1. Main Title 1:35 • 2. “April Showers” 2:51 3. “I’ll See You in My Dreams” 2:02 • 4. “A Chicago Country Club Dance” 2:02 5. “I’m Forever Blowing Bubbles” 1:45 • 6. “The Missouri Waltz” 1:48 7. “I’ll See You in My Dreams” 1:47 • 8. Larry’s Journey Overseas 1:20 9. Isabel and Larry in Paris 1:46 • 10. Returned Engagement Ring :40 11. Last Night Together 1:38 • 12. Night Clubbing 6:28 13. The Wedding Cake :50 • 14. After the Wedding :45 15. Miner’s Cafe 2:00 • 16. Larry Travels to the East 5:15 17. The Mountain Retreat 6:44 • 18. Larry and Maugham Reunited :11 19. Somerset Maugham and the Princess :41 • 20. The Rue De Lappe 2:47 21. Cocktails at the Ritz 1:52 • 22. Sophie’s Torment 3:09 23. Oboesque 1:43 • 24. Sophie’s Room 2:13 25. After Elliott’s Death 1:43 • 26. Finale :54 27. Exit Music 4:13 28. “J’aime ta Pomme” Demo 2:38

Total Time: 63:37 n June 1944, Darryl F. Zanuck, 20th Cen- questioned the materialistic mode of living and tury-Fox’s studio head, was contemplating were looking for a meaning of existence. making a big decision. In a memo to key In Maugham’s The Razor’s Edge, Larry members of his staff he said: Darrell near the end of World War I is saved from death by a comrade who gives up his life This is my analyzation of The Razor’s in the effort. Larry feels that his life has been Edge [novel] by Somerset Maugham. spared for some particular purpose and wan- Despite the fact that to date no producer ders about the world in search of philosophical on the lot has shown any great enthusiasm and/or spiritual guidance, leaving the woman for this story as a motion picture and he loves and material advantages. In India, despite the fact that no other studio has he eventually achieves insight, tranquility, purchased it, I am inclined to believe that and “goodness of soul.” Larry, at the end, has we should buy it. found himself, and in helping himself he can The book was published in May, and it help others. immediately went on the best-seller list. . . . But as Zanuck said in a memo of December There must be a reason why the 6, 1945: “Larry is not carrying any great mes- American public at this moment is read- sage, nor is he looking to reform the world; ing this book more than any other book. he is looking only for the answer to his own The answer, I think, is simple: Millions of quest for serenity and the key to his own future people today are searching for content- happiness. . . . This, to me, is the theme of Mr. ment and peace in the same manner that Maugham’s book, and the reason it has been Larry searches in the book. such a tremendously big seller. It is a problem which today is close to twelve million Ameri- cans. It is a picture of faith and hope.” The invasion of northern Europe had just Somerset Maugham in a September 1945 taken place on June 6. With the Allies clos- interview said: “I’ve had hundreds – actually ing in on Germany from all sides, confidence hundreds – of letters from soldiers at the front, rose that the end of World War II was in sight. telling me how well they understood Larry And indeed it was. In 1945 the war ended and after their experiences. . . . Some of them have millions of military personnel were return- said they will try to live that way in the years ing home to resume civilian life. But many, ahead, if their lives are spared. You see, men at because of their experiences in the war, were war are either desperately busy or have a good unsettled. They realized that their values were deal of idle time on their hands, so many of in some ways changing. More than a few these letters run to twenty pages or more.” Above left: Director Edmund Goulding studies the mountain top retreat set on stage at Fox. Edmund Goulding discussing “The Razor’s Edge” Religious novels (and films) were extraor- with Tyrone Power. Fox product, he would usually once a year dinarily popular during World War II – The or so select a property to which he would Keys of the Kingdom, The Song of Bernadette, devote a considerable amount of time on a The Robe, The Apostle, etc. They dealt with daily basis during the script’s evolution, pre- Christianity whereas The Razor’s Edge was production, filming, and post-production. the only one that featured a Hindu philosophy. In May, 1945, George Cukor, not a Fox The title of The Razor’s Edge came from the staff director but primarily with MGM Katha-Upanishad: “The sharp edge of a razor at the time, was set to direct The Razor’s is difficult to pass over; thus the wise say the Edge. Cukor was unhappy with the script path to Salvation is hard.” development and suggested to Zanuck that W. Somerset Maugham had been writing the studio ascertain whether Maugham him- novels, plays, and short stories for decades self would be interested in working on the prior to The Razor’s Edge. His first novel, Liza script. Although Zanuck apparently thought of Lambeth, was published in 1897. A 1915 it highly unlikely that Maugham would ac- novel, Of Human Bondage, was made into cept and/or that he would demand too much a feature picture three times. The Moon and money, the author sent Zanuck a telegram Sixpence (1919), based on the life of Gauguin, saying that he would work on the screenplay was filmed in 1942. Both Maugham’s The for no pay whatsoever; surely a unique at- Letter and Rain (Sadie Thompson) were first titude. Maugham then spent June and July, published as short stories, reworked as plays 1945, as George Cukor’s houseguest while by Maugham, and then produced as feature working on his version of the script. pictures. But The Razor’s Edge was his major Maugham had no experience writing “best-seller” novel. screenplays. His first draft of July 20, 1945, Zanuck purchased the screen rights in late was labeled “Story in Dialogue by W. Som- 1944 and assigned long-time Fox scenar- erset Maugham.” The author’s preface stated ist Lamar Trotti to work on the adaptation that “The following is not to be looked upon and script. Trotti’s previous credits include as a script and will be incomprehensible Alexander’s Ragtime Band (1938), Drums unless it is read in conjunction with Lamar Along the Mohawk (1939) Young Mr. Lincoln Trotti’s. It should be looked upon only as a (1939), Man Hunt (1941), The Ox-Bow Inci- story in dialogue. . . ” dent (1943), and the recently completed per- Then five days later he submitted his sonal production of Zanuck’s for Fox, Wilson “Revised Final.” The following “Author’s (1945). The Razor’s Edge became Zanuck’s Note” at the front of the script surely was next personal production, meaning that in ad- composed at least in part with tongue-in- dition to overall supervision of the entire cheek. Maugham, of course, had been involved over the years in many theatrical ven- scenario on The Razor’s Edge,” Maugham told American film debut in Gaslight (1944). pence, took over the role. Thomas F. Brady in tures of his plays. author Wilmon Menard in the