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Jon Brion Tyler Bates

Jon Brion Tyler Bates

Volume 9, Number 3 Original Music Soundtracks for Movies and Television

Hey, ! PG. 28

The Music OF THE CHRIST MUSIC FOR JESUS— AND SATAN, TOO! The Bride REVISITED WAXMAN’S LANDMARK HORROR SHOW Robin Hood TIMES TWO KORNGOLD’S CLASSIC ON CD AND DVD The Future of FILM SCORING THREE , ONE GIANT NAME: Jon Briona Tyler Bates

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7 252 74 93704 2 $4.95 U.S. • $5.95 Canada

MARCH 2004 CONTENTS

DEPARTMENTS COVER STORY

2 Editorial 10 The Future of Film Scoring Doug Says So! We were entertained by the fact that three of today’s ris- ing film composers become one giant when 4 News you put their names together: +Brian Tyler+Tyler Gabriel’s Burn. Bates=Jon Brio/an Tyler Bates. So we interviewed them. 5 By Jeff Bond Round-up What’s on the way. 11 Memory Bars 5 Now Playing Jon Brion takes on Eternal Sunshine of the Spotless Mind. Movies and CDs in 16 Dead dawns again. release. 14 Journey Beyond Timeline 6 Pukas Brian Tyler scores a trio of new films. In Case of Emergency. 7 Upcoming Film 16 Dead Can Dance Assignments Tyler Bates tackles Dawn of the Dead. Who’s writing what for whom. FEATURES 8 Concerts Film music performed 18 For Christ’s Sake around the globe. Given the popularity that the boring and violent Passion of the Christ has enjoyed over the past couple months, we 9 Mail Bag thought it seemed an appropriate time to take a look at the White Shores. musical history of Jesus movies. By Kyle Renick 30 Score More reviews, including 21 What the Devil?! 18 Risen from the dead. Hidalgo, Monster, Gypsy, Without evil there could be no good, so it must be good and a box-set featuring to be evil sometimes. Take a look at this list of notable film some guy named Jerry. scores for movies about Satan. By Kyle Renick 45 Multimedia Review Welcome Back to 25 The Bride Revisited Sherwood! Too “cartoony,” or appropriately melodramatic—which- ever way you go, Franz Waxman’s score for The Bride of Frankenstein remains a score worthy of a closer look. 36 FSM Marketplace By Gabriel Miller-Phillips and Scott Essman

28 The RZA Makes His Own Breaks Hip-hop artist The RZA brings a new sound to film with his beats for Quentin Tarantino’s Kill Bill series. By John Allina 25 He belongs dead?

Film Score Monthly (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by Vineyard Haven LLC., 8503 Washington Blvd, Culver City, CA 90232. Periodicals postage paid at Culver City, CA and additional mailing offices. POSTMASTER: Send address changes to Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 MARCH 2004 EDITORIAL Doug Decrees Volume 8 • Number 9 Our esteemed writer tackles composer training or lack thereof.

his month’s FSM features interviews trying to run before they walk. If you haven’t EDITORIAL STAFF with Jon Brion, Brian Tyler, Tyler Bates composed much before, maybe a 100-piece Editor & Publisher Tand, three composers who, besides only symphony orchestra isn’t the place to start. The LUKAS KENDALL having four different names among them, have orchestrator will certainly dress up your ideas, Executive Editor two important qualities in common. One, each is and the players will do their best to breathe life JONATHAN Z. KAPLAN potentially poised to head up the next big wave into what you’ve written, but they’re disguis- Managing Editor of film music; and two, none comes from a for- ing the music, not changing it. Is that what you TIM CURRAN mal musical training. intended? Design Director And there’s this month’s can of worms: Brian Tyler recently gave an interview where JOE SIKORYAK Do composers need to have a he said that he performs every part of his Supervising Content Consultant training in order to write effective symphonic compositions to make sure that they’re play- AL KAPLAN music? History proves pretty conclusively, no. able. That’s a great impulse, but does it work? Editor-at-Large JEFF BOND Some of the best composers, both in the film I’m going to assume that Mr. Tyler doesn’t play Copyeditor and concert worlds, have avoided the hal- every known instrument. And yet he can’t pos- STEVE GILMARTIN lowed halls of conservatories. However, if I had sibly mean that he checks for playability at his Contributing Writers to make a request of composers who haven’t keyboard. A is not a violin. So, rather than DOUG ADAMS come through the symphonic world—and trying to assert a musical training by sheer force JOHN ALLINA your impressive CD collection doesn’t count of will, why not go to that bass flute player and STEPHEN B. ARMSTRONG as training, guys!—it would be this: Write what ask them to read through the part and see if the SCOTT ESSMAN you know. came out of the pop leaps work. Get the harp player to check your JOHN FITZPATRICK world, so he stepped into the film world lean- pedaling for you. Don’t allow a bank of synths WILLIAM FLANIGAN ing on the same sorts of cabaret-cum-sideshow and sequences to assure you what your human LUKE GOLJAN ideas he played with in , then players will be comfortable playing. At least one MARK GRIFFIN STEVEN A. KENNEDY worked his way up to the big symphonic stuff. high-profile orchestral score from summer 2003 DARREN MACDONALD There are a good 10 scores between Pee-wee (which wasn’t written by any of this month’s GABRIEL MILLER-PHILLIPS and Batman. James Newton Howard, who actu- interviewees) contained figures that were so KYLE RENICK ally did study music at college, then entered unplayable by brass instruments that its messi- CARY WONG the professional world via pop and rock, began ness degraded the whole project. with the same synth-heavy music he’d been When Igor Stravinsky was asked to write BUSINESS STAFF perfecting in the studio. Even composers like his Violin Concerto, he almost passed up the and George Gershwin, who opportunity because he felt he didn’t know the Editorial & Subscriptions had no formal compositional training (Bernstein instrument well enough. This was in the 1930s, 8503 Washington Blvd studied music, but never composition specifi- after many of his famous works had already Culver City, CA 90232 PH. 310-253-9595 cally), began with works that they themselves become staples. It was only after he was assured FAX 310-253-9588 could play on piano, then branched out into that the violinist for whom the work was being E-MAIL [email protected] the symphonic world. And let’s be honest, these written would offer advice that he agreed. In Sales & Marketing Manager composers are more interesting for the foreign this issue of FSM, Tyler sings the praises of BOB HEBERT elements they brought into the classical world: Korngold and Goldsmith, and recounts how he 8503 Washington Blvd circus tunes, synths, rhythms, Tin Pan Alley hopes to follow in their footsteps. That’s won- harmonies. It’s a richer musical world for their derful; it’s great for the art form and for the fans. Culver City, CA 90232 diverse histories. But Korngold and Goldsmith sound like they do PH. 323-962-6077 Back in FSM Vol. 5, No. 7., , because of their methodology—a studious and FAX 310-253-9588 who, yes, comes from a classical background, hard-earned understanding of their orchestral had this to say, “So much of music now is forces. Music conservatories are only one path Supervising Mail Order Handler MAILMAN AL improvised and written at the keyboard that to this knowledge, but no matter how you get Our Website orchestrally it’s pretty dull. There’s a lot of there, it’s an important journey. Is updated five times weekly! chords. I hear a lot of guys, really well-known Point your browser at: guys, and I listen to their scores and I think ‘Oh WWW.FILMSCOREMONTHLY.COM yeah—right hand, left hand, right hand, right © 2003 Vineyard Haven LLC. hand’—they’re just pads with a few interesting Printed in the U.S.A. sounds thrown in.” That’s heartbreaking to read. Doug Adams Again, I think the issue is that composers are Contributing Writer

MARCH 2004 2 FILM SCORE MONTHLY EDITORIAL Get fast, friendly, expert service www.intrada.com $14.99 $15.99 $19.99

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The Intrada Special Collection Volume 14 Narrow Margin By Bruce Broughton Available May 25 This 1990 thriller (starring Gene Hackman and Anne Archer) gave Bruce Broughton the opportunity to write one of the most $19.99 $19.99 $21.99 exciting fi lm scores ever. This CD presents the entire unadulterated score in picture order, and includes a bonus suite featuring alternate, unused versions of the exciting action set pieces just as the composer’s intended—in stereo. $19.99 • This volume is limited to 1500 copies $19.99 $19.99 $21.99

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MARCH 2004 2 FILM SCORE MONTHLY Concerts • Now Playing Record Label Round-Up The Shopping List Upcoming Film Assignments “Pukas” • On the Air

NEWSto ponder: Yared’s score took The suite (most likely from his over a year to complete; Horner Academy Award-nominated reportedly has two weeks. Becket, also restored earlier this For Yared’s complete website entry, visit year) will be part of a Symphonic his News page at www.gabrielyared.com. Cinema concert in the composer’s home town next April. Everything’s Coming U.S. Not Up Rosenthal Invited to BATTLE arch was a good month Mfor composer Laurence he extras-filled DVD release Rosenthal: First, we at Film Score TThe Battle of Britain—Special Monthly released his score to the Logan’s Run television series. Edition is slated for a May 24 Better yet, Angel Records release, but not in the U.S. released an original cast album Farewells According to FSM’s Laserphile of his score to Sherry!, a 1967 Samuel Matlovsky 1922–2004 Andy Dursin, “There are no Broadway musical based on Samuel Matlovsky died on February plans to release this in the U.S. 17 of natural causes in Haverhill, Kaufman and Hart’s The Man Who right now, especially not since . He was 82. For the Came to Dinner. This was all the MGM issued this only last year theater, he conducted the revival more noteworthy since the score of Porgy and Bess and several off- on DVD in the States (with no to the musical was feared lost for Broadway productions of Brecht extras at all).” However, those 36 years—it was only unearthed during the 1950s. His film scores who do snag themselves a Gabriel’s Burn at the Library of Congress in 2003 included Curtis Harrington’s twisty copy will be pleased to hear Sir The recording is performed by an thriller Games and Gentle Giant, William Walton’s original score, which spawned the TV series Gentle abriel Yared’s score for Troy all-star cast—Nathan Lane, Carol which, in the final film, was Ben. He also scored the Star Trek has been rejected, and the Burnett, Bernadette Peters, Tommy barely heard. Until now, that is. G episode “I Mudd” and conducted Oscar-winning composer is letting Tune and Mike Myers—and fea- ’s score for The The producers rejected everyone know that he’s none tures lyrics by James Lipton. Yes, Illustrated Man. He is survived by two Walton’s score for the 1969 too happy about it. After he had that’s the same James Lipton bet- children and two siblings. production and hired Ron worked on the score for over a ter known as the much parodied Goodwin to write a new score. year—and completed nearly all host of Inside the Actors Studio. Arthur Kempel 1945–2004 The only piece of Walton’s Arthur Kempel died in the recording—the producers music used in its entirety in the on March 3 of stomach cancer. He and director Wolfgang Petersen film was the famous “Battle in was 58. He studied at the Berklee decided to hire after School of Music and worked as an the Air” sequence. The record- a focus group report didn’t meet arranger for such performers as ing of Walton’s score was then the filmmakers’ expectations. The Bette Midler and Cher. His feature lost for many years until the story is, unfortunately, typical of scores included the Jean-Claude assistant music editor Timothy today’s filmmaking environment. Van Damme thriller Double Impact Gee, one of the last surviving and David Twohy’s sci-fi thriller The Yared’s response, however, is not. crew members, decided to track Arrival (both released on CD by He has written a tell-all website it down. Miraculously, the score, Silva), and he worked extensively entry— “The Score of Troy: A in television, scoring episodes of made up from three reels, was Mystery Unveiled”—which chron- Falcon Crest, Remington Steele and recovered in recording engi- icles the entire Troy music debacle, Diagnosis Murder, among others. neer Eric Tomlinson’s damp Laurence Rosenthal in the ’70s. and then some. He scored the TV movie version of garage where it had been stored As for which score will be bet- Finally, it has been announced Riders of the Purple Sage (starring until 1990. It has since been Ed Harris), and was Emmy-nomi- ter, it may be hard to tell since that Rosenthal will premiere restored, remastered and placed nated for his score to A Fire in the Yared’s rejected score won’t see a suite of his film music next Dark. He is survived by his wife, in the film as Walton originally the light of day anytime soon. year at the Oakland East Bay Deborah. intended. Bros. Artwork ©2004 All Warner Rights Reserved

