This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions Music for the

Universal Pictures Horror Film Scores of the Thirties BY WILLIAM H. ROSAR

he horror films produced by Universal films regarded as uncommercial prospects be? Pictures between 1930 and 1936 have cause Jr. had persuaded him to make All Quiet enjoyed continuous popularity since on theWestern Front in 1930, which proved to they premiered five decades ago and be enormously successful and one of the finest are regarded as classics of their genre. They are films Universal ever made.2 also the films for which Universal is mainly Perhaps one of Laemmle, Jr/s least concerns remembered for that period, which is ironic in was having music in his films (i.e., background were music or were another that they nearly all low-budget "B" films. underscoring?songs These films made the names of Frankenstein matter altogether) and he was directly respon? and Dracula household words, not to mention sible for the complete absence of music in at those of actors Boris Karloff and . least one of the horror films he produced. Later, There were twelve films in all, produced when he sanctioned the use of music, he ordered under the regime of Carl Laemmle, who was the that it be dubbed so low that it is almost in? founder and president of : audible in some cases. Dracula (1931), Frankenstein (1931), Murders Let us see how music?or the lack of it? in the Rue Morgue (1932), The Old Dark House played a role in these films and how the fate of (1932) , The Mummy (1932), The Invisible Man music in each film was affected by prevailing (1933) , The Black Cat (1934), Werewolf of Lon? trends in the film industry at large and by the don (1935), The Bride of Frankenstein (1935), personal whims of any number of individuals The Raven (1935), The Invisible Ray (1935), involved in their production.3 and Dracula's Daughter (1936).1 These films might never have been made had it not been n the fall of 1930, when Universal finished for Laemmle's son, Carl Laemmle, Jr.,who pro? its production of Bram Stoker's Dracula, duced them, often against the advice of his the place of music in sound films was the father. Laemmle permitted his son to produce subject of ongoing controversy. In question were such issues as the amount of music there should be in a film, where the audience would Bela as Lugosi Count Dracula inDracula (1931). think the music was "coming from" if they did not see musicians and Film stills courtesy of Universal Pictures, unless actually performing it, or otherwise specified. whether not to have music during dialogue scenes. The outcome of this debate was that, William H. Rosar 1983. Copyright? aside from main and end titles, there was very

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions The concert hall sequence in Dracula was the only accompanying dialogue scenes virtually ruled music was heard other than themain title. place out music altogether. Thus music was the ex? ception, not the rule. With these prevailing attitudes toward film little music in most early sound films.4 For music in 1930, it is perhaps not surprising that example, All Quiet on the Western Front had the only music in Dracula is heard during the only main and end title music (the music heard main title and in the concert hall sequence where during a film's opening credits and at the end there is some "source" music (coming from an of a film) consisting of an instrumental tran? onscreen source). There was no music at the scription of a German song, "Gebet W?hrend end of the film, only chimes (although the shoot? der Schlacht/7 and "Huldigungs Marsch" from ing script called for organ music). Universal's Grieg's Sigurd lorsalfar, respectively. Universal mystery thriller, The Cat Creeps (a remake of was one of several studios whose policy was to the silent film, The Cat and the Canary), which have no music under dialogue, since it was felt was scored about the same time, had only main that music interfered with it. Since most and end title music. Ironically, Dracula is one "talkies" were just that?nonstop dialogue from of the few films of that time containing long beginning to end?the policy to have no music stretches which are not only without dialogue