early 1960s. In Anne Baxter’s 1976 autobiography, a July 28, 1946 New York Times article stated “You see, he didn’t use a single line of my Intermission, she says that ex-child actress that Maugham “did insist. . . that Herbert Please note that this is on the whole a script in the final production. . . . I think Mr. Bonita Granville was about to be cast when Marshall be engaged to play the raconteur of comedy and should be played lightly by Trotti made twelve versions before Mr. Zanuck Baxter, under contract to Fox, asked to be the [Razor’s Edge] tale.” everyone except in the definitely serious approved of one. . . . They took a lot of liber- tested. At the eleventh hour Baxter was set In the one instance of sticking with the passages. The actors should take up one ties with my original novel in the final shooting to play the drunken, opium-addicted, and original casting announcement, Clifton anotherʼs cues as smartly as possible and script.” degraded Sophie – certainly a change of pace Webb portrayed the snobbish socialite Elliott thereʼs no harm if they cut in on one During the particularly long gestation period for her. Templeton. Under contract to Fox since his another as people do in ordinary life. Iʼm from purchase of the screen rights to the start The Production Code Administration, the impressive performance as Waldo Lydecker all against pauses and of filming, several potential film industry’s self-regula- in the studio’s 1944 hit, silences. If the actors casting names for the key tory body, after reading the Laura, Webb was an ideal can’t give significance roles were bandied about submitted script, asked that choice. to their lines without and in some cases tested. references to heavy drink- Britisher Philip Meri- these they’re not Olivia de Havilland’s name ing be removed. Zanuck vale was cast as the holy worth their salaries. pops up in newspaper col- personally responded in man in India that Larry trav- The lines are written umns more than any other a letter: “It is absurd to els to for guidance. But he to be spoken and they over the months for the role eliminate drinking from died seventeen days before have all the significance of Isabel, Larry’s love who this picture as it would filming began and Britisher needed if they are was put on “hold” while be to eliminate drinking Cecil Humphreys replaced spoken with intelligence he traveled hither and yon from The Lost Weekend. . him. and feeling. The director in search of philosophical . . Alcoholism is the basic So what about Larry, the is respectfully reminded insights. Jennifer Jones had foundation of our plot. . . ” male lead? No preliminary that the action should been sought, but producer The drinking stayed. announcements were made accompany and illus- David O. Selznick, who In August, 1945 it was but since World War II ended trate the dialogue. Speed! Speed! Speed! held her contract (although she owed Fox com- announced that Alexander Knox would por- in September, 1945, Zanuck was hoping that his mitments), turned down the opportunity. Joan tray author Somerset Maugham, who in the number one male star before the war would soon Zanuck wanted in some way to pay for Fontaine, Olivia de Havilland’s sister, was novel is the observer-narrator. Knox had the be back from service, so he delayed production Maugham’s services. Cukor suggested a paint- also mentioned as a possibility for Isabel, as leading role of President Woodrow Wilson in for several months. Tyrone Power, whose last two ing to be chosen by Maugham with the cost was Katharine Hepburn, Maureen O’Hara and Zanuck’s 1944 personal production for Fox films, The Black Swan and Crash Dive , were stipulated by Zanuck not to exceed $15,000. A Merle Oberon. For the role of Sophie, whose – Wilson. However, once again at the eleventh released in 1942 and 1943, had spent three-and- Matisse was selected. life was wrecked by tragedy, the possibilities hour Herbert Marshall, who had portrayed the a-half years in the Marines. Beginning as a “I’m sure I derived more pleasure from included Fox contract player Nancy Guild, and Maugham-like character in the 1942 film ver- private, he was discharged in late November, that work of art than Mr. Zanuck did from my young Angela Lansbury, who had made her sion of Maugham’s novel The Moon and Six- 1945 as a first lieutenant with Squadron 353 of the Marine Transport Command, having I know that you are the man for the job, served in the Central and South Pacific. Za- and I know that on these points you will nuck had saved Captain from Castile in addi- be prepared to go along with me and tion to The Razor’s Edge for Power. accept my instinctive feelings about them. By November, 1945 Fox contract star Gene After all the work you have done on the Tierney was assigned the female lead role of script and in the production preparation, it Isabel. Tierney and Power previously had been would be a pity if you could not do the together in Son of Fury (1942). In the interim film, but if what Mannix told me on she had become an important star on the Fox Monday is true, then I know you are not lot after the astonishing success of Laura and going to be available. . . then Leave Her to Heaven in 1945, the most commercially successful Fox film up to that Due to the scheduling conflict and the point. Famed designer Oleg Cassini, Tierney’s previous decision to delay production, it was husband, did her clothes for The Razor’s Edge. determined that Cukor would have to bow out Shooting began on March 29, 1946 but at in late November. Shortly thereafter Edmund the helm was director Edmund Goulding – not Goulding signed a long-term contract with Fox George Cukor. In a letter to Cukor dated No- and was handed The Razor’s Edge. He had vember 14, 1945, Zanuck said in part: directed Claudia in 1943 for Fox and everyone was very happy with the results. Prior to Clau- Now comes the big problem of your dia he had been at Warner Bros. for several availability. [MGM executive Eddie] years having directed such well-received films Mannix told me that there would not be a as The Dawn Patrol (1938), Dark Victory chance of your finishing your next as- (1939), The Old Maid (1939), etc. Earlier at signment [at MGM] before sometime in MGM he directed Grand Hotel (1932), Riptide April, providing you get started the first (1934), and various others. Goulding’s pri- week in January. And he was very doubtful mary strength was in working with the actors, about this starting date. If this is accurate responding to their needs, creating a happy at- – and Eddie was very definite about this mosphere on the set, and being psychologically point – it would be a terrible stumbling “in tune” with each of the players. block for us. . . . “I don’t recall a set where there was more Now it goes without saying that I want cheerfulness, much of it provided by our very you above anyone else to direct this British director, Edmund Goulding,” wrote film. While we have some difficulties as Gene Tierney in her autobiography Self-Por- to interpretations of certain sequences, trait. “When he wanted to describe to you how a particular scene should be played, he would insistence on breaking up the long takes for step in front of the camera and say, ‘May I be editorial flexibility. you?’ Then he would promptly act out the en- The Razor’s Edge was a long shoot. 83 days tire scene.” were estimated but the final count was 95. This Fox cinematographer Arthur Miller was was the longest filming schedule in 20th Cen- assigned The Razor’s Edge. He had won tury-Fox’s history up to then. Although “about Academy Awards for his work on How Green $4,000,000” was publicized at the time as the Was My Valley (1941), The Song of Bernadette production’s cost, according to Fox in-house (1943), and was about to win yet another for records, it actually came in at $3,355,000 – Anna and the King of Siam (1946). which was a lot for a black-and-white non- “Edmund Goulding . . . used a system of costume epic at that time. And it was a very photographing each complete sequence from long picture at 146 minutes. Before Zanuck beginning to end with the camera shooting trimmed it, the film was even longer – including from a crane following the actors. This was a programmed intermission that was deleted supposed to achieve a continuous, smooth fluid prior to opening. action,” Miller wrote in 1967. “We rehearsed The production values were quite opulent, all morning and made the take before lunch, including 89 full-scale sets, often with great then rehearsed another sequence during the depth, that were beautifully rendered and afternoon and shot it all before leaving the stu- dressed at a total cost of $641,800 1946 dol- dio in the evening. The actors were required to lars. In addition there were hordes of extras in memorize the dialogue for the entire sequence many of the settings. The only jarring notes and had to make all their moves and pauses from a production standpoint are the obvious Production crew prepares for the country club scene. for dialogue precisely to the marks made dur- painted backing of the Himalayas behind the ing the rehearsals, so that the movement of the holy man’s domicile and a phony composite crane and the action would coincide. Zanuck shot with clouds at the climax of Larry’s India hundred and twenty-four cards [in addition that the picture, in addition to being looked at the rushes for about three days before pilgrimage. to the ones filled out and handed in after outstanding entertainment, made a great deciding that both the action and dialogue ap- After editing and then scoring by Alfred the preview at the theatre]. impression on them . . . . peared mechanical. He then called a halt to this Newman, the film was sneak-previewed. Za- The cards are divided as follows: Altogether they are the most unusual method of shooting. Zanuck wanted medium nuck sent a memo to Spyros Skouras, president fifteen are marked good or very good, and outstanding set of preview cards we shots and plenty of close-ups to play with of Fox, on October 28, 1946. He said in part: one hundred and nine are marked excellent have ever had on any film. when the time came to edit a picture.” or superb. In viewing the finished film, it appears that An additional forty-two preview cards This is the only preview we have had Although The Razor’s Edge received mixed in reality a compromise (or blend) was made came in the mail today on The Razor’s on any film where no cards were marked reviews when released in November, 1946, it between Goulding’s approach and Zanuck’s Edge. . . . To date we have a total of one fair or bad. . . . Many cards openly state became Fox’s biggest hit at the box office up to then. Obviously, the timing of the subject be artist with many lovers, does not matter was a major factor. Nominated for best appear at all. . . . picture by the Academy of Motion Picture Arts and Sciences, it lost to The Best Years of Our On October 18, 1948 Lux Radio Theatre, Lives. Other nominees for best picture that year then the most important dramatic show in broad- were It’s a Wonderful Life, The Yearling, and casting, presented their adaptation of the 1946 the British Henry V. Anne Baxter received the film. Ida Lupino played Isabel, Mark Stevens Academy’s best supporting actress award for was Larry, Edgar Barrier portrayed Somerset her role in The Razor’s Edge. Maugham, Joseph Kearns was Elliott Templeton, In The Encyclopedia of Novels into Film and Frances Robinson played Sophie. (1998), there is an accurate breakdown by The only theatrical remake of The Razor’s Stephen C. Cahir regarding the differences Edge was released in 1984, although it seems between Maugham’s novel and the 1946 film: that the late 1960s and early 1970s would have here are a few heavily condensed excerpts from been more timely for another version. This was Cahir’s text: the period of the anti-establishment hippie cul- ture, during which some individuals and groups Generally, the film is a very faithful made pilgrimages to India in search of inner rendition of the novel. However, . . . . peace and insights at the feet of a guru. Unlike the film’s focus is on the love story the studio-bound 1946 version, for the 1984 film involving Isabel, Larry, and Sophie. . . . some actual locations were used – particularly Sophie (Anne Baxter), absent from much India to good effect. of the book, is a major character in the Larry was played by Bill Murray, Isabel was film. The novel’s focus, Larry’s search for Catherine Hicks, Sophie – Theresa Russell, and meaning, is greatly abbreviated. . . . Elliott Templeton was portrayed by Denholm The film simplifies the philosophical- Elliott. Somerset Maugham’s character on screen religious aspect of the story. . . . No was jettisoned on this occasion. reference is made to Hinduism. . . . Before moving on to Alfred Newman’s music Larry’s enlightenment occurs in an off- for the 1946 Razor’s Edge, a brief interlude on screen instant. . . . the advertising art for the film.. The limited sexuality of the novel is completely omitted from the film, The director demonstrates how to play a particular scene with understandably a concession to 1946 Rudy Behlmer is the author of leading lady Gene Tierney. censors. Sophie’s sexual experiences Behind the Scenes: The Making of . . . , are only implied, Larry’s are not men- Memo from Darryl F. Zanuck, tioned, and Suzanne Rouvier, the would- Inside Warner Bros (1935-1951), etc. he most popular cana depicted life as he (and his audience) American illustrator wished it to be. Said the artist: “I uncon- of his era, Norman sciously decided that if it wasn’t an ideal Rockwell, was engaged world, it should be.” by 20th Century-Fox’s Immensely prolific over the decades, he director of advertising and illustrated books, magazine