But here’s a noteworthy thought Symphony in Northern . (continued on page 48) Troy

MARCH 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 MARCH 2004 RECORD LABEL ROUND-UP Newly Announced Projects and Incoming Albums Concerts • Now Playing Record Label Round-Up The Shopping List Upcoming Film Assignments “Pukas” • On the Air

NEWS Chandos CD premiere. Ben-Hur, El Cid, King Due imminently is Shostakovich: of Kings are taken from European Film Music Vol. 2, featuring suites stereo recordings; the Spellbound from The Golden Mountains, The concerto is from a Hollywood Gadfly and The Volochayev Days. Bowl Symphony Orchestra perfor- Vassily Sinaisky conducts the BBC mance under Rózsa with pianist Philharmonic Orchestra. Leonard Pennario. Making its CD debut is a three-movement suite Cinesoundz drawn from stereo LP re-record- Forthcoming are reissues of film ing of Quo Vadis? music for the Italian animated classics La Linea and Signor Rossi Disques Cinémusique 1M1 Aleph (Franco Godi). Forthcoming is A Walk With Love Forthcoming is a special-edition Due June 8 from Lalo Schifrin’s www.cinesoundz.com; [email protected] and Death (Georges Delerue). release of Bliss (Peter Best) and The label, Dirty Harry. www.disquescinemusique.com Naked Country (Smeaton). www.alephrecords.com DRG EMI [email protected] • www.1m1.com.au Brigham Young University Due imminently is Rózsa Conducts Due May 18 are The Good, the Bad Still coming is Battle Cry, The His Epic Film Scores, a reissue of and the Ugly (Ennio Morricone), Allscore Fountainhead, Johnny Belinda and The music from five classic Miklós featuring 40 minutes of score Due April 26, Airport (Miss Claudia Three Musketeers (all Max Steiner). Rózsa scores. It’s a hybrid of two never released in the U.S., and a and Pornorama; ASM 020), which tel.: 540-635-2575; earlier CDs (Angel 65993 and EMI 10th-anniversary edition of The includes a lounge version of www.screenarchives.com CDM 63735, themselves drawn Piano (Michael Nyman). Trovaioli’s “Il Profeta.” www.allscore.de from even earlier LPs) plus one (continued on next page)

NOW PLAYING: Films and scores in current release The Alamo CARTER BURWELL Hollywood Bon Voyage GABRIEL YARED EastWest (import) The Butterfly (aka Le Papillon) NICOLAS ERRERA ULM (import) Connie and Carla RANDY EDELMAN Sony* Dawn of the Dead TYLER BATES n/a Ella Enchanted SHAUN DAVEY Hollywood* Eternal Sunshine of the Spotless Mind JON BRION Hollywood The Girl Next Door PAUL HASLINGER Lakeshore** Godsend BRIAN TYLER Varèse Sarabande Hellboy MARCO BELTRAMI Varèse Sarabande Home on the Range ALAN MENKEN Disney** I’m Not Scared EZIO BOSSO RCA Intermission JOHN MURPHY EMI* Jersey Girl JAMES VENABLE n/a Johnson Family Vacation Def Jam* Kill Bill Vol. 2 The RZA, VARIOUS Maverick** Mayor of the Sunset Strip ANTHONY MARINELLI Shout* Ned Kelly Decca (import) Never Die Alone GEORGE DUKE, DAMON BLACKMON Warner Bros. * The & Me JENNIE MUSKETT Hollywood* Scooby-Doo 2: Monsters Unleashed Warner Bros.* Taking Lives PHILIP GLASS n/a The Whole Ten Yards n/a Walking Tall GRAEME REVELL n/a *Song compilation with less than 10% underscore; **Mix of songs and score

MARCH 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 MARCH 2004 RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS Who’s Scoring What for Whom? FSM Nascimbene). ies), is already sold out. Pacific Time Entertainment The cold war gets hot on our www.hexacord-america.com, www.intrada.com Due imminently is Silver Age release: ’s [email protected] Billibong (Dorian Cheah). The Shoes of the Fisherman (1968). La-La Land www.pactimeco.com This 2-CD set includes the com- Hollywood Available now are Stealing Time plete score, source music and Available now is The Alamo (Joey Newman), The Best of Lone Percepto the album re-recordings, plus (Carter Burwell). Wolf and Cub: The Baby Cart Series Forthcoming are Vic Mizzy’s The demo tracks from Ice Station Zebra (’70s Japanese samurai saga com- Reluctant Astronaut and David and the LP re-recording from Intrada pilation). Forthcoming is Laws of Newman’s complete score for The Where Eagles Dare! Meanwhile, a Due May 25 is Special Collection Attraction (Ed Shearmur). Brave Little Toaster (1986). Due later cool blonde (in the person of Vol. 14, Narrow Margin (Bruce www.lalalandrecords.com this year is Vic Mizzy—Suites & Grace Kelly) learns to fence in Broughton; 1,500 copies), which Themes, Vol. 2. Bronislau Kaper’s The Swan. This features the score as Broughton Marco Polo www.percepto.com Golden Age release incorporates intended, before director Peter Due imminently is Max Steiner’s the original LP recording and Hyams hacked it to bits. Intrada The Adventures of Mark Twain, Prometheus unreleased music from the film. recently announced its Signature which will also be released Due imminently is an expanded Next month: Three scores on two Editions releases, which “spot- in 5.1 sound on DVD Audio. version of Basic Instinct (Jerry discs, featuring a quick-draw, light music by first-rate com- www.hnh.com Goldsmith). Slated for mid-June double trouble and a wet bear. posers scoring select projects in is an expanded edition of Cherry between more commercial fare. Maverick 2000, coupled with No Man’s Land GDM/Hexachord Each edition will be pressed Available now is Kill Bill Vol. 2, (both Basil Poledouris). Due imminently is Professor in limited quantities ranging which features Morricone cues Zamori’s restoration of Francesco from 500 to 1000 units...” Maybe from Il Tramonto and A Silhouette Screen Archives Entertainment De Masi’s score to the Folco too limited, in fact; the first of Doom, a cue from Luis Bacalov Forthcoming is Keys of the Kingdom Quilici film India. Also in prepa- release in the series, The Tower from Summertime Killer, and music (continued on page 8) ration is Footprints in Jazz (Mario (Christopher Young; 1,000 cop- from various artists.

MARCH 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 MARCH 2004 UPCOMING ASSIGNMENTS Who’s Scoring What for Whom?