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions but which are virtually silent, leaving ample room formusic! What little music there was in Universal's early sound films typically consisted of a com? bination of original compositions, classical music, and published music which had been composed for use accompanying silent films. Curiously, the preponderance of musical activity was not in scoring sound films as such but in the preparation of scores for what were called "nondialogue" versions of sound films. These were prepared for foreign distribution and had foreign language dialogue titles instead of audible dialogue, with occasional sound effects and continuous recorded musical accompani? ment. The nondialogue versions were the prin? cipal format in which American-made films were released in foreign countries. The process of dialogue dubbing was still comparatively crude, although Dracula was dubbed into French in Germany. In a few instances, foreign language versions were actually filmed, as was the case with Dracula, a Spanish version of which was shot with Spanish-speaking actors.5 In addition, Universal also reissued some of its silent films Heinz Roemheld in 1930. Photo by Jack Freulich, in the The Phantom nondialogue format, notably Universal Pictures. of the Opera, which was given a full-length score and sound effects, with some of the opera sequences being reshot with singing and dia? Gounod's Faust. Because of this, Laemmle gave a logue. him four-year contract, first appointing him Supervising what little music there was in music director of the Rialto Theater inWash? Dracula was the responsibility of Heinz Roem ington, D.C., for two years and then sending held, who was general music director of Uni? him to Germany, where he managed Laemmle's versal^ Music Department at the time. He two theaters in Berlin. In 1929 Laemmle brought a composed music for a number of Universal's Roemheld to California to be composer in the at suc? films in 1930, including the nondialogue version Music Department Universal. Roemheld as of All Quiet on theWestern Front, the musical ceeded David Broekman general music di? in summer 1930 Captain of the Guard, Seed, Hell's Heroes, and rector of the department the of themain titlemusic for The Cat and the Canary. (Broekman had been appointed in early 1929). Born inMilwaukee on May 1, 1901, Roemheld Roemheld had definite ideas about music in was had been a concert pianist and studied compo? films, one of which to use the classical to sition in Berlin with Hugo Kaun, a rival of songs of Schubert, Schumann, and others Richard Strauss. Roemheld was discovered in offset the more-or-less exclusive use of songs 1925 by Carl Laemmle at the Alhambra Theater by Tin Pan Alley songwriters which he regarded inMilwaukee, a Laemmle movie theater. Roem? as being mostly second-rate.6 an held was music director and conducted the pit The main title of Dracula consists of 2 orchestra which accompanied the silent films. abbreviation of scene from Tchaikovsky's to fit the Laemmle was very impressed by Roemheld's Swan Lake ballet suite, edited length main was to use musical treatment of The Phantom of the Opera, of the title.Whose idea it this if not is not known. How? for which the latter staged a musical prologue piece, Roemheld's, was first time the was used featuring opera stars singing arias from ever, it the piece

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions Bernhard Kaun.

Boris Karloff as themonster in Frankenstein (1931), a filmwhich "should have had a lot of music/' ac? cording to composer Bernhard Kaun. Photo courtesy of Forrest J.Ackerman, Fantasy Film Archives, Hollywood, California.

in a Universal and it to film, appears have had Hall; themajestic coda ofWagner's Meistersinger a history of usage in silent films as a misterioso, prelude as the count is ushered to his seat; and < and may have been chosen for Dracula for this after the intervening intermission scene, a sol? reason. Any number of classical selections were emn figure in low strings from Schubert's used in the scores for Universal's nondialogue symphony as the lights dim and the count ex- \ versions because did not cost they anything claims, "There are far worse things awaiting in the were (being public domain) and known man than death!" The illogical order in which to be dramatically effective by those who com? the excerpts are heard in this concert hall con? the score.7 It is also it piled possible that might text suggests that they were chosen and arranged have been selected Sam a by Perry, composer in this sequence for dramatic effect. Lugosi's come to i who had Universal with Broekman biographer, Arthur Lennig, provides an inter- was and still working there at the time.8 esting example of the attitude toward music in is to It interesting note that the classical those days when he points out that the scene in ' heard in Dracula the concert was excerpts during the concert hall originally set in a living hall sequence (supposedly Albert Hall in Lon? room. He speculates that "The reason for the the to Die don), prelude Wagner's Meister? switch in locale is obvious. [Tod] Browning singer and Schubert's Unfinished Symphony, [the director] or Universal wanted some back? almost seem to follow the action: a declamatory ground music, and since they did not (in late as phrase from Schubert's symphony Count 1930) feel that films should have musical ac? Dracula (Bela Lugosi) enters the lobby ofAlbert companiment without an actual source, the