stories, painted publicity Charles Schlaifer advertisements, Christmas cards, calendars, to create a painting for postal stamps, playing cards, murals, etc. The Razor’s Edge to be The output had an emotional quality that used on billboards and in gave personal meanings to many different magazines and newspapers. kinds of people. Schlaifer had previ- Rockwell was commissioned to create ously hired him to paint the the advertising art for a few films over promotion and advertising the decades, including Orson Welles’ The art for Fox’s The Song of Magnificent Ambersons (1942) and the 1966 Bernadette (1943). remake of Stagecoach. Rockwell is particularly “Whenever we got the idea that we famous for his over 300 needed outside art, we always went to fine Saturday Evening Post artists,” recalled Fox’s Charles Schlaifer. magazine cover paintings “Norman Rockwell’s art for Bernadette that began in 1916 and was one of the most effective pieces . . . ended 47 years later when ever created for a motion picture. When he he switched to Look maga- said that he’d have to charge me a lot of zine for a ten-year run. The money – ‘twenty-five’ – I thought he meant earlier decades were when $25,000, but he meant $2,500. general interest magazines “I used him again on Razor’s Edge and, represented the dominant after Bernadette, every other film company form of home entertain- hired him at $25,000 for a piece of work.” ment. For The Razor’s Edge Fox launched the Rockwell’s sometimes most extensive billboard campaign in the poignant, sometimes history of the corporation up to that time. humorous scenes of Ameri- —R.B. In 1946, Newman was at the top of his on the stages was very effective but, because of game. He had won three Academy Awards (for sound, it seldom is employed today.” On Alexander’s Ragtime Band, Tin Pan Alley and several of the days, it wasn’t just any random Song of Bernadette) and 18 additional Oscar group of freelance musicians, either – it was the nominations for his work on such classics as orchestra of John Scott Trotter, perhaps best The Hurricane, The Prisoner of Zenda, Wuther- known as Bing Crosby’s musical director for ing Heights and How Green Was My Valley. He many years. ran the 20th Century-Fox music department In addition, Newman oversaw the choices and regularly conducted an orchestra of and arrangements of a good deal of source Hollywood’s finest musicians. music for the film, including several songs for Newman’s boss, Darryl F. Zanuck stated in a which on-set playback would be necessary. lfred Newman’s affinity for spiritual Christianity, from ordinary men and women 1945 memo: “This is the only picture that I am Music for dancing at Elliott Templeton’s party, matters was always apparent, who lived holy lives to the death and going to put my name on as an individual for example, and the scenes of Parisian especially in his music for such films resurrection of Jesus himself. But with The producer this year.” That made it Newman’s nightlife that featured musicians on-camera, as The Song of Bernadette, The Keys of the Razor’s Edge, Newman faced a unique challenge: number-one priority for 1946 as well, although required advance work by Newman’s associates Kingdom, The Robe and The Greatest Story A man’s quest for universal truths that takes he also worked that year on Centennial And then there was the matter of Goulding’s Ever Told – all of which dealt with aspects of him into the Hindu belief system and beyond. Summer, Three Little Girls in Blue, Margie, insistence upon contributing to the score via The Shocking Miss Pilgrim and My Darling songs of his own composition (see sidebar). Clementine – as well as supervising or This required Fox music department personnel conducting many other Fox films being scored to take down Goulding’s whistled tunes and by other composers. adapt them for appropriate use in the film. His Newman’s involvement began even before “J’aime ta Pomme,” the Parisian café music production commenced, in part because Zanuck associated with Sophie, required several agreed (presumably at director Edmund arrangements, mostly for small ensemble Goulding’s request) to have a small orchestra on including accordion, violin, bass and drums. the set throughout much of the filming. Records Most of at Local 47 of the American Federation of these were Musicians indicate that, from late March through written by the end of May, as many as 17 sideline players Fox veteran (sometimes, records say, for “atmosphere”) were Arthur employed for The Razor’s Edge. Morton. “It created a mood that often is lacking on Maurice cold sets,” Goulding later told a Fox publicist. dePackh, “In the silent days the practice of playing music another studio regular, wrote the arrangement of “Night performances, as he always did, Newman because Goulding and Was So Dark,” the Russian café piece that decided to write two main themes: one for Zanuck fell in love with it features balalaikas, domra and cimbalom; Fox Larry’s relentless search for the meaning of life, (as often happens in films vocal coach Charles Henderson was credited which the composer called “The Pursuit of today with “temp tracks,” with the vocal arrangement for the Russian Knowledge,” and another for the complex temporary music placed in singers. Herb Taylor also contributed a handful relationship of Larry and Isabel, which the film during early post- of arrangements of source music, some used, Newman titled “Seduction.” production, usually prior some not. In an experiment that would rarely be to the composer’s The lavish Chicago party that begins the repeated at Fox, Zanuck asked Newman to involvement). film features several standards, including “April compose the score for Larry and Isabel’s Paris A close look at the Showers,” “I’m Forever Blowing Bubbles” and love scene before shooting, so that it could be score as reproduced in the “Missouri Waltz,” all arranged by Newman’s played back on the set while Tyrone Power and tiny photograph in Life regular orchestrator Edward Powell; and “I’ll Gene Tierney were playing their parts. reveals that it was, indeed, See You in My Dreams,” arranged by Herbert Sixty years later, it is impossible to know for the “Seduction” music Spencer. certain why this unusual request was made. But used in the final film, It even fell to the music department to one possible reason involves the gamble that meaning that the music arrange for a piano coach for Clifton Webb, Zanuck knew he was taking with The Razor’s issue. Included was a shot of Newman (probably with minor tweaks) remained in the who as Templeton was to be seen playing Edge – an expensive movie based on a novel conducting the Fox orchestra and a second score months after the magazine photo-op. Chopin; this was done, department notes that, because it was essentially about ideas, photograph of two pages of the conductor’s Regardless of the origins