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and developed with clear and concise writing. We have Both Bill Stromberg and I are gratified that with included Deutsch’s original ending, which included the this Marco Polo Music Series we are able to four-note Victory motif based on Beethoven’s 5th present both the well-known classics and the sadly Symphony, but was subsequently dropped for the final neglected scores by some of the most talented released version of the film. composers of Hollywood’s Golden Age. John Morgan John Morgan Unrivaled in the difficult realm of film-music reconstruction, veteran film composer John Morgan has spent the past decade restoring classic golden-age scores such as King Kong, House of Frankenstein, The Adventures of Robin Hood, Objective Burma, Moby Dick, The Uninvited, The Hunchback of Notre Dame and The Adventures of Mark Twain. Widely regarded as one of Hollywood’s most gifted orchestrators, Morgan has also won praise for his own film scores, including for the celebrated atomic bomb documentary Trinity and Beyond and, more recently, Starship Troopers 2: Hero of the Federation. Morgan most recently scored a documentary about his longtime friend, special-effects pioneer Ray Harryhausen. William Stromberg Equally at home in the European concert hall, Hollywood soundstage or Moscow recording studio, William Stromberg is diverse in his musical pursuits. During the past decade, he has toured as a conductor with the rock group Yes; recorded massive, complex, golden-age film scores with the Moscow Symphony Orchestra; helped introduce lesser-known scores by overlooked American composers such as Ferde Grofe, and Meredith Willson; and, in collaboration with friend and associate John Morgan, composed scores for ranging from the documentaries Nukes in Space and Atomic Journeys to the science-fiction caper Starship Troopers 2: Hero of the Federation. Moscow Symphony Orchestra Founded in 1989, just as communism was collapsing throughout Eastern Europe, the Moscow Symphony Orchestra is the first orchestra in Russia to be funded through private resources and free of state support. Under famed conductor Antonio de Almeida, the orchestra tackled adventurous repertoire, ranging from the symphonic works of Azerbaijani composer Fikret Amirov to a first-ever survey of Italian master Gian Francesco Malipiero’s symphonies. The orchestra is best-known for its groundbreaking work with conductor William Stromberg, recording golden-age film scores for Naxos and Marco Polo. The series includes scores for The Treasure of Sierra Madre, They Died With Their Boots On and King Kong, all composed by .

NAXOS RADIO Over 50 Channels of Classical Music • Jazz, Folk/World, Nostalgia www.naxosradio.com Accessible Anywhere, Anytime • Near-CD Quality 557701bk Maltese Falcon 14/12/04 8:56 PM Page 2

Adolph Deutsch (1897-1980) Dimitrios had a much larger music budget, the this cue.Velma’s Plight starts and ends with a very composer had more opportunities with regard to a Steiner-like cakewalk, reminiscent of the composer’s larger orchestra, much more music, as well as the Mammy theme from Gone With The Wind (1939). This The Maltese Falcon nature of the story, which allowed Deutsch to compose merges into the “star” music with its celestial sounds of and other classic film scores, 1941-1944 various themes for several characters, locales and high violins accompanying two solo violins. Score restorations by John Morgan situations. The orchestra was a large one, including Shimmering effects are provided by woodwinds, three flutes (doubling alto flute and piccolo), two oboes celesta, vibraphone and other ethereal-sounding Rediscovered (doubling English horn), four clarinets (doubling bass instruments. This sequence accompanies a wistful, clarinets and various saxophones), and two bassoons romantic encounter between Roy Earle (Humphrey When recalling Warner Bros. composers for dramatic personal contract early in 1937. Four out of five of the (with one doubling contra bassoon). The brass Bogart) and Velma Goodhue (Joan Leslie) under a star- scores during the “golden age” of the 1930s and 1940s, first films Deutsch scored at the studio were directed consisted of four French horns, four trumpets, four filled night sky. We also restored a chunk of music to Max Steiner, , and Franz and/or produced by LeRoy. When LeRoy left Warners trombones, tuba and euphonium. Six percussionists the final cue, Apprehended, when further editing of Waxman (1940s) immediately come to mind. They to go with M-G-M in late 1937, Deutsch’s contract was were required to play all the standard battery in addition the film eliminated some of this music. were the “stars” who received the choice assignments assigned to Warner Bros. He had never been under to two vibraphones and two marimbas, which added the (along with ones not-so-choice). And, of course, the contract to a Hollywood studio before, although he did dashes of exotic color. Two harps, two pianos, celesta, Although was a minor war-time Errol venerable was always heavily involved collaborate with Vernon Duke in 1930 on the scores for Novachord and strings complete the orchestral Flynn vehicle, it was bolstered by an exciting score with the musicals in usually multiple capacities, later the foreign version of two Paramount features, The makeup.We have replicated the original orchestrations with a large orchestra, which includes three flutes becoming head of the music department after Leo Dance of Life and Honeymoon (part two of The for this and the other films on this album, although a (doubling alto and piccolo), two oboes (one doubling Forbstein died in 1948. Wedding March). portion of Dimitrios had to be reconstructed because of English horn), three B flat clarinets, two bass clarinets, But there were many other fine composers at Ironically, Deutsch’s rich musical background had missing scores. two bassoons (one doubling contra) and four Warners during at least some of those years – among little to do with the bulk of his Warner scores – dramas The colorful characters and exotic locales certainly saxophones (two alto, one baritone and one tenor). The them Bernhard Kaun, , Frederick of mystery, adventure, and violence. Orchestrator and piqued Deutsch’s imagination and he matched the brass consists of four French horns, four trumpets, four Hollander, and the distinguished Adolph Deutsch, who music critic Lawrence Morton said of Deutsch’s atmosphere on the screen with his ethnically imbued trombones and one tuba. Five percussion players are was under contract at the studio from 1937 to late 1945. Warner period that “any overall description of his music. required as well as two pianos, celesta, harp, novachord During those years he composed original scores for music [at that time] must include such terms as bold, and strings. such pictures as They Won’t Forget (1937), The complex and thick-textured, dissonant, sonorous, High Sierra is the earliest Deutsch score recorded for Following the traditional Warner Bros. fanfare, we Fighting 69th (1940), (1940), All fragmentary in thematic material and rich in this album. Although not a high-budget A film, High are plunged into the strong Pursuit theme utilizing the Through the Night (1942), Across the Pacific (1942), developmental processes.” Sierra has become a classic and is far better known than full orchestra with an emphasis on brass. The next cue, Action In the North Atlantic (1943), Yet just before coming to Warners, Deutsch had many prestigious films of the period. Filled with Submarine, takes us to the icy regions of Canada with (1946), and Nobody Lives Forever (1946). spent over three years as a composer-arranger and memorable melodies and strong themes, it is certainly atmospheric music replete with inventive orchestration For this CD, five of his first-rate Warner scores associate music director with famed orchestra leader Deutsch’s most “Steinerish” music on this album, and weird harmonies. This section perfectly captures have been selected to provide a musically varied cross- Paul Whiteman’s radio and concert music. This period reminding one of the general style Steiner utilized for the landscape as well as the sense of tension and evil section and overview of his work. There are two included 39 weeks on The Kraft Music Hall network some of his late 1930s crime dramas (Angels With Dirty heading towards our Northern allies. We have a brief milestone Bogart films: The Maltese Falcon (1941) and radio program and one year on Paul Whiteman’s Faces, Crime School, etc.) The Main Title presents respite in Consultation and our first encounter with the High Sierra (1941); one adventure, Musical Varieties network radio show. In the early The Sierras theme in thick, bold orchestration that is village in a light-hearted Korngoldian manner, Northern Pursuit (1943); a Jack Benny-Ann Sheridan 1930s Deutsch had freelanced on Broadway, both majestic and haunting. The following cue, The complete with sleigh bells, glockenspiel, virtuoso comedy, George Washington Slept Here (1942); and orchestrating and conducting for such musicals as Pardon, has been restored to Deutsch’s original woodwinds and string writing. The rest of our suite is the mysterious and exotic Mask of Dimitrios (1944). Pardon My English (Gershwin), As Thousands Cheer intentions, as the scene was edited down a bit and the derived from the prison camp escape and final battle Warners’ Mervyn LeRoy signed Deutsch to a (Irving ), and Jumbo (Rodgers and Hart). Earlier, composer was forced to shorten and rewrite a portion of sequences, utilizing common thematic material, varied 8.557701 2 11 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 10