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions David Broekman conducting the Universal Pictures scene was changed from the Seward living room 9 orchestra in 1930. Photo inscribed by Broekman to to the theater." composer Dimitri Tiomkin, who scored Resurrection Dracula was a hit at the box office and big at Universal that year. spurred other studios into making horror films. Universal quickly followed suit by producing In the a few months Frankenstein, starring Boris Karloff as the mon? scores.10 meantime, only earlier Universal had laid off Heinz Roemheld, ster. The music in Frankenstein provides another the last member of its Music De? example of the trials and tribulations film music remaining One of the last films Roemheld was going through in the early years of sound partment. films. worked on was a nondialogue reissue of Uni? versal^ The Hunchback of Notre Dame, for idea he and Sam a number In early 1931, Paramount initiated the which Perry composed to in addition to of scoring its films from beginning end of original pieces, using published music for other nondia? with music, thinking that occasional music music and composed versions of films. Universal announced was an in interruption whereas continuous logue would contract on music was not. Other studios (e.g., Fox) were that henceforth it composers an the reasons soon to follow with full-length scores, and in individual picture basis.11 Among in were that fall 1931, Universal announced that two of its given for this change policy they on had recorded music which could forthcoming films, Heaven Earth and Frank? already enough score and there was also enstein would be released with full-length be used to films that

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions James Dietrich in 1930. Photo by Jack Freulich, Universal Pictures.

Every time Im Ho Tep-Ardeth Bey (Boris Karloff) cast spells by his pool in The Mummy (1932) Diet? rich's piece, entitled "The Pool," was heard. Photo courtesy of Forrest J.Ackerman, Fantasy Film Archives.

the of music ready availability public domain raised in Germany. His musical studies began cost use. which did not anything to Thus, it at an early age under the tutelage of his father. was argued, there was no need for retaining a He came to the United States in 1924 and music director or composers on staff. Perhaps worked as an arranger forMills Music Co. and even more con? influential than any of these later for movie theaters in New York City. His siderations was Carl Laemmle's conviction that arrangements of Wagner for the UFA Siegfried music was to was not going last in films but gained the attention of Victor Wagner of the only a passing fad. Gilbert Kurland, who was Eastman School of Music, who introduced him supervisor of the Sound Department, was given to Howard Hanson. Kaun orchestrated Hanson's the additional of responsibility supervising Lament of Beowulf, and his Organ Symphony. and was in of com? was music, placed charge hiring In 1925, Kaun brought to Milwaukee by posers. Heinz Roemheld, where he worked as assistant Kurland engaged David Broekman as music music director at the Alhambra Theater. Return? director (actually conductor) on Heaven on ing to Eastman the same year, Kaun worked as Earth and Bernhard Kaun as composer. Kaun assistant to Howard Hanson until 1928, and (born April 5, 1899, in Milwaukee; died Janu? was involved in the creation of the Eastman was ary 3, 1980, in Baden-Baden, Germany) the Festivals of Modern Music. After this, Kaun son of Roemheld's Hugo Kaun, composition spent two years in Germany, and was then American was teacher. Although born, Kaun brought to Universal as a composer by Roem

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions one to held in 1931. Among his first composing as? themusic out under that, has hear the score was and often signments that year was writing music for dialogue/' My chopped up didn't make sense anymore. So what! Because Universal's nondialogue reissue of its 1926 silent of that I could only write theMain Title for film, The Midnight Sun. In a letter dated Feb? Frankenstein, although this picture should have ruary 21, 1970, Kaun wrote to the author about had a lot of music. his experience working on Heaven on Earth and Frankenstein, recalling that the former was Kaun's main title is imbued with some of the the first sound film at Universal to have a com? attributes commonly associated with music in plete background score: horror films. The music begins with a glowering modal harmonized in a minor which David Broekman took credit forHeaven on Earth. figure, key, imparts a stark, heavy, Teutonic feeling. This I got $500 for it and was glad to get it during is and then varied over a chro? the depression after the bank crash of 1929. In figure repeated under later years such a score would have fetched $5000 matic bass line, which churns and rolls one or more. In those years background music in it, punctuated at point with brass trills (no filmswas unknown and one didn't know what to doubt to connote fright). The second half of the it. on was me do with When Heaven Earth shown in piece is more subdued, misterioso, with a the projection room at Universal, the producer, Laemmle, Jr., said at times "that's a nice tune? who wrote it?" Broekman said "Oh, well, hm, hm, Karloff as Im Ho Tep in The Mummy, here shown a fellow who works forme." I didn't say any? in a scene originally intended to contain music by needed the At some thing (I money). spots, when composer James Dietrich. Photo courtesy of Forrest someone are said "how you," Laemmle said "cut J.Ackerman, Fantasy Film Archives.