of the love theme, indicate, on March 22 in “Mr. Newman’s religion and philosophy, many thought was score for the scene. it turned out to be just right for the film, its bungalow.” (There is no such scene in the final unfilmable and might not attract a wide The movie would not actually be scored yearning nature giving voice to the desire felt cut, although Chopin’s “Polonaise” is heard audience – and a giant promotional opportunity until September. But Fox cooperated fully with by both Larry and Isabel, one that was never to playing in the Paris rooming house where Larry being offered by Life magazine in advance of Life’s photographer and reporters and, in order be consummated. Darrell lives.) Alfred’s brothers Lionel and the film’s release. to include the process of music, something had The theme for Larry’s quest, “The Pursuit of Emil were peripherally involved, too, Life was the nation’s most popular weekly, to be written and recorded for playback on the Knowledge,” must have been far more difficult conducting source cues for playback during the reportedly read by one of every three set. This may also explain why “Seduction” is for Newman – attempting to define in music the shooting process. Americans in that era. Editors proposed to effectively a more sophisticated version of a search for answers to the whys and wherefores These were relatively easy tasks to assign “explain the enormously complicated process theme Newman had written a decade earlier for of man’s existence, the same questions that and accomplish. The more critical work of of making such a movie” by selecting a single the Samuel Goldwyn film These Three. Either have been asked by so many for thousands of creating the original dramatic score was left to sequence and having a photographer capture on Newman felt that it was a good theme, long years. There is something mysterious and Newman and Powell, and this was probably film all of the many crafts it took to bring one forgotten, that might work for Larry and Isabel; questioning but also an undeniable nobility to done in August 1946 as recording occupied scene to life. The scene chosen was the Power- or that it was a temporary solution to an this theme, just as there is something noble and much of September. Tierney kiss, and the results were printed on immediate problem that could always be pure about Larry, especially after his visit to the Evaluating the script, the rough cut and the nine consecutive pages of the August 12, 1946 replaced later, but wasn’t – perhaps, again, Himalayas and the answers he finds there. In fact, the high point of the score may be the 12 fellow miner in a bistro. minutes of music that follow Larry to India and his Alfred Newman finished the recording with a 93- epiphany at the top of the world (tracks 16 and 17). piece orchestra on September 14, 1946, but returned The music of these scenes alternates between – probably after final trims by Zanuck – on variations on “The Pursuit of Knowledge” and a September 30 to re-record, again with a 93-piece secondary theme, “The Philosopher,” for the Holy orchestra, the main title, finale and trailer music. A Man (Cecil Humphreys) whom Larry encounters and few of the November 1946 reviews cited Newman’s who urges him forward on his journey. This theme is contribution to the film, although by now, the critics initially voiced by the clarinet, later by the French horn. took a ho-hum attitude because of his extraordinary There are several other, minor, Newman- track record: “The music supplied by Alfred Newman composed pieces in the score, most of which are is just one more of his superior attainments,” said The source cues designed to evoke the proper mood Hollywood Reporter. during festivities in Chicago and Paris: “A Chicago He revisited the music of The Razor’s Edge only Country Club” (track 4) appears twice during the once, when he re-recorded seven of his most famous movie’s opulent initial party; “Le Bistro” and movie themes for Mercury Records. He asked Powell “Chemin de Compagne” (in track 8), the can-can to arrange a three-and-a-half minute version of “Café Francais” (which opens track 12); “The “Seduction,” and it was recorded in October 1950. (In Wedding Cake” and “After the Wedding,” (tracks 13 fact, Newman used the back cover of his coffee- and 14), a waltz and another dance number for the stained conductor book for Razor’s Edge to work out marriage of Isabel and Gray; “The Ritz” and the sequencing of that album.) “Cocktails” (track 21), another pair of delightful Alfred Newman’s score for The Razor’s Edge was waltzes for a sophisticated Paris restaurant; not among the film’s Academy Award nominees for “Oboesque” (track 23), an exotic, Eastern-sounding 1946. The Fox score nominated that year was backdrop for the opium den where Larry finally finds Bernard Herrmann’s work for Anna and the King of Sophie; “The Photograph” (track 24), in the aftermath Siam, although Newman’s music direction on Jerome of Sophie’s death, and “Farewell” (track 25), which Kern’s Centennial Summer was nominated in the follows Elliott’s death. “scoring of a musical picture” category. Nonetheless, “Joan and Don,” for a scene with Maugham and a the music of The Razor’s Edge remains a landmark in princess (track 19), was actually written by Newman the history of Fox scores, and one of Newman’s most for Joan Bennett and Don Ameche in the 1942 Fox powerful works. film Girl Trouble. “The Parisian Trot” (the lively piece in track 11) is a Lionel Newman-Charles Jon Burlingame writes about movie music for Henderson composition. Newman’s staff also Daily Variety and The New York Times. discovered a pair of traditional French folk tunes, He is the author of “Aupres de ma Blonde” and “Les Trois Capitaines” Sound and Vision: 60 Years of Motion Picture (track 15) to underscore the scene with Larry and a Soundtracks, and he teaches film-music history at USC. dmund Goulding, already famous as lyrics by the great Leo Robin, for The Devil’s the director of Grand Hotel and Dark Holiday (1930), and which Goulding actually Victory before he received the assign- sang on a CBS radio broadcast; music for ment to helm The Razor’s Edge, was also an Blondie of the Follies (1932) and Riptide (1934); accomplished tunesmith. and “Oh Give Me Time for Tenderness,” again Goulding was what the music business call with lyrics by Janis, for the Bette Davis classic s a “hummer” - in the same sense as Charles Dark Victory (1939). Chaplin - when it came to music for their films. For The Razor’s Edge, Goulding wrote three Chaplin would hum, whistle, sometimes plunk songs, two of them ephemeral source tunes – out a tune on the piano for his composers, who “Night Was So Dark” for the Russian singers in would then translate these simple melodies into a Parisian nightspot, “The Miner’s Song” for a score by creating harmonies and counter- laborers emerging from underground – and one, melodies and fully orchestrating them for “J’aime ta Pomme,” that was not only more performance in the movie. Goulding actually prominent in the film but, in a later incarnation preferred to whistle his tunes. as “Mam’selle,” destined to become a pop hit. “Ever since I was a youngster I wanted to be Goulding’s first two songs in Razor’s Edge a composer,” Goulding told a Fox publicist for the are functional and used only once as on-screen Razor’s Edge pressbook. “Someday, when and source pieces. “Night Was So Dark” appears about if I ever stop directing films, I’m going to do 35 minutes into the film, as Larry and Isabel are nothing else but sit at my piano from morning enjoying a final night together in Paris. They visit until night writing all the music inside of me and a Russian café where a nine-man ensemble – giving expression to the hundeds of tunes that three on stage, six strolling through the room – is I’ve been carrying around in my head.” playing traditional Russian folk instruments, According to a 1947 profile in Time magazine, including balalaikas and domras, and serenading it began when Goulding was unhappy with a diners. The lyrics, written by famed Russian line reading Gloria Swanson gave in his early soprano Nina Koshetz, who was now living in talkie The Trespasser and decided to “divert the Southern California and had worked with Newman audience’s attention with background music,” as chorus leader on the 1934 Goldwyn film We specifically a tune of his own. “Love, Your Spell Live Again. Their English translation: Is Everywhere,” with lyrics by Elsie Janis, was played in the film and later recorded by Night was so dark bandleader Ben Selvin, who had a top-10 hit Not a trace of stars with it in late 1929. No, never could I forget that night Other songs followed: “You Are a Song,” with In that dark night Love shone through the dark Et j’aime entendre tes mots tendres If you want, my apple, to the paradise told the story of a late-night romantic rendezvous But alas, we had to part Me griser toujours, country of our great love. in Montmartre. Artists lined up to record it, and Like a gust of wind Je suis a toi, ma pomme, I belong to you, Pomme-pom, there were no fewer than six top-10 records of Like a whirlwind storm Tu es a moi, ma pomme, You belong to me, Pomme-pom, the song in April and May of 1947. Two (the I would fly after you Et dans mes bras, tu connaitras, And in my arms you’ll know the versions by Art Lund and Frank Sinatra) went to Above the mountains La valse d’amour waltz of love. no. 1. Two others (by Dick Haymes and the Pied Like a brave wild falcon, I would soar Et blonde ou brune Pipers) went to no. 3. It spent three weeks at no. 1 There isn’t any happiness for me any more Quand un chacun trouve sa chacune “J’aime ta Pomme” appears in various ar- on radio’s popular Your Hit Parade and spent Could I ever bring you back to me Au clair de la lune, rangements, from an initial 19 weeks all told on the Hit Never to forget you – Never. En la prenant tendrement dans ses bras on-screen performance in Parade’s top 10 list (basi- d’amant the French café to a ghostly cally all spring and summer). (The Razor’s Edge conductor books, both in the Il lui dit tout bas, reprise in Sophie’s mind as Records by Dennis Day and Newman Collection at USC and the originals at Viens danser avec moi, viens tous les she takes up the bottle again Frankie Laine were also hits, Fox, have the actual lyrics in Russian script, as deux, ma pomme, to forget her dead husband and in subsequent years the they were sung and played by Russian-speaking Si tu le veux, ma pomme, dans le pays de and child. Most of these were roster of artists who recorded extras during shooting. The translation was found paradis de notre grand amour. written by Arthur Morton and “Mam’selle” included Tony in the continuity script in the Fox collection at USC.) Je suis a toi, pomme-pom, are labeled variously “café Bennett, Nat The “Miner’s Song” appears about 46 minutes Tu es a moi, pomme-pom, arrangement,” “tango arrange- King Cole, Vic Damone, Robert into the picture, and is heard only briefly as raucously Et dans mes bras tu connaitras la valse ment,” “parting arrangement,” Goulet and Lawrence Welk. sung by Larry’s French friends after a long day’s d’amour. although one, labeled “reunion The Goulding profile work in the mines. The lyrics were penned by arrangement,” was penned by in Time claimed that he Jacques Surmagne, a Frenchman who may have been The studio’s official English translation: Herb Taylor (frequent orchestrator “objected to the music a Fox employee (his name later resurfaces as an for Dimitri Tiomkin and composer written for a Montmartre associate producer on television’s 20th Century- I love your face, Pomme-pom, of TV’s Death Valley Days theme). café scene. He whistled a Fox Hour in the 1955-56 season). Your pretty face, Pomme-pom, Goulding’s tune, and new tune, which was picked More importantly, Surmagne wrote the words to I like to hear your tender words Morton’s various versions of up by a studio accordion Goulding’s haunting tune for the film’s doomed That intoxicate me always – it, are wonderfully French in player and transcribed for Sophie (Anne Baxter), “J’aime ta Pomme.” Although I belong to you, my apple, mood and color. The film’s orchestra.” Sixty years later, this song does not surface until an hour and 23 minutes You belong to me, my apple, box-office popularity made exploitation of a it’s hard to know how much of that story is fact into the film, it becomes one of the key themes of And in my arms you’ll know musical theme a clear promotional opportunity, and how much is press-release fancy – but the the score because of its association with Sophie, The waltz of love. and “J’aime ta Pomme” was an obvious choice. popularity of the song is undeniable, and the lat- Larry’s affection for her, and her tragic demise. And blonde or brunette, Lyricist Mack Gordon, whose 1943 Oscar (for ter part of the Time story is probably true: “The It’s a deeply felt love song in the classic French sense, When a he meets a she “You’ll Never Know” from Hello, Frisco, Hello) studio got 5,000 letters asking about the song… and in its longest incarnation it goes like this: In the light of the moon, and five other nominations were all for Fox `Mam’selle’ jumped from 25th to first place on Taking her in lover’s arms films, took Goulding’s music and added a new sheet-music best-seller lists in 10 weeks.” J’aime ta pomme, pomme-pom, He tells her softly: English-language lyric for commercial release. Ta jolie pomme, pomme-pom, Dance with me, come both of us, my apple, The new ballad was called “Mam’selle” and — J.B. nowadays.” While the orchestra continues to play “April Showers” by Louis Silvers and B. G. DeSylva, Elliott and Louisa discuss Larry Darrell, a “loafer” for whom Elliott has noth- ing but contempt.