The Maltese Falcon is a classic film by any definition. George Washington Slept Here shows Deutsch’s during the 1920s, he turned out arrangements for such busy. So Deutsch was handed mostly melodramas with Like High Sierra, Deutsch had to make do with a comedic talent in the style of Carl Stalling and those nationally famous dance bands as those led by Henry some lighter fare sandwiched in. He scored ten films in slightly smaller orchestra, befitting the film’s relatively wonderful Warner Bros. cartoon scores. Filled with Busse, Arnold Johnson, Roger Wolfe Kahn, and which Bogart appeared and he did pictures featuring modest budget. Typically, the orchestra for films in this musical quotations, “Wa-Wa” brass, trilling wood- Vincent Lopez. Then Deutsch spent five years as chief other Warner stars such as James Cagney, Errol Flynn, budgetary status had about nine woodwinds that winds, and ingenious “mickey-mousing,” this music is orchestrator/arranger and assistant conductor with Paul Edward G. Robinson, Olivia de Havilland, Dick doubled various other instruments such as saxophones a delight from beginning to end. Ash’s stage presentations (the Paramount Publix units). Powell, Ann Sheridan, Ida Lupino, Ronald Reagan, or extra clarinets when needed, as well as only three Originally the Main Title was to have been sung This was during the lush days of Chicago’s Oriental Jane Wyman, George Raft, etc., but no Bette Davis. French horns, three trumpets, three trombones and a by a chorus (with accompanying orchestra), but the Theatre followed by ’s Paramount Theatre. She belonged primarily to Max Steiner, and to a lesser slightly reduced string section. For this recording, as is idea was later dropped – probably because this music But to go back to the beginning: born in , degree, Korngold and . All in all our general custom for this series, we have given all the was truncated due to the credits being shortened before England, in 1897, Adolph Deutsch started piano Deutsch worked on 53 feature pictures at the studio music a full string section, but have remained faithful to the film’s release. For those listeners so inclined, I have lessons at the age of five and discovered that he had (plus a loan-out to Paramount in 1943 for Lucky Jordan the original orchestra as far as individual instru- included the lyrics so one may sing along with the absolute pitch at the age of seven. At eight he started at with Alan Ladd). mentation goes. music! The Royal Academy of Music in London and received Most of his Warner films starting in 1943 were After the traditional Warner Bros. signature The books all say - a Gen’ral came this way, several awards for piano and composition. He also orchestrated by Jerome Moross. Earlier, Arthur Lange fanfare, we are plunged into the world of mystery in the he took off his shoes - to have a snooze, performed publicly at several London concerts. had orchestrated both High Sierra and The Maltese then contemporary world of 1941. (Interestingly, Ding! Dong! Deutsch came to the in 1910 at the age of Falcon. Deutsch would most often use Steiner’s fanfare in the It is ver-y clear, thirteen and immediately became intrigued with the Deutsch and Warners parted company in late 1945 key of B flat, which gave it a slightly darker effect, as George Wash-ing-ton slept here. sounds of American popular music. and he free-lanced for awhile (Paramount’s Blaze of opposed to Steiner’s usual brighter key of C.) The The proof we found, right on this ver-y ground, At 21 Deutsch was hired for a modest job in a New Noon – 1947, United Artists’ Ramrod – 1947, and Falcon’s eight-note motif is developed throughout the He didn’t count sheep, far and near, York publishing house (1918). He was permitted to Paramount’s Whispering Smith – 1949). He also did Main Title and becomes the basis for the entire score. George Wash-ing-ton slept here. attend rehearsals of the New York Philharmonic Hedda Hopper’s This Is Hollywood weekly network The Deal is a unique cue with its use of clusters, If he had de-ci-ded to stay up. Society and study the techniques of conductors such as radio show from October 1946 to June 1947. Then swirling strings and dissonances illustrating Bogart’s the price of this an-tique would not be way up. Toscanini, Barbirolli, and Sir Thomas Beecham. came an offer from M-G-M to help out on the musical drug-induced hallucination, while the eight-note Falcon To bed, to bed, a very sleepy-y head! Fortunately, Deutsch was able to assimilate an Luxury Liner (1948), which led to him scoring a motif is always there to remind us of the riches all these Turned in for the night, blew out the light eclectic range of musical experiences. In 1920 he heard comedy, Julia Misbehaves (1948), for the studio and a colorful characters are after. On eight hours sleep, the first recording of Paul Whiteman’s orchestra and long-term contract. This was all happening while long- The Plot (at approximately 2:35) contains a good how he could fight. was immediately absorbed with the possibilities of time M-G-M composer- conductor example of the ingenuity of orchestrator Arthur Lange, Ding! Dong! orchestration. He started to study the subject and to had become seriously ill and unable to work (he died in who had all the violins tune down a whole step in order Give him a rous-ing cheer compose small works. This led to his professional early 1949). to play an otherwise impossible double stop. This George Wash-ing-ton slept here. arranging for dance bands in the 1920s. Deutsch’s third film at M-G-M was for his sponsor enabled both the undernourished violins and violas to (Lyricist unknown) So, considering his background in popular music, at Warners, Mervyn LeRoy – a new version of Little play this figure, giving the strings added weight and why didn’t Deutsch work on any musicals at Warners? Women (1949). This was a package purchased by M-G- sonority. The Mask of Dimitrios contains some of Deutsch’s The answer presumably is Ray Heindorf. Heindorf had M from independent producer David O. Selznick, who Just for fun, we have included the End Cast music, most sophisticated music, both in its advanced been at the studio as arranger, orchestrator, conductor, had decided not to go ahead with his production for which was also composed by Deutsch and orchestrated harmonic language as well as the subtle detail the and all-round supervisor on their musicals since 1932. various reasons. The package included a complete by Lange. Not originally composed for this film, it was composer typically put into his orchestral writing.This And he was a major talent in addition to being fast. The working screenplay based on the 1933 R.K.O. Radio a stock arrangement written for Warners’ in-house score is sort of a “musical” sequel to Deutsch’s The number of musicals made at Warners during the period Pictures adaptation, set plans and specifications, and music library with the notation “Quasi Fox Trot.” Maltese Falcon and shares many musical similarities in 1937 to 1945 (Deutsch’s tenure) was not overwhelming the primary theme for the 1933 version written by – orchestration, mood and harmonic language. Because but just enough to keep the much-admired Heindorf Max Steiner. Steiner’s theme, called “Josephine,” 8.557701 10 3 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 4