A-B H John Ottman My Brother’s Keeper, Cellular, .Conan: Crown of Iron. The Stepford Wives (dir. Reinhold Heil & Johnny Klimek Iron-Jawed Imaginary Heroes (main theme). Rachel Portman Because of Winn Dixie, Frank Oz, w/ Nicole Kidman). Angels, Deck Dogz. Basil Poledouris Under Siege 3, King The Manchurian Candidate. Luis Bacalov The Dust Factory, Bride of James Horner (w/ Russell John Powell Robots, Happy Feet, Mister the Sea. Crowe, dir. Ron Howard), The Da Vinci 3000, Bourne Supremacy. Angelo Badalamenti Dark Water. Code (dir. Ron Howard), The Forgotten, Lesley Barber Being Julia, We Don’t Live Bobby Jones—Stroke of Genius. The Hot Sheet R Here Anymore (w/ Naomi Watts and James Newton Howard The Village (dir. M. John Altman Shall We Dance? Trevor Rabin The Great Raid, White on Peter Krause). Night Shyamalan). David Arnold Bond 21. White. Steve Bartek Carolina. Klaus Badelt Wimbledon. Graeme Revell The Chronicles of Riddick Christophe Beck Cinderella Story, Little I-J-K Teddy Castellucci White Chicks. (w/ Vin Diesel), Catwoman (w/ Halle Black Book, Without a Paddle. Mark Isham Twisted (fomerly The Blackout Alexandre Desplat Hostage. Berry and Sharon Stone). Marco Beltrami Cursed. Murders; dir. Philip Kaufman). New France (dir. Jean William Ross Ladder 49. Jon Brion I Heart Huckabee’s. Adrian Johnston If Only. Beaudin). BT Underclassman. Jan A.P. Kaczmarek J. M. Barrie’s Randy Edelman Stealth. S-T Carter Burwell Kinsey. Neverland (w/ Johnny Depp, Dustin Lisa Gerrard Constantine. Lalo Schifrin The Bridge of San Luis Rey Hoffman). Philip Glass Partition. (w/ Robert De Niro, Kathy Bates). C Rolfe Kent Sideways (dir. Alexander Harry Gregson-Williams Shrek 2. Marc Shaiman Team America. Sean Callery Nine Lives (w/ Wesley Payne), Mean Girls. Rupert Gregson-Williams Garfield: Michael G. Shapiro Home Room. Snipes). David Kitay Harold and Kumar Go to White The Movie. Ed Shearmur Sky Captain and the World George S. Clinton Mortal Kombat 3: The Castle, Elvis Has Left the Building. James Horner Troy (replacing of Tomorrow, The Skeleton Key (dir. Iain Domination, New York Minute, Dirty Harald Kloser The Day After Tomorrow (w/ Gabriel Yared). Softley). Shame (dir. John Waters). Dennis Quaid; prod. Roland Emmerich). Steve Horowitz Super Size Me. Howard Shore King Kong (dir. Peter James Newton Howard The Jackson), The Aviator (dir. Martn D-E L Interpreter (dir. , Scorsese). Mychael Danna Vanity Fair. Chris Lennertz Tortilla Heaven (w/ George w/ N. Kidman, S. Penn). The Polar Express. John Debney Raising Helen, Princess Lopez). Adrian Johnston Piccadilly Jim. BC Smith Coyote Waits, Thief of Time. Diaries 2. Deborah Lurie Whirlygirl, My Name Is Trevor Jones Around the World in Semih Tareen Continuing Education. Thomas DeRenzo The Break-Up Artist, The Modesty. Eighty Days. Stephen James Taylor Teacher’s Pet. Control Room. Tuomas Kantelinen Mindhunters. Brian Tyler The Big Empty (starring Jon Alexandre Desplat Hostage. M-N Harald Kloser Alien vs. Predator. Favreau), Paparazzi (replacing Mark Randy Edelman Connie and Carla, Messy (Doug DeAngelis and Kevin Penka Kouneva The Connecticut Isham due to scheduling conflict). Surviving Christmas. Haskins) Employee of the Month. Kid. Danny Elfman Spider-Man 2, Charlie and Richard G. Mitchell A Good Woman (w/ Soul Plane. V-W the Chocolate Factory (dir. ). Helen Hunt, Tom Wilkinson). Joel McNeely Stateside. Vangelis Alexander (dir. Oliver Stone). John Morgan/William Stromberg Starship Marcus Miller Breakin’ All the James Venable Ugly American. F-G Troopers 2: Hero of the Federation. Rules. Stephen Warbeck Two Brothers. Claude Foisy Try to Remember (w/ Mark Mothersbaugh Envy (dir. Barry Mark Mothersbaugh Lords of Star Wars: Episode III, Harry Gabrielle Anwar; TV), Rock the Cradle Levinson, w/ Ben Stiller and Jack Dogtown. Potter and the Prisoner of Azkaban, The (w/ Jennifer Beals; TV), White Noise (w/ Black), The Life Aquatic (dir. Wes Adam Norden Direct Action, Terminal (dir. Spielberg, w/ Tom Hanks). Michael Keaton). Anderson). Defender. The Incredibles. John Murphy The Perfect Score. Theodore Shapiro Dodgeball: A True Y-Z Vincent Gillioz Chupacabra. Lemony Snicket’s A Underdog Story. Christopher Young Scenes of the Crime Philip Glass Taking Lives, Undertow, Secret Series of Unfortunate Events. David Shire The Tollbooth. (w/ Jeff Bridges), Madison (themes Window. Christopher Nickel Savage Island. Brian Tyler Sahara. only), Unfinished Life (dir. Lasse Jerry Goldsmith The Game of Their Lives John Nordstrom Black Cloud (dir. Rick John Van Tongeren Van Helsing— Hallström). (dir. David Anspaugh), Empire Falls (TV). Schroder). The London Assignment (DVD Aaron Zigman The Notebook. Adam Gorgoni 95 Miles to Go (comedy/ Julian Nott Wallace & Gromit Movie: The animation). Hans Zimmer King Arthur (prod. Jerry docu.; w/ Ray Romano). Curse of the Wererabbit. Stephen Warbeck The Oyster Bruckheimer), Collateral, Thunderbirds Harry Gregson-Williams Bridget Jones: The Michael Nyman The Actors, Libertine (w/ Farmer. (dir. Jonathan Frakes). Edge of Reason (w/ Renée Zellweger), Johnny Depp). Gabriel Yared Shall We Dance. Madagascar (DreamWorks, animated). Hans Zimmer Spanglish, Shark Tale. Get Listed! O-P Send info to [email protected]

MARCH 2004 6 FILM SCORE MONTHLY FILM SCORE MONTHLY 7 MARCH 2004 RECORD LABEL ROUND-UP CONCERTS Film Music Played Live Around the Globe

Lord of the Rings Symphony in Three Minnesota Pennsylvania Movements (Howard Shore), con- July 11, Minneapolis, May 8, Gwynedd, North MAIL BAG ducted by John Mauceri, Sept. 21. Minnesota S.O., Giancarlo Penn S.O.; The Godfather (Nino www.hollywoodbowl.com Guerrero cond.; Sommerfest Rota), Shakespeare in Love (Stephen Family Concert, selections include Warbeck), Lawrence of Arabia Jaws, Indiana Jones series, Schindler’s (Maurice Jarre). Planning Ahead List, Star Wars (Williams); Suite from The Lord of the Rings (Shore); he San Francisco Symphony, Suite from Pirates of the Caribbean International Tunder the direction of Michael (Badelt); and classical selections The Lion in Winter, Tilson Thomas, will open its 2004/ used in films. For ticket info, call Germany 2005 season Sept. 11 with a suite 800-292-4141. May 9, 12, Munich S.O.; selec- The Concert in Spring of ’s music tions from The Godfather (Rota). from Vertigo. The performance will Nevada May 26, Babelsberg, Deutsches he Collegiate Chorale and also include Claude Debussy’s May 8, Reno Philharmonic, Film Orchestra; Sunset Boulevard Tthe Orchestra of St. Luke’s La Mer, Aaron Copland’s Danzón The Sons of Katie Elder (Bernstein), (Franz Waxman), Liliom (Waxman) (Robert Bass, cond.) will be per- Cubano and George Gershwin’s An Rawhide (Tiomkin), How the West world premiere. forming a newly reconstructed American in Paris. Was Won (A. Newman). version of John Barry’s Academy Visit www.sfsymphony.org for more details. Switzerland Award-winning score for The Ohio May 2, Zurich, Jugend Lion in Winter, at Carnegie Hall on lso later this year, the May 18, Mansfield S.O.; The Orchestrer; Vertigo (Herrmann), May 25. (The original score was AHouston Grand Opera will Natural (R. Newman). Cutthroat Island (Debney), “Motion lost in a warehouse fire in the present a revival performance of Picture Medley” (Goldsmith). FSM 1970s.) The concert in celebration Rachel Portman’s opera The Little of Barry’s recent 70th birthday Prince, Dec. 3, 5, 9, 15, 17, and 19 at will be performed synchronized the Wortham Theater Center in The 2-CD set’s release date coin- to excerpts from the motion pic- Houston. For an in-depth review Record Label Round-Up cided with what would have been ture. A pre-concert interview on of the opera’s 2003 premiere run, (continued from page 6) the composer’s 80th birthday; it the Carnegie stage will include check out FSM Vol. 8, No. 6. also commemorated the issuing Barry, along with Lion in Winter (A. Newman, 2-CD set), Foxes of of the new Mancini U.S. postal stars Anthony Hopkins and Harrow (David Buttolph) and Son of stamp. Also available now is Timothy Dalton. Also featured Fury (Newman). Godsend (Brian Tyler). Due May 11: on the night’s bill will be music www.screenarchives.com The Lion in Winter (Richard Hartley; and film excerpts from Sergei Alabama Showtime); Last Tango in Paris (Gato Prokofiev’s Ivan the Terrible. April 30, May 1, Alabama S.O.; Silva Screen Barbieri; re-release); Rancho Deluxe Much Ado About Nothing (Patrick Due imminently is the Essential (songs by Jimmy Buffett; re- Doyle). Dimitri Tiomkin 4-CD set (see FSM release). Due May 18: The Day After “Where Do You Spend Vol. 8, No. 9, for a complete track Tomorrow (Harald Kloser). Indiana listing). www.silvascreen.com www.varesesarabande.com Your Summers?!” May 15, Northwest Indiana S.O.; Spirit of St. Louis (Waxman). Sony Walt Disney he Hollywood Bowl presents Due May 18 are A Star Is Born Available now is Home on the Range Tits annual summer series of Massachusetts (1954, w/ Judy Garland; Harold (Alan Menken; score and songs, concerts under the stars, this year May 22, 24, Pops S.O., Arlen, Johnny Greene, etc.), West featuring Bonnie Raitt, k.d. lang, featuring a plethora of film music. John Williams cond.; “Film Night Side Story (L. Bernstein) and The Tim McGraw). Performances include: “Walt at the Pops.” Chase and Dances With Wolves (both Disney: 75 Years of Music,” Aug. May 19, 21, Boston Pops S.O.; John Barry). Please note: 20 and 21; “Olympic Fever,” with “Hooray for Hollywood.” We endeavor to stay up-to-date John Williams his Aug. 14, Tanglewood, John Varèse Sarabande with every company’s plans, but Olympic themes as well as music Williams cond.; “Mancini & Available now is the long-awaited sometimes bad things happen for film, Aug. 27 and 28; “The Big Herrmann.” world premiere release of Henry to good labels. Please bear with Picture: The Films of M-G-M,” Mancini’s score for the popular us if albums are not released as Sept. 5; and last but not least, The 1980s miniseries The Thorn Birds. announced. FSM

MARCH 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 MARCH 2004 RECORD LABEL ROUND-UP