3. “I’ll See You in My Dreams” 2:02 Join- ing the party are Isabel Bradley (Gene Tierney) and Sophie Nelson (Anne Baxter). Isabel com- pliments Sophie on her gown. Sophie confesses that it’s all for her fiancé, Bob MacDonald. The country club orchestra plays “I’ll See You In My Dreams” by Isham Jones and Gus Kahn. 1. Main Title 1:35 The Razor’s Edge opens with Alfred Newman’s magnificent theme 4. “A Chicago Country Club Dance” 2:02 “The Pursuit of Knowledge”, which plays An original fox trot by Alfred Newman is during the entire main title sequence. played while Sophie and Somerset Maugham discuss Elliott Templeton. “They laugh behind 2. “April Showers” 2:51 After a spoken his back but eat his food and drink his wine,” introduction Maugham observes. Into the scene enters by Herbert Isabel’s fiancé Larry Darrell (Tyrone Power). Marshall in the role of Somerset Maugham, the story begins at a Chicago country club dinner party early in the 1920’s where Elliott Templeton (Clifton Webb) explains away Maugham’s presence at the party to his sister Louisa (Lucile Watson) by declaring that “authors go everywhere 5. “I’m Forever Blowing Bubbles” 1:45 7. “I’ll See You in My Dreams” 1:47 The 10. Returned Engagement Ring :40 12. Night Clubbing 6:28 Larry and Isabel The gay, carefree atmosphere continues to popular favorite is reprised by the country club Far from being continue their spot-hopping, entertained by can- the strains of “I’m Forever Blowing Bubbles” orchestra while Isabel and Larry discuss the impressed, Isabel can dancers (with Newman’s “Cafe Francais” by Jaan Kenbrovin (a collective pseudonym future. She thinks it might be best if he goes tells Larry that on the soundtrack), a Russian balladeer (Noel for James Kendis, James Brockman and Nat away and, in fact, Larry is thinking of going she cannot live Cravat on-screen only) singing Edmund Gould- Vincent) and John William Kellette. Sophie to Paris to “clear his mind.” If he doesn’t find on $3,000 a year ing’s “Night Was So Dark,” and finally an early introduces Maugham to her fiancé Bob Mac- there what he is looking for, he will return to and she returns his Donald (Frank Latimore). While Sophie and Chicago and take the first work he can get. engagement ring. Bob dance, Larry and Isabel steal away into the garden. 8. Larry’s Journey Overseas 1:20 As 11. Last Night Together 1:38 Isabel Elliott describes how he will ensure that Larry and Larry decide to have one last night leads a proper life with proper associates, we together before she returns to America. see Larry’s actual life in Paris. A musical mon- She is determined it will be an evening he tage comprised of “Le Bistro” and “Chemin will never forget and that he will forsake de Compagne” underscores Larry as he lives his meandering existence. As she meets the life of a bohemian and takes a garret in a him on the staircase in her black Cassini he small hotel. declares “I’ve never seen you so beautiful.”

9. Isabel and Larry in Paris 1:46 Isabel has come to Paris and Larry tells her all about morning dose of Le Jazz Hot! The jazz rhythms his life, (“Dardanella” by Felix Bernard) dissolove into that he is an impassioned rendition of “Seduction” as beginning Larry brings Isabel home and then says goodbye. to see But Isabel invites him in for one last drink. They 6. “The Missouri Waltz” 1:48 Based upon things in kiss passionately. a melody by John V. Eppel, “The Missouri a clearer She removes Waltz” was arranged into song form by Fred- light. He her shawl and eric Knight Logan. The somewhat melancholy takes Isa- fingers his lapel character of the tune underscores the frustration bel to his A moment before Isabel feels for Larry, who has just turned room. This surrendering to down a promising position. Isabel admonishes cue marks the first appearance of Newman’s A montage of gay night spots (beginning passion, Isabel Larry that it is a man’s duty to take part in the “Seduction” theme and, as we reach Larry’s with “The Parisian Trot” on the soundtrack) retreats and asks activities of his country. Larry remains blithely hotel, it segues to the sound of a piano playing follows Larry and Isabel as they float from Larry to leave. As dawn breaks she discovers unimpressed by Isabel’s scolding. a Chopin polonaise, coming from another flat. party to party. uncle Elliott waiting up for her. 13. The Wedding Cake :50 A brief transition where Larry and a fellow miner discuss the now convinced that it is time for Larry to go they meet Sophie MacDonald. Sophie, whose cue, a waltz by Alfred Newman, takes us to the virtues of the East. The miner, an “unfrocked” back and live in his own world. husband and infant child were killed in an wedding of Isabel and Gray Maturin (John Payne). priest, tells about a Holy Man in India who auto wreck, has fallen into drunken debauch- might be able to help Larry find himself. Note: 18. Larry and Maugham Reunited ery. Introduced in this sequence is Edmund the miners’ song described in the preceding :11 In Paris, Goulding’s song “J’aime ta Pomme.” profile of Edmund Goulding was recorded live Maugham has on-set and was not among the pre-recorded a rendezvous 21. Cock- music cues. with Larry, tails at who begins the Ritz 16. Larry Travels to the East 5:15 Larry has to tell him of 1:52 Larry, traveled to India and his time in empowered meets the Holy Man India. by his teach- (Cecil Humphreys). ings in the He tells him of his 19. Somerset Maugham and the East, has search for guidance. Princess :41 Princess Edna Novemali helped Sophie The Holy Man tells inquires after Elliott Templeton. This waltz to wrestle herself from the bottle. In fact, him “even to admit by Alfred Newman was originally composed they are to be married. They meet Maugham, that you want to learn is in itself courageous... in 1942 for the Fox picture Girl Trouble. Gray and Isabel at the Ritz for lunch. Elliott 14. After the Wedding :45 An original the road to salvation is as difficult as the sharp is there too, and passes judgment on the Prin- melody by Newman, this cue is reminiscent edge of a razor.” This cue is a medley of “The 20. The Rue De Lappe 2:47 Larry, cess Novemali. Elliott, forbidden by doctors of the popular song “Every Little Movement Pursuit of Knowledge” and “The Philosopher.” Isabel, Gray and Maugham visit a Parisian to touch alcohol, implores his friends to try a Has A Meaning All Its Own.” Maugham dive, the Rue de Lappe. To their disbelief rapturous Russian liqueur, Perzovka. Isabel, wonders to Elliott what has happened to Larry 17. The Mountain Retreat 6:44 Larry horrified at the idea of Larry and Sophie Darrell. Elliott confides glibly, “Shall I tell you climbs the mountain that overlooks the lamasery. being married, goes over the top raving about something my dear fellow - I don’t care a row He stays in a hovel retreat and is, in time, visited the liqueur. It is all Sophie can do to restrain of beans!” by the Holy Man. It is plain that Larry has herself from imbibing. This cue features yet experienced another original waltz by Alfred Newman. 15. Miner’s Cafe 2:00 An accordion a profound medley of the French awakening, 22. Sophie’s Torment 3:09 Isabel has folk tunes “Aupres about which brought Sophie to her home and, having planted de ma Blonde” and he tells his seeds of doubt in her mind, leaves her alone with “Les Trois Capitaines” mentor about. a bottle of Perzovka. Sophie takes the bait and, underscores a scene The man from after downing a glass quickly refills it. Heard in a coal miners’ cafe the East is during this sequence is a far away reprise of “J’aime ta Pomme.” As the veil lifts from the a verse that he used to read to Sophie when soundtrack the scene changes to the Rue de they were very young. As the inspector closes Lappe where Larry enters looking for Sophie.