permeated the score for the old and new version – from sense of humor and was a thorough professional. lift of his eyebrow and confide wonderingly: “What am throughout the score “Deutschland Über Alles” in a the Main Title on. It must have been a strange feeling Courage added that “he was extremely fussy about I saying?” dark, heavy, minor key setting – often a motif for the for Deutsch to encounter Steiner’s music on an M-G-M doing things right – especially with regard to the Originally was announced as Flynn’s Nazis in World War II films. Another recurring motif project after all those years as a colleague of the composer’s intent [on the musicals]. Adolph was not a love interest until Julie Bishop replaced her. Bishop during that war, this one for Allied forces, was from composer’s at Warner Bros. Steiner’s name is all over flamboyant conductor but very precise. He was always was known as Jacqueline Wells during her screen Beethoven’s Fifth Symphony (V for Victory), the the M-G-M cue sheet – and he was thereby well thinking. Sometimes when conducting the staff career in the 1920s and 1930s, but her name was arresting four notes of which end the film. compensated – but by arrangement with someone orchestra, he would pause after the upbeat when a changed when she started her contract with Warner (certainly not Deutsch), Steiner’s name is not listed on thought occurred and then would mull it over before Bros. in 1942. Rudy Behlmer the official credits. Of course, Steiner was still under giving the downbeat, while the musicians waited in Deutsch appropriately used the Canadian national Author of Inside Warner Bros., Behind the Scenes: contract to Warners. suspended animation. He was highly regarded by all song “The Maple Leaf Forever!” in the foreword The Making Of … , Memo From David O. Selznick, After a few dramas and lighter fare, Deutsch was members of the orchestra because they knew that he following the Main Title and he incorporated etc., and co-author of The Films of Errol Flynn. assigned M-G-M’s lavish musical Annie Get Your Gun knew what he was doing.” (1950) as musical director, finally coming full circle to An extensive Adolph Deutsch archival collection is what he was doing all those years before he went to housed in the American Heritage Center at the Music Notes Warners in the mid-1930s. There followed an University of Wyoming: the holdings include complete illustrious series of musicals: (1951), The holograph scores, in pencil, of original music for 43 Adolph Deutsch’s name rarely comes up when pulated within his musical landscape. He was clearly of Band Wagon (1953), Seven Brides For Seven Brothers films, a set of thirty studio disc recordings of selected discussing film music from Hollywood’s Golden Age, the twentieth century - musically speaking - and one (1954), Oklahoma! (1955 – on loan-out), and other excerpts from the film scores, and various other film which is regrettable. During his tenure at Warner Bros., hears a harmonic language closer to Hindemith than musical and non musicals. He won music materials – including scrapbooks. In addition, Deutsch was sort of a jack of all trades, not only Richard Strauss. He was also very meticulous in his for Annie Get Your Gun, Seven Brides, and Oklahoma! there is a score for a symphonic work, The Scottish composing for his own film assignments but notation – from detailed expressive markings to even Later, in yet another career turn, he scored two of Suite (1936), commissioned by Paul Whiteman, a occasionally helping out colleague and friend Max indicating what kind of mutes the brass were to use. He ’s most popular films for United Artists – concert piece entitled March of the United Nations, Steiner when that composer was really strapped for used a variety of orchestrators, including Arthur Lange (1959) and (1960). based on parts of his score for Action In the North time (e.g. Dodge City, The Oklahoma Kid, both 1939). for The Maltese Falcon and High Sierra with a few Deutsch was also a founder and president of the Screen Atlantic (1943), a “Prelude and Salute to Oscar,” When we embarked on this Classic Film Music cues for both films orchestrated by Charles Maxwell, Composers Association. He died in 1980 of heart especially composed for the 18th Academy Awards Series for Marco Polo (nearly ten years ago), one of our and Jerome Moross for the other scores represented on failure at the age of 82. presentation (1946), and the manuscript of a waltz for intended missions was to record in state-of-the-art this disc. Deutsch evidently had some influence on In a recent conversation with , piano called “La Charmeuse” – carefully marked “The sound acknowledged masterpieces from some of the Moross, as there are passages in that composer’s The who was Deutsch’s primary orchestrator and close First Composition of Adolph Deutsch” – composed in finest composers of Hollywood’s Golden Age and Big Country (1958) reminiscent of Deutsch’s Northern friend starting in 1946, Courage said that Deutsch was a London in 1907 at the age of ten. present authentic recreations of their work. We were Pursuit, for example. methodical and articulate man but had a marvelous, dry also determined to explore the music of the neglected, In preparing this album, I wanted to cover aspects Rudy Behlmer somewhat less flamboyant yet equally outstanding of Deutsch’s musical versatility. Although he was composers who never had (until our series) much assigned films of varying subjects, locales, periods and interest from producers of film music rerecordings. genres, he seemed to excel with films filled with dark, Among the overlooked talents we have recorded are atmospheric mood, and his music was both unobtrusive Hans Salter, Frank Skinner, Paul Dessau, Roy Webb yet dramatically compelling within the context of the and now with this recording, Adolph Deutsch. story. His style also nicely fit in with Jack Warner’s Although Deutsch could certainly write a tune penchant for “lots of music,” and during his last three when called for, he usually was assigned films that years at the studio he was able to enjoy the luxury of required composing short motifs that could be mani- larger budgeted films, which meant larger orchestras. 8.557701 4 9 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 8

told Ken Mate and Pat McGilligan, “what a wonderful status. There were two remakes: Colorado Territory The Films hideaway that would be for hoodlums. … Nobody went (1949) – a Western with Joel McCrea and Virginia there in those days. … Also, there was a dog there. The Mayo in the Bogart and Lupino roles, and I Died A The Maltese Falcon 1941 Sydney Greenstreet, who at the age of 61 had never dog didn’t seem to belong to anybody … and he took to Thousand Times (1955) with Jack Palance and Shelley In an apartment on Nob Hill, a few blocks west of the made a film, was the prime choice for the Fat Man, me.” And a black man who said that he brought bad Winters in the leads. Mark Hopkins Hotel in San Francisco, Dashiell Kasper Gutman. Other possibilities included Laird luck to people. So all of this blend was used by Burnett In direct contrast to his music approach for The Hammett wrote perhaps the best of all private-eye Cregar, Edward Arnold, George Barbier, Lee J. Cobb, in his novel, High Sierra (1940), which was purchased Mask of Dimitrios, Deutsch definitely favored melody, novels. In 1930 the book was published and became a Gene Lockhart, etc. Greenstreet had been acting on the by Warners and assigned to John Huston to adapt. He syncopation, and simple atmospherics, in addition to best-seller. stage, both in his native England and in America, since was later joined by Burnett on the screenplay and Raoul some heavier accents, for his score to High Sierra. And Warner Bros. bought the rights to The Maltese 1902. He had spent over six years with Alfred Lunt and Walsh was set to direct (Huston made his directorial it all makes for a memorable listening experience. Falcon that year for $8,500 and produced two film Lynn Fontanne and was touring with them in There debut some months later with The Maltese Falcon). versions within the next six years. By 1941, John Shall Be No Night when John Huston saw him at the Paul Muni was slated for the lead but he did not Northern Pursuit 1943 Huston, the son of actor Walter Huston, was doing Biltmore Theatre in Los Angeles and persuaded him to want to play another criminal – regardless of the Deutsch scored his only Errol Flynn vehicle in 1943. particularly well at Warners collaborating on the scripts break his rule about doing films. He was primarily a approach. Burnett claimed in 1982 that Humphrey Northern Pursuit presented Flynn as Steve Wagner, a for such films as Jezebel, Dr. Ehrlich’s Magic Bullet, character comedian on the stage, but his screen career Bogart talked George Raft, choice number two, out of Canadian Mountie whose parents were born in High Sierra, and Sergeant York. But he wanted to direct. was to consist mainly of villains. taking the role because it didn’t suit him. But Bogart Germany. He feigns defection from the Mounties and “They indulged me rather,” Huston told author Peter Lorre was first choice for Joel Cairo with definitely wanted the part, which suited Huston, undertakes to guide a party of Nazi saboteurs to their Gerald Pratley. “They liked my work as a writer and Martin Kosleck, Sam Jaffe, Curt Bois, and Elia Kazan associate producer Mark Hellinger, and Walsh just fine. prearranged base in the Hudson Bay region. Wagner’s they wanted to keep me on. If I wanted to direct, why (before he became a director) as follow-ups. (Kazan The story has Roy Earle (Bogart), based somewhat “defection” convinces a number of his compatriots, and they’d give me a shot at it, and if it didn’t come off all was also considered for Wilmer.) on Dillinger, being pardoned from prison and traveling even a Nazi contact man (Gene Lockhart). But the party that well they wouldn’t be too disappointed as it was to Dashiell Hammett had based some facts of his to to prepare for the robbery of a resort hotel. leader () plays it safe by forcing be a very small picture.” When Huston was asked what Maltese Falcon characters on real people he had In the process he helps to obtain an operation for a Wagner’s fiancée (Julie Bishop) to act as hostage on subject he would like to do he told them The Maltese encountered while working as a Pinkerton detective for crippled girl’s (Joan Leslie) club foot. Later, she refuses the hazardous journey. Wagner shows his true colors at Falcon, which the studio still owned and which could several years. But he stated that Sam Spade had no his marriage proposal. Meantime, he becomes involved the finale, when he blocks the Nazis’ attempt to take off be done in a relatively inexpensive manner. “There was original. He was “idealized . . . in the sense that he is with a former dance-hall woman (Ida Lupino), a stray in a concealed bombing plane. something in the Falcon that attracted me,” Huston has what most private detectives I’ve worked for would like dog, “Pard,” and various others. Things go badly at the The idea of a group of Nazis landing in Canada was said, “that hadn’t been done in the other versions.” to have been.” robbery and Earle is forced to shoot a watchman. reminiscent of the 1941 British film 49th Parallel At the top of the roster of possible actors to play Adolph Deutsch was assigned the film and created Eventually, the police chase him into the Sierras until (called The Invaders in the U.S.), which spawned Sam Spade was George Raft, then under contract to a subtle and properly mysterious score that was devoid he must leave his car and continue on foot. After a several variations. Warners; in second position was Bogart, followed by of bombast. Deutsch was relatively unobtrusive in his stand-off high in the Sierras, Earle is killed by the Based on a story by Leslie T. White called “Five Edward G. Robinson, etc. Raft turned down the role on approach and gave the edge more to the mood and police. Marie (Lupino) and Pard mourn at the site and Thousand Trojan Horses” that had appeared serially in the advice of his agent. Also, Raft was uneasy about colorings his use of woodwinds evoked. In a 1978 Marie is comforted by the thought that Earle is now Adventure magazine in 1942, Northern Pursuit working with an inexperienced director, and his conversation, he said that he consciously avoided “the free. benefited from some excellent ski chase, treks, ski contract called for no remakes. Bogart was in. Wagnerian approach” and that he did not want obvious A good deal of the film was shot on location in jump, and background shots made at Sun Valley, Possibilities for the role of Brigid were Olivia de leitmotifs overpowering the picture. However, his California at Lone Pine on mountain roads and Mount Idaho, by director using ski champions Havilland, Loretta Young, Rita Hayworth, Mary Astor Falcon theme sets the mood perfectly. Whitney Pass in the Sierras. Also utilized were Big for doubles. and Paulette Goddard, among others. The decision was This modest little film, not a B movie incidentally, Bear, Arrowhead Springs, Cedar Lake, and Chatsworth. In the concluding sequence, Flynn’s character is made to go with Mary Astor. She had recently signed a which cost $381,000, according to studio records, The film was well-received critically and allowed to assure his bride that she is the only woman two-picture contract with Warners, and had been in turned out to be a hit – both critically and commercially commercially, elevating both Bogart and Lupino to star he ever loved, then turn to the camera with an intimate films since 1921. – and it was the forerunner of a number of films over 8.557701 8 5 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 6

