneth Wilkinson. The two worked together when- University of Southern California. ever possible, producing countless recordings that per- His studies were always dual: fectly matched quality of performance, interpretive music and science. For a time he insight, and sonic splendor. In 1964 Gerhardt formed an attended the Juilliard School of orchestra consisting of some of the finest players in Music in New York. London, incorporated in 1970 as the “National His first recording sessions as an Philharmonic Orchestra,” an ensemble used in almost all engineer were for Westminster/ of his recordings. Sonora, and in 1950 he began a Gerhardt’s career as a conductor began when he took long association with RCA Victor, over the baton when a scheduled conductor didn’t show first working in New York and up. After that he conducted often for recordings and occa- later in London. His first job was sionally in the concert hall, in a wide range of repertory. processing early 78rpm recordings His classical recordings include works of Richard Strauss, by Artur Schnabel and Enrico Tchaikovsky, Wagner, Ravel, Debussy, Walton and Caruso for issue on the then-new Howard Hanson. LP record. Gerhardt’s musical Gerhardt’s keen interest in music for films resulted in Charles Gerhardt, gifts and understanding of the an LP titled The Sea Hawk: The Classic Film Music of conducting his technicalities of recording were quickly recognized. Erich Wolfgang Korngold, produced by George Korngold, Classic Film Scores During the next decade he recorded many of RCA’s lead- son of the famous Viennese composer, who often worked for Bette Davis ing artists including Vladimir Horowitz, Wanda with Gerhardt. This recording, released in 1972, instant- album in 1973. Landowska, Kirsten Flagstad and William Kapeli. He ly became a best-seller and was followed by 12 more LPs made one of the first RCA experimental stereophonic featuring music of other famous film composers includ- recordings, music of Menotti and Prokofiev, with Leopold ing Max Steiner, Miklós Rózsa, Franz Waxman, Alfred Stokowski conducting. Beginning in the early ‘50s he Newman, Dimitri Tiomkin, Bernard Herrmann and worked closely with Arturo Toscanini during the last John Williams. Gerhardt’s interest in the importance of seven years of the Maestro’s life. Toscanini took a per- music in films, and his abilities as an arranger, resulted sonal interest in Gerhardt and encouraged him to in Gerhardt himself being asked to compose music for become a conductor. several European films. Early in 1960 RCA and the Reader’s Digest asked Gerhardt spent most of his time in London making Gerhardt to produce a 12-LP album of light classical recordings but always maintained a residence in the music to be sold only by mail. With a budget of $250,000, United States. After retiring from RCA in 1986, he free- Gerhardt had total control of the project: repertory, lanced for Reader’s Digest, producing and recording until orchestras, conductors and technical production. He 1997. He moved to Redding, California, in 1991. hired orchestras in London, Vienna and Paris, and con- He is survived by three cousins: Lenore L. Engel and ductors such as Sir Adrian Boult, Massimo Freccia, Sir Elizabeth Anne Schuetze, both of San Antonio, Texas, Alexander Gibson and Rene Leibowitz. A Festival of and Steven W. Gerhardt of St. Pete Beach, Florida. FSM

A PRIL/MAY 1999 48 Film Score Monthly FilmFilm ScoreScore MonthlyMonthly PresentsPresents GoldenGolden AgeAge ClassicsClassics •• LimitedLimited EditionEdition OriginalOriginal SoundtrackSoundtrack CDsCDs •• NowNow available:available: FSMCDFSMCD Vol.2,Vol.2, No.3No.3 by PrincePrince ValiantValiant Franz Waxman THE COMPLETE SURVIVING SCORE ONE-TIME PRESSING OF 3,000 COPIES Prince Valiant is one of Franz Waxman’s greatest scores: a stirring knights-and-adventure work in the classic symphonic tradition of The Adventures of Robin Hood and Star Wars. It features a dynamic set of themes and variations: a brash, heroic melody for Prince Valiant (Robert Wagner), swelling love music for Princess Aleta (Janet Leigh), a noble theme for Sir Gawain (Sterling Hayden), malevolent material for Sir Brack (James Mason), and many other motives and melodies for the settings and ideas. Charles Gerhardt (to whom this album is dedicated) recorded a suite from Prince Valiant to open his Classic Film Scores of Franz Waxman volume in the early 1970s. This CD presents the premiere release of the original soundtrack as conducted by Waxman for the film. It has been remixed in stereo from the original 35mm magnetic film elements and carries forth the crisp, energetic playing of the 20th Century Fox studio orchestra. Fortunately, almost all of the score has survived in excellent condition, particularly the excit- ing and action-filled material for the movie’s third act, when Valiant is captured and must escape to fight his enemies. Sadly, certain incidental fanfares have been lost, and an eight-minute swath of music was afflicted with noticeable mag wow—this has been included at the end of the disc as a bonus track. Prince Valiant has been one of the most requested scores from the Fox archives—and here it is! The 16-page booklet features stills from the Fox archives, rare photographs of the composer, and liner notes by Doug Adams. $19.95 plus shipping

COMPLETE TRACK LISTING 1. Main Title 2:07 13. Val’s Capture 2:27 2. King Aguar’s Escape 2:46 14. Trapped 2:06 3. Sir Gawain 2:47 15. Escape 5:53 4. King Arthur Speaks 0:56 16. Dash to the Tower 4:35 5. Sir Brack 4:50 17. Sligone’s Death 1:08 6. Val Escapes 2:39 18. The Singing Sword/ 7. Val and Aleta 3:24 Sir Brack’s Death 2:43 I am so pleased 8. Procession 0:53 BONUS MATERIAL that the 9. Valiant’s Report 1:29 19. Alternate Fanfare 0:13 Prince Valiant 10. Aleta and Ilene/ 20. The Pledge/Val Leaves the Island/ soundtrack is finally The Wrong Girl/Aleta 4:20 The Fens/The First Chase (damaged) 8:25

available for 11. The Banquet 1:42 Album Produced by everyone to enjoy. 12. The Ring 4:41 Nick Redman & Lukas Kendall

Next month: A never before available John Barry score! Upcoming releases will feature: John W. Waxman Jerry Goldsmith, Alfred Newman, Elmer Bernstein.