23. Oboesque 1:43 Larry is led by a taxi driver (Louis Mercier) to a middle eastern den of ill repute his compact disc of Alfred Newman’s complete score to The Razor’s Edge where was produced using dual-angle Sophie is recordings preserved in the 20th Century- found in Fox vaults. Originally stored individually on a drunken 1000 ft. reels and later transferred to audio tape, the multiple angles were synchronized stupor. to produce a true stereophonic recording. Larry tries The score was then assembled and mixed to take her of sail on the ship to America. With a mighty as it appeared in the final dub of the picture. out but the room Larry and Maugham leave to visit a crash of a wave on screen and cymbals on the The producers offer our profound merci beaucoups to Ned Comstock of USC; is tackled gravely ill Elliott Templeton in Nice. soundtrack we have reached THE END. the wonderful staff at the Morion Picture by a couple of denizens (Bud Wolfe and Fred Academy Library; Tom Cavanaugh of 20th Graham). While Larry fights off his attackers 25. After Elliott’s Death 1:43 Maugham 27. Exit Music 4:13 This grand waltz was Century-Fox; and special bows of gratitude Sophie runs off into the rainy streets of Paris. tells Isabel that Larry is leaving for America, recorded during The Razor’s Edge scoring to Rudy Behlmer for his superb essay on the making of The Razor’s Edge and to Jon Much of “Oboesque” is dialed out in the final working his way sessions, though it does not appear in the picture. Burlingame for his indispensable articles on dub of the picture. home on a tramp While there is no documentation with reference both Alfred Newman’s music for the picture steamer. Despite to planned exit music, the fact that The Razor’s and the film’s director/songwriter Edmund Goulding. 24. Sophie’s Room 2:13 A year later, news Maugham’s warn- Edge was originally intended to have an intermis- —Ray Faiola comes that Sophie has been murdered. The ing, Isabel threat- sion makes additional program music plausible. police take Larry and Maugham to see her room. ens to see Larry in There they America as often 28. “J’aime ta Pomme” Demo 2:38 French find a photo as she can. actor and singer Louis Mercier recorded this of Sophie’s demo of “J’aime ta Pomme.” It is not known if late husband 26. Finale :54 Larry has confronted Isabel over he was intended to sing the song at some point and child. Sophie and he leaves confident that they will in the picture. He does appear as a taxi driver Larry picks never see one another again. Maugham is awed in the scene where Larry looks for Sophie. up a volume by Larry’s inner spirit, proclaiming that “good- The take is, as you will hear, aborted. But we of Keats ness is the greatest force in the world - and he’s nevertheless felt Mercier’s rendition warranted and recites got it.” The final shot shows Larry hauling bags inclusion on this CD. Producers: Ray Faiola, Nick Redman and Craig Spaulding Film Notes: Rudy Behlmer • Music Notes: Jon Burlingame Audio Production: Ray Faiola, Chelsea Rialto Studios Design: Charles Johnston For Twentieth Century-Fox: Tom Cavanaugh Still Photographs: Academy of Motion Pictures Arts and Sciences, University of Southern California - Alfred Newman Collection SPECIAL THANKS: Robert Kraft, Ned Comstock (USC), Stacey Behlmer, Barbara Hall, Jenny Romero (AMPAS), Fred Steiner and John Morgan A Screen Archives Entertainment Production

THE RAZOR’S EDGE: Starring Tyrone Power, Gene Tierney, John Payne, Anne Baxter, Clifton Webb Lucile Watson and Herbert Marshall, Screenplay by Lamar Trotti based on the novel by W. Somerset Maugham, Musical score by Alfred Newman, Orchestrations by Edward Powell, Photographed by Arthur C. Miller, Edited by J. Watson Webb, Jr., Produced by Darryl F. Zanuck and Directed by Edmund Goulding

Previous SAE-CRS Releases Distant Drums: Max Steiner and the United States Pictures Scores - A two-CD set featuring the scores to Cloak and Dagger, My Girl Tisa, South of St. Louis and Distant Drums • Pursued - Music by Max Steiner • Court - Martial of Billy Mitchell - Musical Score by Dimitri Tiomkin (includes Court-Martial Scenes with Cast) • Wilson - Music by Alfred Newman • Down to the Sea in Ships and Twelve O’Clock High - Music by Alfred Newman • Dragonwyck - Music by Alfred Newman • Irving Berlin’s Alexander’s Ragtime Band - Musical Direction by Alfred Newman • Captain From Castile - by Alfred Newman • Night And The City - Scores by Benjamin Frankel and Franz Waxman • The Blue Bird - Music by Alfred Newman • The Black Swan - Music by Alfred Newman • The Keys of the Kingdom - Music by Alfred Newman • The Foxes of Harrow - Music by David Buttolph • Son of Fury - Music by Alfred Newman • Marjorie Morningstar - Max Steiner

Available through Screen Archives (540) 635-2575 or online at www.screenarchives.com