the next several years that were a direct if somewhat George Washington Slept Here was a precursor to [1931 and 1936].” But while Negulesco was in the East in. Then at the 11th hour, a test was made of New York belated result of its influence. two films with many parallels: The Egg and I (1947) making the short Women At War, John Huston stage actor Zachary Scott, who recently had a leading The Maltese Falcon solidified further aspects of the and Mr. Blandings Builds His Dream House (1948). requested and was given the O.K. to do The Maltese role in the play Those Endearing Young Charms emerging Bogey character: the classic loner, George Washington Slept Here cast Percy Kilbride as Falcon as his first directing assignment, not knowing of (1943). He was chosen to play Dimitrios in his first weathered, tough, disillusioned (or perhaps non- the caretaker/handy man, the role he originated in the Negulesco’s development of the project. Some time film. At the same time, Faye Emerson replaced Nancy illusioned), somewhat sadistic, cutting right through to Broadway play and later unofficially reprised – to a later when Huston found out, he recommended to Coleman as Irana. the bare bones of his women, and yet true to his own degree – in The Egg and I. He was “Pa Kettle,” and Negulesco a book that the studio owned, A Coffin For Deutsch’s score is almost entirely mood oriented – sense of ethics and professional integrity. Then came there followed a series of Ma and Pa Kettle films co- Dimitrios by Eric Ambler, published in 1939, as Plan no leitmotifs for the various characters and locales, no Casablanca. starring Marjorie Main. B. “Take it to [Warner producer] Henry Blanke. Just do melodies per se, but dark, mysterious, tension-filled Deutsch seemed to be under the influence of Carl the book page by page,” Huston told Negulesco. After orchestral sound colorings – with an occasional brief George Washington Slept Here 1942 Stalling, music director for Warners’ highly successful reading the novel, which he loved, Negulesco lobbied echo of his Maltese Falcon score. Deutsch said in Film Adolph Deutsch was delighted to be assigned one of his cartoons, in his approach to the properly whimsical for the project and eventually was assigned to direct Music Notes (October, 1944): few comedies while at Warners. George Washington comedic scoring. In addition to his light-hearted under producer Blanke. (Negulesco’s actual first … It is wrong to judge film music apart from Slept Here was based on the George S. Kaufman-Moss original compositions, Deutsch drew upon various feature was a forgettable Warners 1941 B picture, its normal setting behind and around the story Hart 1940 play that featured Ernest Truex and Jean quotations from familiar themes (a la Stalling) to Singapore Woman.) … Good film music becomes an integral part Dixon in the roles taken over by Jack Benny and Ann comment on the action, “Yankee Doodle” being the Author Eric Ambler pioneered the notion of of the film play and is intended to intensify all Sheridan for the film. In the play, the husband (Truex) most often reprised. But listen for “A Hunting We Will creating realistic stories about espionage operations. In of the aural and visual elements of the medium persuades his wife (Dixon) to buy a very old converted Go,” “Battle Cry of Freedom,” “You’re In the Army several novels he established believable worlds that … The average movie goer responds most farmhouse in rural Pennsylvania in which George Now,” an old Morris dance that many people think of were shabby, gritty, and threatening. All, however, readily to a melodic score. Atmospheric, or Washington was supposed to have slept. The couple as “Country Gardens” (the title that Percy Grainger were compelling and without the false depictions of mood music, much harder to write effectively, encounter numerous difficulties such as no water, bestowed upon his adaptation of the tune), and, among spies that had been found in thrillers up until his time. are barely noticed and rarely remembered … rotting floors, leaking roofs, inept hired hands, and others, the British “Heart of Oak,” dating from 1759. In In later years, Ambler received serious attention from obnoxious neighbors. 1768 an Americanized version was introduced, which, literary critics who ranked him with or above Graham High Sierra 1941 The changes in the film version include a reversal as “The Liberty Song, “ had enormous popularity. Greene and John Le Carré as one of the masters of a Author W.R. Burnett (Little Caesar, The Asphalt in having the wife (Sheridan) persuade her husband genre that Ambler himself first raised to a higher level. Jungle, etc.) was working on a script at Warners in the (Benny) to purchase the antiquated property. Also, the The Mask Of Dimitrios 1944 The Mask of Dimitrios concerns a detective story late 1930s about the notorious John Dillinger, who girl who was their daughter on the stage (Peggy As one of the directors of short subjects for Warner writer (Peter Lorre) who becomes obsessed with the specialized in armed bank robberies and who terrorized French) became Sheridan’s sister (Joyce Reynolds) in Bros., Jean Negulesco made over 50 entries from 1940 mysterious career of a man named Dimitrios, whose the Midwest in the early 1930s. He was declared the film. Incidentally, Warner contract star Olivia de through part of 1944; titles include Alice In Movieland, corpse he sees in a Turkish morgue. The writer begins “Public Enemy Number One” before he was killed in Havilland was originally slated for the wife’s role. Woman At War, Hit Parade of the Gay Nineties, to unravel the tangled threads of the dead man’s life – 1934 by FBI agents. Although comedian Jack Benny for decades had an Roaring Guns, two Technicolor specials featuring the his intrigues, treacheries, and murders – under many “There was a lot of resistance in those days from extraordinarily popular radio show – and later TV show Ballet Russe de Monte Carlo, innumerable Big Band aliases in many countries. Along the way he meets a certain associations,” Burnett said years later. “When – he also made some very well-received films, attractions, etc., etc. bizarre set of characters (played by the likes of Sydney they [Warners] put out the publicity that we – the author including Buck Benny Rides Again (1940), which His success in that department prompted Jack Greenstreet, Faye Emerson, Victor Francen, Steven of Little Caesar and the ace Dillinger reporter [Charles focused on Benny and his radio cohorts; Charley’s Warner to offer him a feature if the director found a Geray, Florence Bates, etc.). In the end, the complex Blake] – were going to make Dillinger, boy, did that get Aunt (1941), one of many film incarnations of the story he wanted to make. Negulesco said years later trail leads him to the discovery that Dimitrios is very a reaction! Telephone calls and letters of protest.” famous stage farce; and the superb Ernst Lubitsch that “I always loved and felt there was a great mystery much alive – and deadly dangerous. The film was cancelled. But Burnett, steeped in comedy To Be Or Not To Be (1942), in which he co- film in Dashiell Hammett’s Maltese Falcon. I saw the There seemed to be a problem casting the role of Dillinger research, went trout fishing at June Lake in starred with Carole Lombard. two pictures Warners had already made of the book Dimitrios. For a while, Helmut Dantine was penciled the Sierras, near Yosemite. “I got to thinking,” Burnett 8.557701 6 7 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 6