This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions Bach's inA Minor for was used to Adagio organ One can get an idea of how Kaun might have i the scene in The accompany devil-worshipping scored the creation sequence in Frankenstein ' Black Cat (1934). from the laboratory sequences in his later scores for two Warner Bros, horror films, The Walk? andering woodwind figure, giving way to an ingDead (starringKarloff) and The Return of a orchestration suggestive of the sound of bell Doctor X (1938, 's only horror were a tolling. As if it veil of mist, the music film role). In any case, full-length scores did not i ' is swept away with a glissando on the piano, go over with Universal's front office. In fact, on a a and ends bare open fifth?leaving feeling Murders in the Rue Morgue, starring Lugosi as | of bleakness and mystery. It isworth mentioning the diabolical Dr. Mirakle, released only a few are that many of the stylistic traits of this piece months after Frankenstein, again had only main very much reminiscent of the style of silent film and end title music, except for one inconsequen? an some music, idiom Kaun must have had tial scene accompanied by a waltz. None of the knowledge of from his days in Milwaukee as music was composed for the film. In interviews Roemheld's assistant at the Alhambra Theater. with the author, Gilbert Kurland recalled that was music a Such the fate of the first original when film's budget was low and they could composed for Universal's horror film cycle. The not afford to hire a composer, he and the studio was a music used for the end titles published pianist-orchestra contractor, David Klatzkin, entitled "Grand written by would select recorded music from earlier piece Appasionato," film^ Giuseppe Becce for use in silent films. and use it in lieu of a new score.

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This content downloaded from 134.139.29.9 on Sun, 14 Sep 2014 00:04:14 AM All use subject to JSTOR Terms and Conditions The main title of Murders in the Rue Morgue consists of two pieces, an unidentified misterioso (for some reason not listed on the cue sheet) followed by the Swan Lake excerpt, no doubt used because of its association with Dracula. The brief misterioso is of significance because it consists of a melodic progression of tritones. The tritone was once considered a forbidden interval in church music and was called diabolus in musica, so its use in this context is quite ap? ^^^^^ propriate and perhaps intentional. A march from The White Hell of Pitz Palu, a 1930 German made silent film which Universal bought and released with narration and a full-length score by Roemheld, was used as the end title music. A "Viennese Waltz" by Roemheld (original source unknown) is heard during the scene on the swing with Leon Ames and Sidney Fox. Thus, while there is no relationship between the music in Dracula and Frankenstein, Dracula and Murders in the Rue Morgue possess musical continuity by way of Swan Lake, strengthening the psychological association between Swan Lake and horror films. Scored in July 1932, the musical treatment of The Old Dark House was much the same as Two scenes from The Black Cat. Roemheld used the that for Rue Morgue?no music except for main tumultuous sempre forte ed agitato section from and end titles. The main title, however, was Liszt's Sonata in B Minor to great effect in the David Broekman. specially composed by climax of this filmwhen Werdegast (Lugosi) skins Poelzig (Karloff) alive!

Broekman was born in Leiden, Holland, on May 13,1902, and died inNew York City on April 1, 1958. He received his musical education at the Royal Conservatory at the Hague under Van Anrooy and Hofmeester. While still a youth, he conducted orchestras in opera houses in France. He emigrated to the United States in 1924 and became a violinist in the Roxy Theater Orchestra in New York City. After acting as musical adviser for Electrical Research Products, Inc. (pioneers in the devel? opment of film recording), he was invited to be music director at Universal in early 1929 (suc? ceeding Josef Cherniavsky), a post he held for about a year.12 A month before working on The Old Dark House, Broekman had composed main titles and a few pieces of incidental scoring for Universale Back Street and Tom Brown at Culver?apparently instances when Broekman actually composed the music for which he

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