Rants, Raves & Responses to Readers

MAILWhite Shores adds to the pleasure. BAGconcert, when I told him I had scores? (I’m thinking of the third egarding your Best of 2003 Daredevil—Graeme Revell’s score read Doug Adams’ interview Harry Potter, which should be out Rcolumns, perhaps the most is stunning: a pulsating hero in FSM (Vol. 8, No. 10). Shore soon enough. That’ll make it a poignant and at the same time theme, a wonderful love theme smiled—he, for one, seems to love trilogy, and the first two parts most joyous inclusion was Jon for Elektra, plus a helluva lot of what you are writing! He also used a great number of leitmo- and Al Kaplan’s obviously pain- great music. reminded me about Mr. Adams’ tifs—could be interesting!). ful, deeply felt tribute to Michael League of Extraordinary Gentlemen— book and told me he had a good Christian Iorio-Morin Kamen. The one example of his You haven’t bothered to listen to feeling about it. Thought you’d Montreal, Quebec humor they cite, “The Gift” from this? Are you serious? A work of like to know! The Dead Zone, was only a fraction sweeping grandeur that consider- Change of topic. I would like We’re not legally allowed to reis- of the many musical jokes this ably enhanced the movie itself. to know if you are going to reis- sue Towering Inferno and Poseidon Adventure. As for Menken, he hasn’t talented, easygoing man would I honestly think the writers of sue Williams’ Towering Inferno and stopped working with Disney; his mov- inject into his scores—often, as FSM have lost the plot. And where Paper Chase/The Poseidon Adventure. ies just stopped making enough money you suggest, for his own amuse- is Lukas Kendall in all of this? These were already sold out to keep churning them out. Maybe ment rather than anything else. Ed Reilly when I subscribed and I just Home on the Range will change things, Other examples that stick in my Dublin, Ireland keep crying each time I pass the but that’s really not a musical on the mind are his use of Beethoven’s “Marketplace”! same scale. We’ll have to see about Moonlight Sonata as Baron The Kaplans respond: Finally! A let- I would also like to know Harry Potter. It’s tough to think of it in terms of a trilogy when you know that Munchausen et al. climb down ter about FSM’s “Best of” columns! what happened to Alan Menken. All the others went up on FSM’s mes- the third film isn’t even close to being from the moon in the film of How come the composer of such sage board! Ed, no need to be upset. the last. the same name (well, when you incredible cartoon scores as FSM’s writers have indeed lost the plot. Beauty add The Adventures of in front of it), They’ve lost the plot to the point where and the Beast, Pocahontas, Hunchback Khartoum countless quotes of “Singin’ in the they don’t even know what it means of Notre Dame and Hercules stopped s a member of your Charter Rain” and “Winter Wonderland” to lose the plot. And Lukas Kendall working with Disney? What hap- AClub, I never know what in Die Hard and, my personal passionately hates all three of these pened?! surprise awaits when your car- favorite, Miss Gulch’s theme from scores. Speaking of Lukas Kendall, the Finally, I ordered back issues of ton arrives every month in my other day, someone working for the cre- the Wizard of Oz when mailbox. I was thrilled to received ator of an enormously popular (current) uses a bicycle against the ter- Prisoner of Zenda, as almost any- television show called FSM looking to rorists in the baggage handling get a copy of Arthur B. Rubenstein’s In thing by (or scene from the first sequel, Die the Line of Fire (praised in Jon and Al’s Miklós Rózsa) is cause for cel- Harder. I only met Michael Kamen “Best of” column). What does this have ebration. The real surprise was a couple of times, but each time I to do with Lukas, you ask? Well, he was Khartoum, along with Mosquito did, my day felt better. Listening, the person who answered the phone. Squadron. I have an LP copy of Lukas, instead of being excited that as I just have, to the album of Cromwell (mainly dialogue) and someone like this guy obviously agreed have always prized my Band of Brothers, I feel your same with some of the things we were saying, Khartoum dichotomy—I feel sad at his loss, took the opportunity to warn him that mono LP. Until now I only had but joyous at the legacy he has our taste was “weird” and that Arthur a CD recording from England gifted me with. B. Rubenstein’s music would sound like (Artemis). This is a wonderful Gary Kester Beverly Hills Cop. Arthur...all we can say score and thanks so much for Hartlepool, Teesside, UK is, we tried. finally doing it justice (without narration) and adding another Super, Indeed Howard and Alan FSM and found your analysis of entire soundtrack. I hope readers ell I finally subscribed to id you know that you had the Star Wars scores. It was awe- will try this one out, along with WFilm Score, but after reading Damong your readers a 16- some! I have been studying music Where Eagles Dare, another wonder- the “Best of the Worst” (Vol. 9, No. year old French Canadian? Yep, I since the age of six, and I’ve had ful score. Great job from the liner 1), I wonder why. You took a giant live in Montreal and on February lessons in piano, theory, literature, notes to the packaging to the dump on three superhero scores I 23, I went to the North American history of music, harmony, coun- recording. You give new mean- rate very highly indeed. premiere of The Lord of the Rings terpoint and orchestration...and to ing to the phrase, “If it’s worth X2: X-Men United—a fabulous Symphony, conducted by Howard see how all these principles where doing, it’s worth doing right.” I am score charged with excitement Shore himself. I even had the so perfectly applied in Williams’ proud to support your wonderful and emotion. If it resembles other chance to talk to him during the scores is really motivating. Will releases in my small way. scores at times, so what? This only autograph session prior to the you do the same thing with other (continued on page 48)

MARCH 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 MARCH 2004 The Future of Film Scoring

Jon B r i oa n Tyler Bates

Senior Editor Jeff Bond discusses film music with three similarly named young men.

MARCH 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 MARCH 2004 Jon Brion finds his Eternal Sunshine of the Memory Bars Spotless Mind. Just as serial killers were the “It Girl” of movie since things are jumping in and out of his head, since I know on first viewing it’s hard to even know specifically what’s going plots in the ’90s, memory loss looks like the favor- on, what I wanted to do was make things that played to what the emotional arc of the story was. So let’s say a whole four- or ite plot device of the new Millennium, serving as five-minute segment of the movie, rather than playing to what was going on in any specific scene, plays to what was sad about a launch pad for thrillers from Memento to Paycheck. the story arc at that point, disregarding the specific edits and whether time was going forwards or backwards, and that was Director Michel Gondry and screenwriter Charlie something that Michel Gondry was very pleased with.” Brion says that his own ideas about bringing musical struc- Kaufman (Adaptation, Being John Malkovich) combine ture to the film’s cues actually helped Gondry to solidify some of his own ideas for the picture. “He had been trying to give it more art-film and thriller elements for the provocative cohesiveness and as I seemingly started to disregard certain spe- cifics, it helped ground the thing a little bit. There are a lot of fast and haunting Eternal Sunshine of the Spotless Mind, edits, a lot of intellectual stuff going on, so it was kind of nice especially in the back third of the movie to have the stuff that a labyrinthine love story about a hapless man was just simply very song-like structures being played by a not- too-large string section with very minimal voicings. It would be (Jim Carrey) who discovers his ex-girlfriend (Kate two and three-part string things over a single instrument. That’s actually a lot of the stuff that made me happiest and on paper Winslet) has erased him from her memory. In that’s not necessarily what you should do, but it definitely made Michel happy, so that makes me happy.” a fit of spite he contacts the same Eternal Sunshine begins, without providing a clue as to what the movie will eventually evolve company she went to and has the into, by playing out as a gritty, forlorn love story as Carrey’s character Joel Barish encounters procedure done to himself to wipe Winslet’s Clementine Kruczynski on a beach but is almost too shy even to make eye contact her from his memory—but halfway with her. Clementine is the opposite, however, and soon begins engaging Joel in an aggravat- through the process he changes his ing romantic conversation on a commuter train. Brion’s scoring of this first, pivotal encounter is mind and begins a desperate battle wildly active, almost a third voice in the conver- sation. But the composer says that his approach inside his own head as he attempts to the scene was born more of frustration than inspiration. “I desperately wanted it to be with- to hold on to a few precious shreds out music,” he says. “That was my approach and I argued that the first third of the movie should of his past. not have music. I didn’t want it to have music until he gets the card and finds out that she has erased her from Scoring such an iconoclastic venture might have seemed his memory and that would be the first music cue. But that was daunting for a film composer, but Jon Brion’s résumé includes just not something they were going for, and I kept repeatedly nothing but unconventional movies, in particular collaborations arguing for that and trying to make it clear that I was not trying with filmmaker that include Hard Eight, to do less work and that I would do anything they wanted. But , and Punch-Drunk Love. Brion will tackle I felt it would make for a much slower and nicer build. And I David O. Russell’s next movie I Heart Huckabee’s, and he expects to think all the parties involved were just very concerned about work with Anderson again sometime next year on the director’s having that feeling of the movie already being in motion from fifth film. But even for Brion, Eternal Sunshine represented a daunt- the top. It was an odd thing to even go at, and eventually I just ing challenge as the film’s circular story weaves in and outside took the approach—which made Charlie Kaufman happy—that the perspective and memory of Carrey’s character. “Time’s going Kate Winslet’s character would not let the conversation die the forward and backward simultaneously and I think especially on natural death the conversation would have, [that] she would sit first viewing it’s very difficult to determine where it’s going,” there and go at Jim Carrey again; I sort of followed through on Brion says. “The main thing I wanted to bring to the movie was, that.”

FILM SCORE MONTHLY 11 MARCH 2004 The Unlocked Picture not only trying to reshape cinema, but if it’s the main dramatic art From Brion’s point of view, the constantly evolving and shifting form of our time, it’s obvious he’s trying to change the language of memory landscape depicted as the Carrey character’s perspective isn’t how we do these things, and that’s very attractive and makes for a that dissimilar from the current environment facing movie composers. great work environment. I’m happy to be challenged, and usually “Because of the Avid [digital editing workstation], part of the nature of people like that are happy to be challenged.” film scoring has been neutered,” he says. “After I finished the mixes of While the composer may deride Avid technology for impersonal- the music there were scenes changed on the mixing stage and there izing the film editing process, he admits his own methodology takes were pieces of music moved around, and that’s the nature of the busi- full advantage of solutions that range from cutting-edge technology to ness now. Rarely when you see a movie has it been the same movie simplicity itself. “It’s a bit of everything,” he says. “It’s mostly software- the composer saw, and everybody I talk to has the same experience. based because it’s fastest to just be at the screen and have my hands I heard a story about a very famous old-school film composer going on a keyboard, and that’s where most of the satisfying work gets done. to Abbey Road and playing his score and walking up the stairs to the But it can be anything, from scraps of paper to note pads, and the famous control room and the director and editor were there, and he conceptual stuff carries as much weight as any individual notes do, and often more.”