the next several years that were a direct if somewhat George Washington Slept Here was a precursor to [1931 and 1936].” But while Negulesco was in the East in. Then at the 11th hour, a test was made of New York belated result of its influence. two films with many parallels: The Egg and I (1947) making the short Women At War, John Huston stage actor Zachary Scott, who recently had a leading The Maltese Falcon solidified further aspects of the and Mr. Blandings Builds His Dream House (1948). requested and was given the O.K. to do The Maltese role in the play Those Endearing Young Charms emerging Bogey character: the classic loner, George Washington Slept Here cast Percy Kilbride as Falcon as his first directing assignment, not knowing of (1943). He was chosen to play Dimitrios in his first weathered, tough, disillusioned (or perhaps non- the caretaker/handy man, the role he originated in the Negulesco’s development of the project. Some time film. At the same time, Faye Emerson replaced Nancy illusioned), somewhat sadistic, cutting right through to Broadway play and later unofficially reprised – to a later when Huston found out, he recommended to Coleman as Irana. the bare bones of his women, and yet true to his own degree – in The Egg and I. He was “Pa Kettle,” and Negulesco a book that the studio owned, A Coffin For Deutsch’s score is almost entirely mood oriented – sense of ethics and professional integrity. Then came there followed a series of Ma and Pa Kettle films co- Dimitrios by Eric Ambler, published in 1939, as Plan no leitmotifs for the various characters and locales, no Casablanca. starring Marjorie Main. B. “Take it to [Warner producer] Henry Blanke. Just do melodies per se, but dark, mysterious, tension-filled Deutsch seemed to be under the influence of Carl the book page by page,” Huston told Negulesco. After orchestral sound colorings – with an occasional brief George Washington Slept Here 1942 Stalling, music director for Warners’ highly successful reading the novel, which he loved, Negulesco lobbied echo of his Maltese Falcon score. Deutsch said in Film Adolph Deutsch was delighted to be assigned one of his cartoons, in his approach to the properly whimsical for the project and eventually was assigned to direct Music Notes (October, 1944): few comedies while at Warners. George Washington comedic scoring. In addition to his light-hearted under producer Blanke. (Negulesco’s actual first … It is wrong to judge film music apart from Slept Here was based on the George S. Kaufman-Moss original compositions, Deutsch drew upon various feature was a forgettable Warners 1941 B picture, its normal setting behind and around the story Hart 1940 play that featured Ernest Truex and Jean quotations from familiar themes (a la Stalling) to Singapore Woman.) … Good film music becomes an integral part Dixon in the roles taken over by Jack Benny and Ann comment on the action, “Yankee Doodle” being the Author Eric Ambler pioneered the notion of of the film play and is intended to intensify all Sheridan for the film. In the play, the husband (Truex) most often reprised. But listen for “A Hunting We Will creating realistic stories about espionage operations. In of the aural and visual elements of the medium persuades his wife (Dixon) to buy a very old converted Go,” “Battle Cry of Freedom,” “You’re In the Army several novels he established believable worlds that … The average movie goer responds most farmhouse in rural Pennsylvania in which George Now,” an old Morris dance that many people think of were shabby, gritty, and threatening. All, however, readily to a melodic score. Atmospheric, or Washington was supposed to have slept. The couple as “Country Gardens” (the title that Percy Grainger were compelling and without the false depictions of mood music, much harder to write effectively, encounter numerous difficulties such as no water, bestowed upon his adaptation of the tune), and, among spies that had been found in thrillers up until his time. are barely noticed and rarely remembered … rotting floors, leaking roofs, inept hired hands, and others, the British “Heart of Oak,” dating from 1759. In In later years, Ambler received serious attention from obnoxious neighbors. 1768 an Americanized version was introduced, which, literary critics who ranked him with or above Graham High Sierra 1941 The changes in the film version include a reversal as “The Liberty Song, “ had enormous popularity. Greene and John Le Carré as one of the masters of a Author W.R. Burnett (Little Caesar, The Asphalt in having the wife (Sheridan) persuade her husband genre that Ambler himself first raised to a higher level. Jungle, etc.) was working on a script at Warners in the (Benny) to purchase the antiquated property. Also, the The Mask Of Dimitrios 1944 The Mask of Dimitrios concerns a detective story late 1930s about the notorious John Dillinger, who girl who was their daughter on the stage (Peggy As one of the directors of short subjects for Warner writer (Peter Lorre) who becomes obsessed with the specialized in armed bank robberies and who terrorized French) became Sheridan’s sister (Joyce Reynolds) in Bros., Jean Negulesco made over 50 entries from 1940 mysterious career of a man named Dimitrios, whose the Midwest in the early 1930s. He was declared the film. Incidentally, Warner contract star Olivia de through part of 1944; titles include Alice In Movieland, corpse he sees in a Turkish morgue. The writer begins “Public Enemy Number One” before he was killed in Havilland was originally slated for the wife’s role. Woman At War, Hit Parade of the Gay Nineties, to unravel the tangled threads of the dead man’s life – 1934 by FBI agents. Although comedian Jack Benny for decades had an Roaring Guns, two Technicolor specials featuring the his intrigues, treacheries, and murders – under many “There was a lot of resistance in those days from extraordinarily popular radio show – and later TV show Ballet Russe de Monte Carlo, innumerable Big Band aliases in many countries. Along the way he meets a certain associations,” Burnett said years later. “When – he also made some very well-received films, attractions, etc., etc. bizarre set of characters (played by the likes of Sydney they [Warners] put out the publicity that we – the author including Buck Benny Rides Again (1940), which His success in that department prompted Jack Greenstreet, Faye Emerson, Victor Francen, Steven of Little Caesar and the ace Dillinger reporter [Charles focused on Benny and his radio cohorts; Charley’s Warner to offer him a feature if the director found a Geray, Florence Bates, etc.). In the end, the complex Blake] – were going to make Dillinger, boy, did that get Aunt (1941), one of many film incarnations of the story he wanted to make. Negulesco said years later trail leads him to the discovery that Dimitrios is very a reaction! Telephone calls and letters of protest.” famous stage farce; and the superb Ernst Lubitsch that “I always loved and felt there was a great mystery much alive – and deadly dangerous. The film was cancelled. But Burnett, steeped in comedy To Be Or Not To Be (1942), in which he co- film in Dashiell Hammett’s Maltese Falcon. I saw the There seemed to be a problem casting the role of Dillinger research, went trout fishing at June Lake in starred with Carole Lombard. two pictures Warners had already made of the book Dimitrios. For a while, Helmut Dantine was penciled the Sierras, near Yosemite. “I got to thinking,” Burnett 8.557701 6 7 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 8

told Ken Mate and Pat McGilligan, “what a wonderful status. There were two remakes: Colorado Territory The Films hideaway that would be for hoodlums. … Nobody went (1949) – a Western with Joel McCrea and Virginia there in those days. … Also, there was a dog there. The Mayo in the Bogart and Lupino roles, and I Died A The Maltese Falcon 1941 Sydney Greenstreet, who at the age of 61 had never dog didn’t seem to belong to anybody … and he took to Thousand Times (1955) with Jack Palance and Shelley In an apartment on Nob Hill, a few blocks west of the made a film, was the prime choice for the Fat Man, me.” And a black man who said that he brought bad Winters in the leads. Mark Hopkins Hotel in San Francisco, Dashiell Kasper Gutman. Other possibilities included Laird luck to people. So all of this blend was used by Burnett In direct contrast to his music approach for The Hammett wrote perhaps the best of all private-eye Cregar, Edward Arnold, George Barbier, Lee J. Cobb, in his novel, High Sierra (1940), which was purchased Mask of Dimitrios, Deutsch definitely favored melody, novels. In 1930 the book was published and became a Gene Lockhart, etc. Greenstreet had been acting on the by Warners and assigned to John Huston to adapt. He syncopation, and simple atmospherics, in addition to best-seller. stage, both in his native England and in America, since was later joined by Burnett on the screenplay and Raoul some heavier accents, for his score to High Sierra. And Warner Bros. bought the rights to The Maltese 1902. He had spent over six years with Alfred Lunt and Walsh was set to direct (Huston made his directorial it all makes for a memorable listening experience. Falcon that year for $8,500 and produced two film Lynn Fontanne and was touring with them in There debut some months later with The Maltese Falcon). versions within the next six years. By 1941, John Shall Be No Night when John Huston saw him at the Paul Muni was slated for the lead but he did not Northern Pursuit 1943 Huston, the son of actor Walter Huston, was doing Biltmore Theatre in Los Angeles and persuaded him to want to play another criminal – regardless of the Deutsch scored his only Errol Flynn vehicle in 1943. particularly well at Warners collaborating on the scripts break his rule about doing films. He was primarily a approach. Burnett claimed in 1982 that Humphrey Northern Pursuit presented Flynn as Steve Wagner, a for such films as Jezebel, Dr. Ehrlich’s Magic Bullet, character comedian on the stage, but his screen career Bogart talked George Raft, choice number two, out of Canadian Mountie whose parents were born in High Sierra, and Sergeant York. But he wanted to direct. was to consist mainly of villains. taking the role because it didn’t suit him. But Bogart Germany. He feigns defection from the Mounties and “They indulged me rather,” Huston told author Peter Lorre was first choice for Joel Cairo with definitely wanted the part, which suited Huston, undertakes to guide a party of Nazi saboteurs to their Gerald Pratley. “They liked my work as a writer and Martin Kosleck, Sam Jaffe, Curt Bois, and Elia Kazan associate producer Mark Hellinger, and Walsh just fine. prearranged base in the Hudson Bay region. Wagner’s they wanted to keep me on. If I wanted to direct, why (before he became a director) as follow-ups. (Kazan The story has Roy Earle (Bogart), based somewhat “defection” convinces a number of his compatriots, and they’d give me a shot at it, and if it didn’t come off all was also considered for Wilmer.) on Dillinger, being pardoned from prison and traveling even a Nazi contact man (Gene Lockhart). But the party that well they wouldn’t be too disappointed as it was to Dashiell Hammett had based some facts of his to California to prepare for the robbery of a resort hotel. leader (Helmut Dantine) plays it safe by forcing be a very small picture.” When Huston was asked what Maltese Falcon characters on real people he had In the process he helps to obtain an operation for a Wagner’s fiancée (Julie Bishop) to act as hostage on subject he would like to do he told them The Maltese encountered while working as a Pinkerton detective for crippled girl’s (Joan Leslie) club foot. Later, she refuses the hazardous journey. Wagner shows his true colors at Falcon, which the studio still owned and which could several years. But he stated that Sam Spade had no his marriage proposal. Meantime, he becomes involved the finale, when he blocks the Nazis’ attempt to take off be done in a relatively inexpensive manner. “There was original. He was “idealized . . . in the sense that he is with a former dance-hall woman (Ida Lupino), a stray in a concealed bombing plane. something in the Falcon that attracted me,” Huston has what most private detectives I’ve worked for would like dog, “Pard,” and various others. Things go badly at the The idea of a group of Nazis landing in Canada was said, “that hadn’t been done in the other versions.” to have been.” robbery and Earle is forced to shoot a watchman. reminiscent of the 1941 British film 49th Parallel At the top of the roster of possible actors to play Adolph Deutsch was assigned the film and created Eventually, the police chase him into the Sierras until (called The Invaders in the U.S.), which spawned Sam Spade was George Raft, then under contract to a subtle and properly mysterious score that was devoid he must leave his car and continue on foot. After a several variations. Warners; in second position was Bogart, followed by of bombast. Deutsch was relatively unobtrusive in his stand-off high in the Sierras, Earle is killed by the Based on a story by Leslie T. White called “Five Edward G. Robinson, etc. Raft turned down the role on approach and gave the edge more to the mood and police. Marie (Lupino) and Pard mourn at the site and Thousand Trojan Horses” that had appeared serially in the advice of his agent. Also, Raft was uneasy about colorings his use of woodwinds evoked. In a 1978 Marie is comforted by the thought that Earle is now Adventure magazine in 1942, Northern Pursuit working with an inexperienced director, and his conversation, he said that he consciously avoided “the free. benefited from some excellent ski chase, treks, ski contract called for no remakes. Bogart was in. Wagnerian approach” and that he did not want obvious A good deal of the film was shot on location in jump, and background shots made at Sun Valley, Possibilities for the role of Brigid were Olivia de leitmotifs overpowering the picture. However, his California at Lone Pine on mountain roads and Mount Idaho, by director Raoul Walsh using ski champions Havilland, Loretta Young, Rita Hayworth, Mary Astor Falcon theme sets the mood perfectly. Whitney Pass in the Sierras. Also utilized were Big for doubles. and Paulette Goddard, among others. The decision was This modest little film, not a B movie incidentally, Bear, Arrowhead Springs, Cedar Lake, and Chatsworth. In the concluding sequence, Flynn’s character is made to go with Mary Astor. She had recently signed a which cost $381,000, according to studio records, The film was well-received critically and allowed to assure his bride that she is the only woman two-picture contract with Warners, and had been in turned out to be a hit – both critically and commercially commercially, elevating both Bogart and Lupino to star he ever loved, then turn to the camera with an intimate films since 1921. – and it was the forerunner of a number of films over 8.557701 8 5 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 4