Seeing the Unseen The ability to improvise and make changes on the fly was essen- tial to Brion while working on Eternal Sunshine, not only because of the film’s changing editing scheme but also to give him flexibility in composing to sequences with unfinished visual effects. Eternal Sunshine’s bizarre effects include characters with rearranged or even blank facial features, rows of books disappearing from bookshelves, rooms disintegrating and falling from the sky. “Many of the effects weren’t in it when I was working on it,” Brion says. “You might have faces blanked out and they’d say, ‘Well, there’s going to be a thing here.’ I didn’t see the finished

BEDTIME GOES BONZO: Kate Winslet and Jim Carrey in Eternal Sunshine. played his first batch of cues and sent the orchestra on break and said, ‘What do you think?’ And they all said ‘It’s great, it’s amazing, we’re thrilled, although it’s not going to work with this scene anymore.’ It turns out they had rented an Avid at their hotel when they had flown over to London to do the session. That’s the nature of the biz now. The old scourge was temp scores and the new scourge is too many options late in the game. So I don’t know that it’s actually possible for the full art of film scoring to really exist in the way it did because there’s BRAIN DAMAGE: Mark Ruffalo and Elijah Wood. no such thing as locked picture anymore.” Brion says he manages to avoid as much of the downside of com- mercial moviemaking as he can, and he does so by sticking with col- version of what was going on with the faces and a lot laborators who work outside of the mainstream. “I really didn’t want of other effects, the car falling out of the sky and all that stuff—I got to to work with anyone else because frankly I don’t see that many people see all of that at the premiere. And an amount of the surrealism going in Hollywood standing their ground,” he points out. “Everybody wants in and out of his head, the choice was made not to be literal about it. I to think of themselves as an artist but you can see how much com- usually chose to play what an area of the movie was supposed to feel merce plays a part in their decision-making, and it’s probably less like or what he was supposed to feel like and let the surrealism speak than 10 people in this town who are able to operate as genuine art- for itself. So in other words I could be pure pulse or pure melody or ists as opposed to just directors who have egos who like to think of pure sound. Obviously there was an abstraction on the screen, which themselves as auteurs. All the people I’m attracted to, whether people doesn’t require me then to present an abstraction musically. It’s there even like their work or not, there’s no doubt that they are trying to and I think music in films is merely a component—that’s all you ever do different things and they are answerable only to themselves. That are and that’s not a qualitative judgment, it’s just a functional thing. is my attraction to David O. Russell and Charlie Kaufman and Michel You are a component of a creative experience that happens over the Gondry and Paul Thomas Anderson—all these people already have course of time, so to that end you know certain things are taken care a track record of doing that very unique thing. I loved making this of, and I feel like mentally the nature of Charlie’s scripts is intellectual movie and I loved working with them. Charlie Kaufman’s out there and creative and demands a lot of the viewer. So whenever pos-

MARCH 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 MARCH 2004 sible some sort of underpinning and some sort of repetition to offer the source music, and it was kind of fun to do, but it’s not something grounding to these crazy experiences is necessary.” you normally give thought to during the process. It’s such a rarified Nevertheless, Brion says he shied away from a lot of traditional tech- world, that of the film soundtrack album—it’s kind of its own odd niques that might have been used to delineate characters or shades of animal and it’s a very small number of aficionados that really want reality through instrumentation. “Every time it, and I sort of take offense to [compila- I’ve made a movie there’s a discussion tions of songs and movie score] because of doing it ‘Peter and the Wolf’ style for lack I feel they are cross-marketing scams. I of a better term,” he says. “‘And so and so usually feel that songs in a movie have is the piccolo, and he’ll have this theme! nothing to do with the film itself, and And at the end of the movie it’ll all come it’s all about which record company together and it’ll play as one thing!’ I encouraged which director to use don’t think I’ve ever done a movie where which popular or semi-popular artist. that didn’t come up at some point. I’ve Especially in an era when the record also never done a movie where once companies don’t know how the hell you started actually doing that the direc- they’re going to promote their sh-t tor didn’t go, ‘Oh, no no no.’ Every time any longer, so they’re all desperate to someone makes a record it’s like, ‘You get these songs in movies and that just know what? I really want to just make a drives me batty. I was really impressed live record; let’s everybody set up in the with Amie Mann’s stuff in Magnolia, room.’ Every artist says this, and every but that worked because Paul used record you go in and set up so everybody some existing tracks nobody knew can play live in the room, you play for a The End o f Print. about and really used them in a the- day or so and they say, ‘That’s really great; matic way in the movie instead of playing them there’s just one thing I want to change.’ So you change one thing on the radio in a diner for two seconds.” and then someone wants to pull something, and then you finish one Brion cites his last collaboration with Anderson as one of his most track with extra overdubs and it sounds great, and they’re like, ‘Wow, interesting in terms of album construction. “The one example that was what if all the music sounded like this?’” fun for me was the Punch-Drunk Love album, because from the begin- ning Paul Anderson came to me and said, ‘I want an album that you The Lord of the Rings can listen to as an album that’s not a gratuitous song soundtrack and Brion thinks the days of applying leitmotifs or even textural concepts is not strictly orchestral.’ So it’s neither the cross-marketing scam nor to characters are over. “If you were to actually attach specific themes to is it rarified. And that was really fun, and I gave some thought to that people, I don’t know if there’s a director in the world who would actu- while making the movie, but for the most part it was when the movie ally hang with it,” he says. “They can’t go for it, and in truth, through was done and mixed and everything was put together [that] I went Paul Thomas Anderson I’ve grown quite an appreciation for what to Paul and said, ‘Okay, you want this album, you’re going to have happens stylistically and emotionally if we break from the notion of to leave me alone on this one.’ Because it’s a very close collaboration ‘we are playing directly to something in this scene.’ Even playing to working on the movies and I feel that it should practically say com- the subtext—the great breakthrough in film composing was someone posed by myself and Paul even though he’s not a . But when saying, ‘You know what? I’m playing toward what’s not being said.’ it came time for the record, Jonathan Karp and I went into the studio And that was great and a really important moment and it fueled just and spent a week and took a lot of time editing and thinking about a sea of incredible work. I’m interested in working with Paul because the sequencing and mixing so it came out of speakers in a way that he intuitively knew what he wanted to get at and through us working was designed for a home system, and since I’ve predominantly spent together I think we figured out a way to talk about it—what is the feel- my time as a , it was fun. It was fun to know that if it ing you want associated with the movie? What is the feeling you want was sequenced right it could play to people that would not normally people to walk away from the movie with? We’re also in an era now listen to that sort of thing. I did a little of that with Eternal Sunshine but where people watch movies repeatedly—they have DVDs—and direc- mostly it was just some editing.” tors are making movies with that in mind. It’s very different. I think The composer’s other recent album work is not movie-related. I’d be more interested in being exacting to picture if I believed that “I’ve been helping out the on an album—Neil and Tim anyone else would actually stick to locked picture, and in truth Paul Finn from ; I’m mixing some songs from Nica Costa Anderson is the closest—he knows early on what he wants in terms right now, I went to to make some crazy improvised music of everything about the structure. He may make some changes and records with my friends and Sebastian Steinberg, do some re-shoots but it’s early on; and what he does with editing is including a whole record’s worth of stuff for ; I’m in the he’s literally watching the whole movie and taking a half second out of midst of a record of my own, which I work on when I have time the end of something, and he’ll watch the whole thing over and over off from these other things.” And while Brion plans to keep up his again to see how it plays with that change. But he’s not really changing film work, he won’t be jumping at every movie project that comes major structural stuff.” down the pike. “I’ve been offered lots of things where you can just Leaving behind classical film-scoring structure means Brion has see that the movie company has too much influence or there are any looked at other methods of construction and association when mak- number of things that can really mess with the process, and I am ing albums out of his work. “In the case of Eternal Sunshine, they already completely disinterested in doing film scores just to do them.” FSM had a lot of source music,” he notes. “I sort of picked pieces of my stuff where I liked the performances or I thought it would play well around

MARCH 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 MARCH 2004 Brian Tyler Journey Beyond scores clones, cameras Timeline and “cutters.”

Composer Brian Tyler hails from the world of inde- process I did get a really early version of what the visuals were going to be. They weren’t as refined as they ended up being but I did have pendent film, but lately his projects have been looking something to play off of. I just thought the idea would be to draw in the audience and emphasize the science of the story instead of the a lot more commercial. In 2003 he scored some major childhood drama of this boy Adam dying and being reborn again. That’s where the temp was going—it was playing this little boy theme, genre projects, including episodes of Star Trek Enterprise, and I thought the overwhelming factor of this movie was the science aspect of it: journeying into the unknown, almost like scoring a science- the Darkness Falls, and the Sci-Fi Channel fiction space war, something completely removed from the Sixth Sense kind of feel miniseries Children of Dune. He even replaced Jerry that would permeate a Goldsmith on Paramount’s ill-fated Timeline. So far 2004 story about a little boy. I looks just as busy, and there’s still a genre slant to a lot of Tyler’s projects, includ- ing the cloning chiller Godsend with Greg

Kinnear and Robert De Niro. In the film, two loving parents (Kinnear and Rebecca

Romijn-Stamos) lose their eight-year-old

Godsend. son in an accident, but a mysterious scien- FEAR IN A BLACK HAT: Robert De Niro in tist (De Niro) gives them a second chance usually do scores that are 98% traditionally orches- tral, but this has a lot of other elements in there in when he offers to clone their son. addition to orchestra, like taking recorded instruments and distorting them and doing electronics and voices, Godsend was directed by British stage director Nick Hamm, and Tyler very upfront at times. It was more of a duet that would go back and found him to be a rewarding collaborator. “He’s very aware of how he forth instead of layering and orchestra together. That was wants to stage and edit a scene, and he very much hands the baton almost too smooth of a sound I think for this and it reflects the charac- off to me when it comes to the music,” the composer says. “He gives ters—you’ve got this boy who is this nice kid that goes terribly wrong, the feeling that he wants but doesn’t get too specific, and encourages but it’s not him, it’s a clone of him. So it’s a really schizophrenic story; really breaking out of what’s expected. On the main title, the temp was it’s not completely black and white. I didn’t want the music to be gray a very quiet piano piece, and I did something completely different that where you couldn’t tell where it was orchestra or synth; it would dra- was very vigorous. It’s a tribute to the director that I was able to go off matically switch back and forth even within the same cue.” in a completely different direction, from this solo piano piece to this While Godsend’s plot pivots on the idea of cloning, the movie veers really modern, soaring, driving orchestral piece over the same visuals. back and forth between suggestions of a supernatural theme (with It takes a director like that to encourage sort of thinking outside the the possibility that the boy is being haunted by the soul of his dead temp box.” “original” or even by someone else) and the idea of science gone The movie’s semi-abstract title sequence of fissioning cells and wrong, presenting a challenge to the composer as to which aspect to microphotography gave Tyler the same kind of opportunity for music emphasize. “I wanted to hold steadfast with the science idea,” Tyler that Jerry Goldsmith had on the opening credits of Paul Verhoeven’s says. “There was one cue called ‘Adam’ that kind of brings the human- Hollow Man. Tyler says he was able to start work on the piece before the ity to it that does recur in one fashion or another. Overall, I wanted visual effects for the sequence were complete. “I started looking at the to emphasize the science fiction side of it, but it does definitely go storyboards to get an idea of what it would be, and honestly I walked more towards horror and becomes a science thriller, and it reminded away from the main titles then because I wasn’t sure what was going me of movies like Coma. I always approached it that it wasn’t neces- to be there,” he recalls. “About three-fourths of the way through the sarily supernatural but that there could be science behind things that

MARCH 2004 14 FILM SCORE MONTHLY FILM SCORE MONTHLY 15 MARCH 2004 we see as supernatural. That’s always something that’s fascinated me, childhood accident in which he killed another boy, and since Cutters that there could be a scientific explanation for people being possessed aren’t allowed to have biogenic chips in their own bodies it’s a bit of or for ghosts, and because they do occur in this movie and there is a a shock when he stumbles across images of this very incident in a cli- possession angle to the movie—it’s almost like there is another boy ent’s memories, sending The Final Cut squarely into mystery territory. inside this kid and he has these memories of these murders and things In contrast to the modernism of Godsend, The Final Cut called for a that he obviously had nothing to do with—I always kept with the score that was removed from science-fiction traditions. “Even though approach that the horror came from the science.” it’s a science-fiction movie, the way the production is designed by Tyler recorded the score’s orchestral cues in Seattle and Los Angeles. James Chindlund, and shot it, computers are made out “It has a good-sized string section tilted toward the low end—there of wood and everything’s got a natural, organic look—it’s not the glass were 15 celli, and I also had a lot of bass , a nice section of and clear and blown-out whites and you would usually see in a French horns and a lot of woodwinds, contrabass clarinet, harp and movie about the future. So the music was more of a nod to film noir a lot of percussion. I think we got up to about 80 players on some of and more going back to the days of the classic Hitchcock films. It’s a the bigger cues.” full orchestral score, even larger than Godsend, but some of the notes are in that jazz mode; I wrote a song in there that was almost like a Old-Fashioned Revenge 1940s jazz ballad, and I recorded that for a key point in the movie.” Also imminent for Tyler is the thriller Paparazzi, about a burgeoning Tyler also found himself taking a psychological approach to the movie star who eats up the attention of Hollywood’s tabloid photog- score. “Robin Williams as a Cutter is kind of terribly sad, but he’s this raphers until they inadvertently cause a personal tragedy. In a tech- genius who’s really exacting, so his theme is sad but the approach of nique that parallels a recurring motif in The Right Stuff, Tyler worked the orchestration and tempo is really driving. There’s a piece there the sound effects of camera shutters closing into the fabric of his score. “I found I would play the emotional part of the orchestra and the intensity that could bring, and when there were a lot of cameras on screen I would not play that aspect at all. It was when there were no cameras around and you’d have a guy driving around thinking about how his life had been ruined because they ran his family off the road

LOOKING SHARP: Robin Wiliiams in The Final Cut.

called ‘Alan the Cutter,’ which is this six-minute piece that is very demanding melodically and exacting the way the different sections of the orchestra play off each other. It’s MOMMY CAN YOU HEAR ME? Rebecca Romijn-Stamos in Godsend. technically difficult but it plays off his personality because he’s really exacting and technical and can do things very fast. and he’s scheming his revenge plot—that’s when The approach ends up being that in the film he doesn’t have the percussion starts being like a shutter and kind of anthropomor- much expression on his face but the music ends up doing an incred- phizing the camera a little bit. It’s an old-fashioned revenge movie so ible amount of the talking for him, more than I think I’ve ever had in a it’s mostly action, intense music.” movie; he’s closed off but the music really blows out and sings. I don’t get the chance to do that much these days, and it’s fun to do.” Mystery in a Future-Tense Tyler has had lots of fun recently, and even though last fall’s sci-fi Far less old-fashioned is The Final Cut, a philosophical science-fiction thriller Timeline was a box-office dud, the soundtrack CD has proved film from director Omar Naim, due out in September. Robin Williams popular with fans, an outcome that relieved the composer since he and (that’s Jesus to you) play futuristic “Cutters” who edit was replacing a score by one of the most popular film composers the memories of the recently deceased, pulling them from biogenic of the past 40 years, Jerry Goldsmith. While Tyler took the Timeline implants that record entire lifetimes through the eyes of their subjects. assignment with some trepidation, he saw the job as an opportunity “When you die, these guys watch 15 different screens and hone down to walk in the footsteps of one of his personal heroes. “My whole thing your life to a two-hour movie, called ‘rememory,’ which is played at with scoring is I want to bring back some of that old Jerry flavor and your funeral,” Tyler says. “They see all the inhumanity in life but their Korngold—that’s bread and butter for me, so something like Timeline whole thing is to make someone look good no matter how horrible was a nice, symbolic thing. It was a big honor to do a score where the person was.” Williams’ character is haunted by memories of a Jerry Goldsmith had been.” FSM

MARCH 2004 14 FILM SCORE MONTHLY FILM SCORE MONTHLY 15 MARCH 2004 Tyler Bates gives Dead Can Dance life to zombies, The typical movie about brain-eating zombies comes Despite that dictum, Bates says there are no specific musical homages in the film—not even to the original Romero version. “The attitude of with certain expectations: lots of gore, nihilism, sick the director and producers was, ‘Let’s not go out and model this after this movie or that movie and let’s not work with people who do hor- jokes, suspense and horror. If you need music to ror movies per se.’ What they wanted was to bring a group of people who could bring a fresh perspective, a uniqueness to the film instead accompany this scenario, the standard issue comes of someone who’s on their eleventh horror movie doing sound design or score and a director who had been in that genre for a while. So with electronics, lots of percussion and a chilly, uncom- while everyone was very seasoned at what they do, they had not been overtly familiar with this particular type of film.” promising feel. The current remake of Dawn of the Dead Fear the Reaper…and Themes, Too from director is heavier While avoiding the exclusively electronic palette of the original score by Goblin and Dario Argento, Bates took a surprisingly orchestral—and than usual on the sick jokes (although sometimes thematic—approach to the remake. The composer says that producer Marc Abraham specifically requested this approach. “One of a lot lighter on the social commentary his requests was, whenever the opportunity strikes, let’s not be afraid to have big themes,” Bates says. After the sprawling action of the film’s than George Romero’s 1978 original), opening 10 minutes, the setting narrows to a suburban shopping mall where Sarah Polley’s character is briefly alone to recover from the hor- and oddly enough it’s also heavier on rendous loss of her husband. It’s an intimate moment scored with a warm, almost bluesy brass performance. “We had a muted English horn music, with some surprising moments there, and while it’s not a big theme, that instrument is pretty tradi- tional as a poignant element,” Bates notes. “It’s a moment where there’s of warmth and sympathy courtesy of not impending doom on screen, so we wanted to be able to build the emotional arc for her and obviously for Luda [Inna Korobkina], who composer Tyler Bates. is the pregnant woman, so her moments are numbered. My attitude about melody and theme in horror movies is that any time there’s a Bates’ early work for Roger Corman (including Blue Flame, Tammy and melody it’s not very scary, unless you’re talking about , which the T-Rex and Alien Avengers I and II) might seem good warm-up for a in my opinion is one of the greatest movie and music combinations of zombie movie, but since getting started in the early ’90s, Bates has bal- the genre. We wanted to suspend that beat where we recognize that anced his more recent work between high-profile comedies and more Sarah’s just lost her husband and the chain of events that’s transpired is challenging independent fare (such as ’ How to Get the just so bizarre that she hasn’t been able to process it. She’s completely Man’s Foot Outta Your Ass). Dawn of the Dead presented a kind of fusion of in shock and obviously suffering some loss, but at the same time it’s those two worlds, with a great deal of comedy from screenwriter James confusing what happened, so she’s despondent at the moment. What Gunn (Scooby Doo) and the casting of mainstay Sarah I chose to do to balance it just for my own taste was instead of using Polley in the lead role. a piano in that scene for melody’s sake I used tuned gongs—I thought For Bates, the job was to ground the characters’ human emotions I could earn the English horn if I went off the board a little bit with in an otherwise unbelievable story. “The majority of all of our creative something we’re not expecting as much.” discussion happened in our first meeting where they hired me,” the A big musical factor in the film is the use of muzak sounding cues composer recalls of his initial contacts with the filmmakers. “They were playing in the mall as ironic counterpoint to the paranoia and ter- working with some temp music that didn’t really support the charac- ror the barricaded survivors are experiencing. Musician Tree Adams ters on a human level, and for this movie to work, as absurd as it is, it arranged these cues, which were chosen by music supervisor G. Marq has to have some stakes in the lives of those involved, otherwise it’s just Roswell. “They completed the muzak cues a couple of weeks before a videogame. So the objective was to help support some of those arcs my scoring date, so they brought those songs to me and I was familiar of the characters that of course invest the audience’s interest in their enough with what was there to determine exactly how to play against survival and what they’re going through—their losses that they’ve all it or transition out of it. Fortunately, the director as well as the supervi- incurred in the day or two that we’ve gotten to know them, but at the sor had the foresight to see that that should be something we should same time, to have those moments happen in between some music think about before we get to the dub stage.” that has some attitude. Instead of just serving up your typical slick- Bates’ score combines orchestral music with electronic textures to sounding electronic score, I wanted the music to pay some kind of divide the atmosphere between the epic effects of the zombie plague on respect to the horror and science-fiction films of the late ’50s and early the rest of the world and the confined world of the shopping mall. “One ’60s and then temper that with electronics and aggressive percussion.” of the key elements of the score is the idea of transformation, which is

MARCH 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 MARCH 2004 inevitable for anyone who’s bitten by a zombie,” Bates explains, noting ful there, the orchestra would overstate the case,” Bates points out. “I that the film’s pregnant character created an ideal situation for building didn’t do much with the orchestra as far as themes go; I just wanted it suspense musically. “The intention was to have the atmosphere build as to support the percussion and have a tonal ambience that would work we anticipate her dying and transformation into a zombie, and to not with the scene. We knew what was happening and we see it clearly on let the audience off the hook; to keep it organic so we’re not so aware the screen, so it was definitely my objective not to pound the audience that there is music and we’re not all saying, ‘oooh, scary’ with the low over the head with the music if it wasn’t necessary. During that cue brass and low strings—we’re used to that. What I wanted to do in that there are some big cluster hits with the orchestra with the brass, and sequence, which is pretty long, is to give her character the basis of that that’s something you don’t hear too much in contemporary scores; sound—I don’t even want to call it a theme, it’s more of a motif—and you have to go back to Bernard Herrmann for something like that. The then take us to the end of the film where we encounter all the zombies. producers liked that and said okay, let’s go back to this kind of classic It’s supposed to be a post-apocalyptic type sound where we wake up movie score. The director has an amazing sense of humor, and while he one day and it’s the end of the world. wanted it to be intense and gory he also wanted the sense of humor “It reminds me of The Omega Man; the whole movie does. If you think about Dawn of the Dead, it falls into the horror category but it’s really a bizarre science-fiction movie. We wanted it to be creepy but if you play the horror aspect of it, it falls flat. You have to get into the psychology of the film and get into the psychology of the audience members as they’re watching this and play with them a little bit, to

YOU WANT A PIECE OF ME? Sarah Polley does her bit.