permeated the score for the old and new version – from sense of humor and was a thorough professional. lift of his eyebrow and confide wonderingly: “What am throughout the score “Deutschland Über Alles” in a the Main Title on. It must have been a strange feeling Courage added that “he was extremely fussy about I saying?” dark, heavy, minor key setting – often a motif for the for Deutsch to encounter Steiner’s music on an M-G-M doing things right – especially with regard to the Originally Alexis Smith was announced as Flynn’s Nazis in World War II films. Another recurring motif project after all those years as a colleague of the composer’s intent [on the musicals]. Adolph was not a love interest until Julie Bishop replaced her. Bishop during that war, this one for Allied forces, was from composer’s at Warner Bros. Steiner’s name is all over flamboyant conductor but very precise. He was always was known as Jacqueline Wells during her screen Beethoven’s Fifth Symphony (V for Victory), the the M-G-M cue sheet – and he was thereby well thinking. Sometimes when conducting the staff career in the 1920s and 1930s, but her name was arresting four notes of which end the film. compensated – but by arrangement with someone orchestra, he would pause after the upbeat when a changed when she started her contract with Warner (certainly not Deutsch), Steiner’s name is not listed on thought occurred and then would mull it over before Bros. in 1942. Rudy Behlmer the official credits. Of course, Steiner was still under giving the downbeat, while the musicians waited in Deutsch appropriately used the Canadian national Author of Inside Warner Bros., Behind the Scenes: contract to Warners. suspended animation. He was highly regarded by all song “The Maple Leaf Forever!” in the foreword The Making Of … , Memo From David O. Selznick, After a few dramas and lighter fare, Deutsch was members of the orchestra because they knew that he following the Main Title and he incorporated etc., and co-author of The Films of Errol Flynn. assigned M-G-M’s lavish musical Annie Get Your Gun knew what he was doing.” (1950) as musical director, finally coming full circle to An extensive Adolph Deutsch archival collection is what he was doing all those years before he went to housed in the American Heritage Center at the Music Notes Warners in the mid-1930s. There followed an University of Wyoming: the holdings include complete illustrious series of musicals: Show Boat (1951), The holograph scores, in pencil, of original music for 43 Adolph Deutsch’s name rarely comes up when pulated within his musical landscape. He was clearly of Band Wagon (1953), Seven Brides For Seven Brothers films, a set of thirty studio disc recordings of selected discussing film music from Hollywood’s Golden Age, the twentieth century - musically speaking - and one (1954), Oklahoma! (1955 – on loan-out), and other excerpts from the film scores, and various other film which is regrettable. During his tenure at Warner Bros., hears a harmonic language closer to Hindemith than musical and non musicals. He won Academy Awards music materials – including scrapbooks. In addition, Deutsch was sort of a jack of all trades, not only Richard Strauss. He was also very meticulous in his for Annie Get Your Gun, Seven Brides, and Oklahoma! there is a score for a symphonic work, The Scottish composing for his own film assignments but notation – from detailed expressive markings to even Later, in yet another career turn, he scored two of Suite (1936), commissioned by Paul Whiteman, a occasionally helping out colleague and friend Max indicating what kind of mutes the brass were to use. He Billy Wilder’s most popular films for United Artists – concert piece entitled March of the United Nations, Steiner when that composer was really strapped for used a variety of orchestrators, including Arthur Lange Some Like It Hot (1959) and The Apartment (1960). based on parts of his score for Action In the North time (e.g. Dodge City, The Oklahoma Kid, both 1939). for The Maltese Falcon and High Sierra with a few Deutsch was also a founder and president of the Screen Atlantic (1943), a “Prelude and Salute to Oscar,” When we embarked on this Classic Film Music cues for both films orchestrated by Charles Maxwell, Composers Association. He died in 1980 of heart especially composed for the 18th Academy Awards Series for Marco Polo (nearly ten years ago), one of our and Jerome Moross for the other scores represented on failure at the age of 82. presentation (1946), and the manuscript of a waltz for intended missions was to record in state-of-the-art this disc. Deutsch evidently had some influence on In a recent conversation with Alexander Courage, piano called “La Charmeuse” – carefully marked “The sound acknowledged masterpieces from some of the Moross, as there are passages in that composer’s The who was Deutsch’s primary orchestrator and close First Composition of Adolph Deutsch” – composed in finest composers of Hollywood’s Golden Age and Big Country (1958) reminiscent of Deutsch’s Northern friend starting in 1946, Courage said that Deutsch was a London in 1907 at the age of ten. present authentic recreations of their work. We were Pursuit, for example. methodical and articulate man but had a marvelous, dry also determined to explore the music of the neglected, In preparing this album, I wanted to cover aspects Rudy Behlmer somewhat less flamboyant yet equally outstanding of Deutsch’s musical versatility. Although he was composers who never had (until our series) much assigned films of varying subjects, locales, periods and interest from producers of film music rerecordings. genres, he seemed to excel with films filled with dark, Among the overlooked talents we have recorded are atmospheric mood, and his music was both unobtrusive Hans Salter, Frank Skinner, Paul Dessau, Roy Webb yet dramatically compelling within the context of the and now with this recording, Adolph Deutsch. story. His style also nicely fit in with Jack Warner’s Although Deutsch could certainly write a tune penchant for “lots of music,” and during his last three when called for, he usually was assigned films that years at the studio he was able to enjoy the luxury of required composing short motifs that could be mani- larger budgeted films, which meant larger orchestras. 8.557701 4 9 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 10