to come through in all parts of the movie, so for me that was an opportunity for that. It was a little kitschy but it was fun.” For the core percussion element, Bates combined approaches. “I MARCHING CORPSE: The Dead on the loose. had a session with some of the orchestral drummers playing taiko drums, and a guy named Dave Lombardo who’s the drummer from get them to basically trust the music and then screw them over.” a band called Flair, who pretty much designed that black metal speed- The score’s most tonal theme is introduced early, on horns, as a gun- drumming style in the early ’80s. This movie matches Flair’s attitude toting survivor is mowed down by an ambulance, and it eventually and their lyrical content. I knew Dave was a big fan of the original, so plays over a wide airborne special-effects shot of statewide devastation. that was part of the idea, to use some of the more aggressive percussion “It’s really a theme that says that we’re screwed on a global level,” Bates on the more action-oriented orchestral cues. We were trying to factor explains. “It plays again when the survivors are on the roof and they him into the mix; there’s a cue toward the end of the film that features see a helicopter and think it’s going to pick them up. That texture is him just playing mostly drum, really fast stuff. I didn’t have something I was able to apply throughout, but it’s mostly about motifs a cue written for that section when I recorded the percussion guys, so because this film doesn’t end up in the same place slasher movies tend I just mapped something out with Dave and wrote it afterwards, but I to. Even though most of the movie takes place in the mall, I still wanted wanted to have one place that really featured his playing.” transformation to be an undercurrent, so I wanted things to continue Bates recognizes that the orchestral component of the Dawn of the Dead to shift and change. One of the things I wanted to play throughout score was an unusual choice at a time when many contemporary direc- was similar to [Krzysztof] Penderecki’s motifs, which oftentimes were tors prefer to avoid the traditional approaches to film scoring. “They’re orchestral dissonances based on large clusters and bending strings and orchestral-phobic, and believe me, I have my ear to the ground as far woodwinds and horns, and it gives you kind of an atonal discomfort.” as is concerned. I dig very deep and I have people around me who dig even deeper, so I feel confident in being able to use Zombies Love Drums that and bring it into the fray; at the same time, I think you have to do Dawn of the Dead’s climactic action scene involves a frenzied escape from whatever’s required for the picture and not just have a blanket attitude the mall on board two armored vans, a sound design nightmare of about it. In most cases when my directors have said, I just want all this roaring engines, gunfire and thousands of crushing zombies, so taking or all that and no orchestra, I’ve been able to show them how orchestra a percussive approach was an almost inevitable response to the mas- can support their taste.” FSM sive sound mix. “There is a great deal of orchestra there but it seemed more natural to emphasize the percussion, because if we were not care-

MARCH 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 MARCH 2004 for CHRIST’S A Brief History of sake Music for Jesus Movies

By Kyle Renick

Movies about Jesus have been around since the beginning...of motion pictures, that is. There is an 1898 French film Jesus Devant Pilate, a 1902 title The Life and Passion of Jesus Christ Our Savior, and a six-reel 1912 American feature From the Manger to the Cross, filmed in Palestine. The following is a brief survey of some of the scores for films involving Jesus Christ. Since this piece will focus on history’s more renowned Christ-related efforts, I have excluded discussion of the following categories: music for silent films (Ben-Hur: A Tale of the Christ [1925] and King of Kings [1927]); films in which Jesus is a minor character, a mere mention or a metaphor (Whistle Down the Wind [1961], Barabbas [1962], The Ruling Class [1972] and Jesus [1989]); musicals (Jesus Christ Superstar and Godspell [1973]); and comedies, whether intentionally funny or not (Monty Python’s Life of Brian [1979] and Jesus Christ Vampire Hunter [2001]). There are some titles without music credits (Son of Man [1969], Jesus, aka The Jesus Movie [1979], The Visual Bible: Matthew M[1996] and The Book of Life [1998] with two songs, one of them by ), and other titles with neither video version nor soundtrack available (The Day Christ Died [1980], with music by Laurence Rosenthal, and The Miracle Maker [2000], scored by Anne Dudley). I have also excluded The Gospel of John (2003), although the score by Jeff Dana is available on Varèse Sarabande, because the video version was not available at the time of this writing. King of Kings (1961) his film was directed by Nicholas Ray and features one of film music’s masterpieces, by Miklós Rózsa. Rózsa has long been honored for his 1959 score for Ben-Hur: A Tale of the Christ. Both that film and its music are so Tfamous and have been written about so often that it seemed time to give King of Kings its due. Although derided at the time of its release with the alternate title I Was a Teenaged Jesus (because of the youthfulness of star Jeffrey Hunter), King of Kings has aged well and is the most enjoyable of the many Jesus movies currently available, espe- cially in the thrilling DVD version with Rózsa’s complete score remastered in Dolby Digital 5.1, including Overture, Intermission, Entr’acte and Exit Music. To hear the first notes of the Overture, with chimes over low bass, followed by the entrance of the 50-voice chorus soon accompanied by the 75 members of the MGM Orchestra is to immediately comprehend the meaning of the

MARCH 2004 18 FILM SCORE MONTHLY

CHRIST’S A Brief History of Music for Jesus Movies

By Kyle Renick

MARCH 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 MARCH 2004 FIT FOR KINGS: The Last Supper. STORY VILLE: Palm Sunday processional. phrase “The Golden Age of Film Music,” which unfortunately came Troell. But the casting of this actor as Jesus is one of the most ludicrous to an end a few years later. Rózsa’s score is one of those rare efforts mistakes in the history of movies, because all of the vocal coaching in that’s enjoyable as a pure listening experience, separate from the film. the world cannot conceal his thick Swedish accent. The casting is also The best acting in King of Kings is the transcendent Siobhan McKenna ridiculous for the dozens of stars in cameo roles: Is that really Shelley as Mary, Mother of Jesus; the oddest performance is the great Robert Winters in that crowd scene doing her best fishwife imitation, and is that Ryan as a very modern John the Baptist. Orson Welles narrates, speaking really John Wayne from a great distance hollowly intoning, “Surely this the words of an uncredited Ray Bradbury—two more reasons to view man was the Son of God”? this version. And the early scenes of conquest and killing are followed by a heart-stirring scene of joy and exultation as Jesus is born in the The Gospel According to St. Matthew (Italian; 1965) manger. Jeffrey Hunter is a perfectly adequate Jesus, although one won- he best movie ever made about Jesus was shot in black and white ders why it was necessary to shave his armpits for the crucifixion. The in Calabria (southern Italy) with a cast composed almost entirely final chorus of Hosanna, with full musical forces, as the shadow of Jesus Tof non-professionals. Il Vangelo Secondo Matteo, known in America falls across a fishing net making the sign of the cross, is electrifying. as The Gospel According to St. Matthew, was written and directed by a gay lapsed-Catholic Marxist poet, essayist, journalist, film critic and novel- The Greatest Story Ever Told (1965) ist, Pier Paolo Pasolini. The score was arranged by Luis E. Bacalov, based lthough this may be Alfred Newman’s greatest work, but the on music by Bach, Mozart and Prokofiev, as well as Odetta’s version of story of the scoring is thoroughly unpleasant. Laura composer “Sometimes I Feel Like a Motherless Child” and some traditional African ADavid Raksin actually called it the saddest story ever told, a saga drums and chants. The costumes, created by the great Danilo Donati of stupidity and sycophancy, resulting in Newman being attacked for (who also designed for Fellini and Zeffirelli) are based on frescoes by arrogance in the mostly terrible reviews. Most of this was due to the Piero della Francesca. Pasolini cast a 24-year-old Spanish economics inclusion of bits of Handel’s Messiah and Verdi’s in the score, student as Jesus because of his resemblance to an El Greco portrait. And and these decisions were not his. This is the subject of an entire book Pasolini’s own mother plays the older Mary. called Hollywood Holyland: The Filming and Scoring of The Greatest Story Ever Told After the combination of traditional African music and the final move- Artwork ©1965 MGM/UA. All Artwork ©1965 Rights MGM/UA. Reserved. (1992) by long-time Newman friend and colleague Ken Darby, whose ment of Bach’s St. Matthew Passion for the credits alerts us that we are credit on the film is “Choral Supervision.” This book is indispensable watching something strikingly different from the typical Jesus movie, reading for those of us who wonder what lunacy resulted in Alfred the film opens with an exchange of accusatory glances between Joseph Hitchcock throwing out Bernard Herrmann’s score for Torn Curtain, or and Mary followed by shots of the ruins of Calabria. An angel explains Stanley Kubrick jettisoning Alex North’s 2001, or Ridley Scott heaving to Joseph the truth about Mary’s pregnancy, and their relationship is Jerry Goldsmith’s Legend. restored. The visit of the three kings to pay homage to baby Jesus is THe Greatest Story Ever Told The Greatest Story Ever Told is available on a beautifully mastered DVD accompanied by the Odetta spiritual; the brutal execution of the first- billed as the “Restored Roadshow Version” with its original six-track born on Herod’s orders has Prokofiev’s Alexander Nevsky as underscore. stereo and a 65mm high-definition video transfer with the score in When the angel warns Joseph and Mary to flee to Egypt, we again hear 5.1 Surround. Newman’s music is glorious, even if the Lazarus scene is the closing bars of Bach’s St. Matthew Passion. When the angel advises that ruined by the of a theme from The Robe and the disastrous it is safe to return after Herod’s death, we hear the joyful violin and oboe inclusion of Handel’s Hallelujah Chorus. Similarly, the procession to dialogue from the second movement of Bach’s double concerto. Calvary is destroyed by the inclusion of Verdi’s Requiem. Listen to the The first appearance of the adult Jesus is cued by an exquisite section magnificent “Overture and Main Title”; then observe Newman’s use of of Mozart’s Masonic Funeral Music. The dialogue between Jesus and Satan, flute and harp for the three wise men and the introduction of a wordless here depicted as an ordinary man, is accompanied by Bach’s Art of the choir for their arrival at the manger: This is the work of one of the great- Fugue. When Jesus urges the workers to repent and begins recruitment est of all film composers, deploying the full resources of harmony and of the disciples, we again hear Prokofiev (is this a musical Communist counterpoint to create a truly religious experience. pun?). These disciples are both unformed and childlike, and often seem For the genius of Alfred Newman we should be grateful. Unfortunately, downright confused by this political firebrand. Sometimes Jesus is quick The Greatest Story Ever Told is not only a terrible film, it’s boring. The trouble to attack his followers, who seem crestfallen by his rejection. Occasionally

starts 40 minutes in, when Charlton Heston as John the Baptist looks Jesus is even petulant and judgmental. As the ideas of Jesus become All Rights Reserved; Artwork ©1962 Turner Entertainment Company. upon the face of Max von Sydow as Jesus for the first time and pauses. I more complex, so does the music—for example, witness Erbarme dich yield to no one in my admiration for Max von Sydow and have repeat- from Bach’s St. Matthew Passion, my personal choice for the single most

edly enjoyed his great acting in the films of Ingmar Bergman and Jan beautiful melody in the history of Western music (we hear this theme King of Kings

MARCH 2004 20 FILM SCORE MONTHLY FILM SCORE MONTHLY 21 MARCH 2004 TRANSCRIBING GOSPEL: The Crucifixion. FEELING TEMPTATION: Willem Dafoe. again for Peter’s denials). When the preaching of Jesus becomes darker scene might require is absent, requiring the scene that follows to start all and more troublesome to his audiences, the music of Bach changes to over again in attempting to engage us. Maurice Jarre may have gotten the bleaker second movement of the E-major violin concerto. The trial lucky working with David Lean, but that luck ran out long ago. Under of Jesus is shot from a distance so that it startlingly resembles a newsreel. the circumstances, it is hardly worth mentioning that Robert Powell plays The crucifixion itself is scored with the Mozart piece, a supreme blend of a credible Jesus, that Olivia Hussey as Mary is as terrible an actress as tragedy and ecstasy, and close-ups of the anguished face of Mary sup- she was in the 1968 Romeo and Juliet, that the superlative Anne Bancroft ply all the visual information required. The quick transition from Mary has some nice moments as Mary Magdalene, that Rod Steiger chews mourning to the tomb door flying open with the African chanting and some scenery amusingly as Pontius Pilate, and that Laurence Olivier as percussion on the soundtrack emphasizes the universal meaning of the Nicodemus, James Mason as Joseph of Arimathea, and Anthony Quinn story. If you see only one Jesus movie, it should be this one, an authentic hamming deliciously as Caiaphas provide reasonable interest to the work of genius and imagination. inevitable debate regarding the identity and divinity of Jesus.