The Maltese Falcon is a classic film by any definition. George Washington Slept Here shows Deutsch’s during the 1920s, he turned out arrangements for such busy. So Deutsch was handed mostly melodramas with Like High Sierra, Deutsch had to make do with a comedic talent in the style of Carl Stalling and those nationally famous dance bands as those led by Henry some lighter fare sandwiched in. He scored ten films in slightly smaller orchestra, befitting the film’s relatively wonderful Warner Bros. cartoon scores. Filled with Busse, Arnold Johnson, Roger Wolfe Kahn, and which Bogart appeared and he did pictures featuring modest budget. Typically, the orchestra for films in this musical quotations, “Wa-Wa” brass, trilling wood- Vincent Lopez. Then Deutsch spent five years as chief other Warner stars such as James Cagney, Errol Flynn, budgetary status had about nine woodwinds that winds, and ingenious “mickey-mousing,” this music is orchestrator/arranger and assistant conductor with Paul Edward G. Robinson, Olivia de Havilland, Dick doubled various other instruments such as saxophones a delight from beginning to end. Ash’s stage presentations (the Paramount Publix units). Powell, Ann Sheridan, Ida Lupino, Ronald Reagan, or extra clarinets when needed, as well as only three Originally the Main Title was to have been sung This was during the lush days of Chicago’s Oriental Jane Wyman, George Raft, etc., but no Bette Davis. French horns, three trumpets, three trombones and a by a chorus (with accompanying orchestra), but the Theatre followed by New York’s Paramount Theatre. She belonged primarily to Max Steiner, and to a lesser slightly reduced string section. For this recording, as is idea was later dropped – probably because this music But to go back to the beginning: born in London, degree, Korngold and Franz Waxman. All in all our general custom for this series, we have given all the was truncated due to the credits being shortened before England, in 1897, Adolph Deutsch started piano Deutsch worked on 53 feature pictures at the studio music a full string section, but have remained faithful to the film’s release. For those listeners so inclined, I have lessons at the age of five and discovered that he had (plus a loan-out to Paramount in 1943 for Lucky Jordan the original orchestra as far as individual instru- included the lyrics so one may sing along with the absolute pitch at the age of seven. At eight he started at with Alan Ladd). mentation goes. music! The Royal Academy of Music in London and received Most of his Warner films starting in 1943 were After the traditional Warner Bros. signature The books all say - a Gen’ral came this way, several awards for piano and composition. He also orchestrated by Jerome Moross. Earlier, Arthur Lange fanfare, we are plunged into the world of mystery in the he took off his shoes - to have a snooze, performed publicly at several London concerts. had orchestrated both High Sierra and The Maltese then contemporary world of 1941. (Interestingly, Ding! Dong! Deutsch came to the United States in 1910 at the age of Falcon. Deutsch would most often use Steiner’s fanfare in the It is ver-y clear, thirteen and immediately became intrigued with the Deutsch and Warners parted company in late 1945 key of B flat, which gave it a slightly darker effect, as George Wash-ing-ton slept here. sounds of American popular music. and he free-lanced for awhile (Paramount’s Blaze of opposed to Steiner’s usual brighter key of C.) The The proof we found, right on this ver-y ground, At 21 Deutsch was hired for a modest job in a New Noon – 1947, United Artists’ Ramrod – 1947, and Falcon’s eight-note motif is developed throughout the He didn’t count sheep, far and near, York publishing house (1918). He was permitted to Paramount’s Whispering Smith – 1949). He also did Main Title and becomes the basis for the entire score. George Wash-ing-ton slept here. attend rehearsals of the New York Philharmonic Hedda Hopper’s This Is Hollywood weekly network The Deal is a unique cue with its use of clusters, If he had de-ci-ded to stay up. Society and study the techniques of conductors such as radio show from October 1946 to June 1947. Then swirling strings and dissonances illustrating Bogart’s the price of this an-tique would not be way up. Toscanini, Barbirolli, and Sir Thomas Beecham. came an offer from M-G-M to help out on the musical drug-induced hallucination, while the eight-note Falcon To bed, to bed, a very sleepy-y head! Fortunately, Deutsch was able to assimilate an Luxury Liner (1948), which led to him scoring a motif is always there to remind us of the riches all these Turned in for the night, blew out the light eclectic range of musical experiences. In 1920 he heard comedy, Julia Misbehaves (1948), for the studio and a colorful characters are after. On eight hours sleep, the first recording of Paul Whiteman’s orchestra and long-term contract. This was all happening while long- The Plot (at approximately 2:35) contains a good how he could fight. was immediately absorbed with the possibilities of time M-G-M composer- conductor Herbert Stothart example of the ingenuity of orchestrator Arthur Lange, Ding! Dong! orchestration. He started to study the subject and to had become seriously ill and unable to work (he died in who had all the violins tune down a whole step in order Give him a rous-ing cheer compose small works. This led to his professional early 1949). to play an otherwise impossible double stop. This George Wash-ing-ton slept here. arranging for dance bands in the 1920s. Deutsch’s third film at M-G-M was for his sponsor enabled both the undernourished violins and violas to (Lyricist unknown) So, considering his background in popular music, at Warners, Mervyn LeRoy – a new version of Little play this figure, giving the strings added weight and why didn’t Deutsch work on any musicals at Warners? Women (1949). This was a package purchased by M-G- sonority. The Mask of Dimitrios contains some of Deutsch’s The answer presumably is Ray Heindorf. Heindorf had M from independent producer David O. Selznick, who Just for fun, we have included the End Cast music, most sophisticated music, both in its advanced been at the studio as arranger, orchestrator, conductor, had decided not to go ahead with his production for which was also composed by Deutsch and orchestrated harmonic language as well as the subtle detail the and all-round supervisor on their musicals since 1932. various reasons. The package included a complete by Lange. Not originally composed for this film, it was composer typically put into his orchestral writing.This And he was a major talent in addition to being fast. The working screenplay based on the 1933 R.K.O. Radio a stock arrangement written for Warners’ in-house score is sort of a “musical” sequel to Deutsch’s The number of musicals made at Warners during the period Pictures adaptation, set plans and specifications, and music library with the notation “Quasi Fox Trot.” Maltese Falcon and shares many musical similarities in 1937 to 1945 (Deutsch’s tenure) was not overwhelming the primary theme for the 1933 version written by – orchestration, mood and harmonic language. Because but just enough to keep the much-admired Heindorf Max Steiner. Steiner’s theme, called “Josephine,” 8.557701 10 3 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 2

Adolph Deutsch (1897-1980) Dimitrios had a much larger music budget, the this cue.Velma’s Plight starts and ends with a very composer had more opportunities with regard to a Steiner-like cakewalk, reminiscent of the composer’s larger orchestra, much more music, as well as the Mammy theme from Gone With The Wind (1939). This The Maltese Falcon nature of the story, which allowed Deutsch to compose merges into the “star” music with its celestial sounds of and other classic film scores, 1941-1944 various themes for several characters, locales and high violins accompanying two solo violins. Score restorations by John Morgan situations. The orchestra was a large one, including Shimmering effects are provided by woodwinds, three flutes (doubling alto flute and piccolo), two oboes celesta, vibraphone and other ethereal-sounding Adolph Deutsch Rediscovered (doubling English horn), four clarinets (doubling bass instruments. This sequence accompanies a wistful, clarinets and various saxophones), and two bassoons romantic encounter between Roy Earle (Humphrey When recalling Warner Bros. composers for dramatic personal contract early in 1937. Four out of five of the (with one doubling contra bassoon). The brass Bogart) and Velma Goodhue (Joan Leslie) under a star- scores during the “golden age” of the 1930s and 1940s, first films Deutsch scored at the studio were directed consisted of four French horns, four trumpets, four filled night sky. We also restored a chunk of music to Max Steiner, Erich Wolfgang Korngold, and Franz and/or produced by LeRoy. When LeRoy left Warners trombones, tuba and euphonium. Six percussionists the final cue, Apprehended, when further editing of Waxman (1940s) immediately come to mind. They to go with M-G-M in late 1937, Deutsch’s contract was were required to play all the standard battery in addition the film eliminated some of this music. were the “stars” who received the choice assignments assigned to Warner Bros. He had never been under to two vibraphones and two marimbas, which added the (along with ones not-so-choice). And, of course, the contract to a Hollywood studio before, although he did dashes of exotic color. Two harps, two pianos, celesta, Although Northern Pursuit was a minor war-time Errol venerable Ray Heindorf was always heavily involved collaborate with Vernon Duke in 1930 on the scores for Novachord and strings complete the orchestral Flynn vehicle, it was bolstered by an exciting score with the musicals in usually multiple capacities, later the foreign version of two Paramount features, The makeup.We have replicated the original orchestrations with a large orchestra, which includes three flutes becoming head of the music department after Leo Dance of Life and Honeymoon (part two of The for this and the other films on this album, although a (doubling alto and piccolo), two oboes (one doubling Forbstein died in 1948. Wedding March). portion of Dimitrios had to be reconstructed because of English horn), three B flat clarinets, two bass clarinets, But there were many other fine composers at Ironically, Deutsch’s rich musical background had missing scores. two bassoons (one doubling contra) and four Warners during at least some of those years – among little to do with the bulk of his Warner scores – dramas The colorful characters and exotic locales certainly saxophones (two alto, one baritone and one tenor). The them Bernhard Kaun, Heinz Roemheld, Frederick of mystery, adventure, and violence. Orchestrator and piqued Deutsch’s imagination and he matched the brass consists of four French horns, four trumpets, four Hollander, and the distinguished Adolph Deutsch, who music critic Lawrence Morton said of Deutsch’s atmosphere on the screen with his ethnically imbued trombones and one tuba. Five percussion players are was under contract at the studio from 1937 to late 1945. Warner period that “any overall description of his music. required as well as two pianos, celesta, harp, novachord During those years he composed original scores for music [at that time] must include such terms as bold, and strings. such pictures as They Won’t Forget (1937), The complex and thick-textured, dissonant, sonorous, High Sierra is the earliest Deutsch score recorded for Following the traditional Warner Bros. fanfare, we Fighting 69th (1940), They Drive By Night (1940), All fragmentary in thematic material and rich in this album. Although not a high-budget A film, High are plunged into the strong Pursuit theme utilizing the Through the Night (1942), Across the Pacific (1942), developmental processes.” Sierra has become a classic and is far better known than full orchestra with an emphasis on brass. The next cue, Action In the North Atlantic (1943), Three Strangers Yet just before coming to Warners, Deutsch had many prestigious films of the period. Filled with Submarine, takes us to the icy regions of Canada with (1946), and Nobody Lives Forever (1946). spent over three years as a composer-arranger and memorable melodies and strong themes, it is certainly atmospheric music replete with inventive orchestration For this CD, five of his first-rate Warner scores associate music director with famed orchestra leader Deutsch’s most “Steinerish” music on this album, and weird harmonies. This section perfectly captures have been selected to provide a musically varied cross- Paul Whiteman’s radio and concert music. This period reminding one of the general style Steiner utilized for the landscape as well as the sense of tension and evil section and overview of his work. There are two included 39 weeks on The Kraft Music Hall network some of his late 1930s crime dramas (Angels With Dirty heading towards our Northern allies. We have a brief milestone Bogart films: The Maltese Falcon (1941) and radio program and one year on Paul Whiteman’s Faces, Crime School, etc.) The Main Title presents respite in Consultation and our first encounter with the High Sierra (1941); one Errol Flynn adventure, Musical Varieties network radio show. In the early The Sierras theme in thick, bold orchestration that is village in a light-hearted Korngoldian manner, Northern Pursuit (1943); a Jack Benny-Ann Sheridan 1930s Deutsch had freelanced on Broadway, both majestic and haunting. The following cue, The complete with sleigh bells, glockenspiel, virtuoso comedy, George Washington Slept Here (1942); and orchestrating and conducting for such musicals as Pardon, has been restored to Deutsch’s original woodwinds and string writing. The rest of our suite is the mysterious and exotic Mask of Dimitrios (1944). Pardon My English (Gershwin), As Thousands Cheer intentions, as the scene was edited down a bit and the derived from the prison camp escape and final battle Warners’ Mervyn LeRoy signed Deutsch to a (), and Jumbo (Rodgers and Hart). Earlier, composer was forced to shorten and rewrite a portion of sequences, utilizing common thematic material, varied 8.557701 2 11 8.557701 557701bk Maltese Falcon 14/12/04 8:56 PM Page 12

and developed with clear and concise writing. We have Both Bill Stromberg and I are gratified that with included Deutsch’s original ending, which included the this Marco Polo Film Music Series we are able to four-note Victory motif based on Beethoven’s 5th present both the well-known classics and the sadly Symphony, but was subsequently dropped for the final neglected scores by some of the most talented released version of the film. composers of Hollywood’s Golden Age. John Morgan John Morgan Unrivaled in the difficult realm of film-music reconstruction, veteran film composer John Morgan has spent the past decade restoring classic golden-age scores such as King Kong, House of Frankenstein, The Adventures of Robin Hood, Objective Burma, Moby Dick, The Uninvited, The Hunchback of Notre Dame and The Adventures of Mark Twain. Widely regarded as one of Hollywood’s most gifted orchestrators, Morgan has also won praise for his own film scores, including for the celebrated atomic bomb documentary Trinity and Beyond and, more recently, Starship Troopers 2: Hero of the Federation. Morgan most recently scored a documentary about his longtime friend, special-effects pioneer Ray Harryhausen. William Stromberg Equally at home in the European concert hall, Hollywood soundstage or Moscow recording studio, William Stromberg is diverse in his musical pursuits. During the past decade, he has toured as a conductor with the rock group Yes; recorded massive, complex, golden-age film scores with the Moscow Symphony Orchestra; helped introduce lesser-known scores by overlooked American composers such as Ferde Grofe, Robert Russell Bennett and Meredith Willson; and, in collaboration with friend and associate John Morgan, composed scores for films ranging from the documentaries Nukes in Space and Atomic Journeys to the science-fiction caper Starship Troopers 2: Hero of the Federation. Moscow Symphony Orchestra Founded in 1989, just as communism was collapsing throughout Eastern Europe, the Moscow Symphony Orchestra is the first orchestra in Russia to be funded through private resources and free of state support. Under famed conductor Antonio de Almeida, the orchestra tackled adventurous repertoire, ranging from the symphonic works of Azerbaijani composer Fikret Amirov to a first-ever survey of Italian master Gian Francesco Malipiero’s symphonies. The orchestra is best-known for its groundbreaking work with conductor William Stromberg, recording golden-age film scores for Naxos and Marco Polo. The series includes scores for The Treasure of Sierra Madre, They Died With Their Boots On and King Kong, all composed by Max Steiner.

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8.557701 FILM MUSIC CLASSICS 75:51 8.557701 DDD ADOLPH DEUTSCH (1897-1980) www.naxos.com Made in Canada h 2002 &

The Maltese Falcon and other film scores The Maltese Falcon DEUTSCH:

g Score Restorations by John Morgan

2005 Naxos Rights International Ltd. 2005 Naxos Rights International Moscow Symphony Orchestra • William Stromberg

The Maltese The Mask of High Sierra 13:17 Falcon 13:47 Dimitrios 16:10 ¶ Main Title 0:50 1 Main Title 2:07 % Main Title— • The Pardon 2:57 2 Street Scene 1:37 Deadman 2:22 ª Velma’s Plight 3:52 3 Door Slam 0:28 ^ Dimitrios Selects A º The Giveaway 3:11 4 The Deal 2:47 Victim 1:43 ⁄ Apprehended 2:26 5 The Plot 3:02 & Contract 0:35 Northern 6 Gutman 2:08 * Dirty Spy 2:07 Pursuit 21:11 ( The Traitor 0:43 7 End Title 0:54 ¤ Main Title 1:47 ) Peter Writes A Letter 1:42 8 End Cast 0:43 ‹ ¡ Nazi Sub—Customs— George Washington The Escape 1:28 Train 3:29 ™ Slept Here 11:19 Blackmail Letter 1:26 › Consultation 1:46 £ The Black Hat 0:26 9 fi Planning The Escape 1:58 Main Title 1:22 ¢ DEUTSCH: The Maltese Falcon Struggle For The fl Escape 1:08 0 Arrival At House 2:06 Gun 0:56 ‡ Preparation 2:04 ! Uncle Arrives 0:59 ∞ Revenge 0:40 ° Eavesdropping 0:47 @ The Phone 1:48 § Death Of Dimitrios— · # The Letter— Finale 2:01 Gun Battle 2:43 Wheelbarrow 2:39 ‚ The Big Battle 4:47 $ Locust—End Title 2:24 a End Title: “What Am I Saying?” 0:42 8.557701

Recorded at Mosfilm Studio, Moscow, Russia, in September 2000 • Producer: Betta International Recording Engineers & Editors: Edvard Shakhnazarian, Vitaly Ivanov • Music Notes: Rudy Behlmer Design: Ron Hoares • Cover images: Heini Schneebeli / www.bridgeman.co.uk (falcon); Corbis (landscape)