Jesus of Nazareth (1977) The Last Temptation of Christ (1988) his six-hour television miniseries was directed by Franco Zeffirelli artin Scorsese is America’s greatest director, even if he does and scored by Maurice Jarre. It is too bad that Zeffirelli’s strik- make catastrophic musical decisions, like tossing out an Ting visual imagination did not inspire more interesting work MElmer Bernstein score and tossing in a horrible U2 song on from Jarre, because the music is as dull as dishwater. After watching Gangs of New York. The Last Temptation’s score is by . Based on the videotapes, I listened to the soundtrack three times in an effort to the 1951 novel by famed Greek novelist Nikos Kazantzakis, Scorsese’s persuade myself that I was being unfair or that I was missing something. movie was hugely controversial and widely denounced in 1988, as usual Each time the music became less and less interesting. Jarre’s command by people who had not seen it, probably because the “last temptation” of instrumental color has always been extremely limited, and his sense was sexual intercourse and procreation. of melody is even worse. Again and again a melodic thread will start, Of great interest is the richest and most complex relationship between proceed nowhere, and fizzle out completely. As for dramatic develop- Jesus and Judas, despite the roles being played by Willem Dafoe and ment and sound layering, one must look elsewhere. Over and over, my Harvey Keitel, two of the least charismatic actors in the history of notes mention that the music is so boring that any dramatic emphasis a Jesus movies. When Jesus returns from sitting inside a circle and being

GOLDSMITH. Goldsmith and creepy fiddle to replace Goldsmith’s work with Tangerine What the Devil?! music—enough said. Dream’s. 5. The Exorcist (1973); VARIOUS. Lots of 11. The Devil’s Advocate (1997); JAMES IT SHOULD SURPRISE NO ONE THAT SATAN IS FAR famous composers were featured here, like NEWTON HOWARD. Al Pacino’s Satan is almost more popular in films than Jesus. A cursory search George Crumb, Hans Werner Henze, Krzysztof as scary as Tony Montana in Scarface. through The Internet Movie Database reveals that Penderecki and Anton Webern, but the music 12. South Park: Bigger, Longer and Uncut 145 males and 23 females have played characters everyone remembers is the trippy, terrifying (1999); TREY PARKER, MATT STONE and MARC named “Satan,” while 200 males and 62 females “Tubular Bells” by Mike Oldfield. SHAIMAN. One of the funniest films ever made; have played characters called “The Devil.” Much 6. The Omen (1976); JERRY GOLDSMITH. Satan who could forget the relationship between Satan musical talent has been devoted to bringing these has never sounded scarier. and Saddam Hussein? characters to life, as you can see here: 7. Exorcist II: The Heretic (1977); ENNIO MORRICONE. This is a widely dismissed film, The Satan performance I would most love to see 1. The Devil and Daniel Webster (1941); well worth another look. (and probably never will) is Edward Arnold’s in BERNARD HERRMANN. The recent Criterion 8. Damien: Omen II (1978); JERRY GOLDSMITH. a 1942 U.S. wartime propaganda short entitled DVD has extensive supplementary material on Perhaps not a masterpiece like its predeces- Inflation, in which Adolph Hitler telephones Satan Herrmann’s wonderful score. sor, but Damien presents more chilling work by and asks how to win the war. Satan says that Hitler 2. Doctor Faustus (1967); MARIO NASCIMBENE. Goldsmith at the height of his powers. will win if Americans buy goods so they go up in This is the version with Richard Burton and 9. The Final Conflict (1981); JERRY GOLDSMITH. price, and if they hoard rationed goods and sell off Elizabeth Taylor. See #8. their war bonds. Franklin Delano Roosevelt himself 3. Rosemary’s Baby (1968); CHRISTOPHER 10. Legend (1985); JERRY GOLDSMITH (I hereby appears in the short, as do Stephen McNally and KOMEDA. The lullaby is one of the scariest confess to being a Jerry Goldsmith fan). The Esther Williams as Mr. and Mrs. Smith. The music themes ever written. movie may not be any good, but Ridley Scott is by Max Terr and, of all people, David Raksin! 4. The Mephisto Waltz (1971); JERRY deservedly earns contempt for the idiotic choice —Kyle Renick

FILM SCORE MONTHLY 21 MARCH 2004 it creates is no different than a preacher bellowing threats from a pulpit about eternal pain and damna- The Horror of Faith tion; you’re being bludgeoned into an emotional cor- ner and not given any other choice but one: Believe, or pay the price. The Passion of the Christ Reviewed The Passion of the Christ is certainly an extraordi- nary artistic statement, containing brutally effective By Jason Comerford (albeit simplistic) storytelling. The performances are committed and believable, and the sense of “FOR ME, TRANSLATING IS SIMPLY THE amount of leeway for sticking to a certain artistic time and place imparted by the production values sheer joy of trying to do something deeply para- vision, blah, blah, et cetera, I won’t ignore a rotten is tremendous, considering the film was financed doxical: namely, to carry off in medium 2, radically apple when I see one. by Gibson himself for around $30 million. But it’s different from medium 1, some virtuoso stunt that The Passion of the Christ is put together in a also artistically and spiritually questionable, even someone else once carried off with great aplomb fashion that suggests old Hollywood; the cinematog- suspect. To Gibson, faith is a test of endurance and in medium 1. That’s all, no more. It’s just a game, raphy, by the great Caleb Deschanel, has moments sacrifice, and that would be fine, if the film he made an exercise in creativity, a challenge that, if met of enormous beauty and others of stark ugliness. wasn’t a valentine to orgiastic displays of torture with sufficient flair, provides a wonderful esthetic But its essential “movieness” is never far from your and mutilation. Who, then, is this sadomasochistic reward.”—Le Ton Beau de Marot: In Praise of the mind; you’re less transported to another time and screed supposed to be for? People who luxuriate Music of Language by Douglas R. Hofstadter place as you’re strapped onto a fundamentalist in the horror of faith? Ultimately, the film ends up rocket ship with a lit fuse. (“Modern” touches like reflecting only the worst of Christianity—its reaction- There are over 250 different religious groups CGI demon children, an androgynous Satan with ary and exclusionistic nature—and makes no effort in the world today. Of these, Christianity is the an unexplained Mini-Me sidekick and idiotic speed- to convey its truly important messages, of peace, most popular, claiming about a third of the world’s ramping editing tricks belong in cut-rate horror unity and forgiveness. religious population. It is a relatively young school films and are simply ridiculous.) And like an old of thought next to the practices of other religions Hollywood epic, its characters are sketched in a I WAS TREMENDOUSLY EXCITED WHEN I around the world; Judaism, Hinduism, Buddhism, fashion that some may call “economical” and others heard that John Debney had been hired to score The Taoism and other major world religions predate it will just call slapdash. Jesus, played by Jim Caviezel Passion of the Christ. I’ve followed his work casually by hundreds, sometimes thousands, of years. It is as a nigh-impossible receptacle for human hatred, for years, and while he’s scored his share of stink- also the most diffuse; there are over 1,200 sepa- is occasionally glimpsed in preacher mode, and the ers I’ve always taken his music very seriously, and rate Christian denominations in the United States much-too-perfunctory flashbacks to key moments hoped he’d luck into an assignment that would give alone, and over 34,000 in the world. (Over half of in Christian mythology can’t disguise the fact that him the chance to write some decent music for a those 34,000, it should be noted, are independent there’s no real sense of historical milieu, of who change. (I always root for the underdog.) Debney is, churches with no desire to formally join a larger stands for what, of the threat that Christ posed to by his own admission, a chameleonic composer; denomination.) the ruling classes. You can’t make a message movie he’s traditionally been more interested in working Translation and interpretation have not served if you don’t understand the messenger, or what with, and mastering, many different styles of music, Christianity well; it would seem, then, that Christians brought him to your doorstep, in the first place. as opposed to developing his own musical person- historically have played fast and loose with the Catholicism, the version of Christianity that ality. His style is that of emulation, of developing tenets of their faith. Since the Bible’s first English- Gibson practices, has traditionally been dominated on pre-existing structures, which makes him an language translation, by King James I in 1611, there by an emphasis upon suffering and the inescapabil- easy target for that part of the fan community that have been at least 15 other translations of the origi- ity of sin, and the much-discussed level of violence insists upon new and innovative music on a minute- nal text (which was written in Hebrew, Aramaic and in The Passion of the Christ is no real surprise when to-minute basis. This criticism, it must be said, is Greek), and most, tellingly, have been within the last you consider that (and Gibson’s body of work as an sometimes warranted, sometimes not. (It also must hundred years. actor, for that matter, which overflows with martyr be said that if you’re a fan of big splashy orchestral The Bible itself was written by an indeterminate imagery, torture and violent revenge). Gibson has swashbuckling, Cutthroat Island is a real hoot.) So number of authors over the course of several years, essentially made the ultimate I really wanted him to knock starting 40 to 70 years after the death of its central Catholic guilt-trip movie, a me out. figure, Yeshua of Nazareth; the imperfections that bizarrely solipsistic, two-plus- There has been and will the source text are subject to are numerous and hour-long snuff film whose always be a place for this kind varied. History, after all, will always be at the mercy subject dies the most vicious of pastiche composition. This of personal prejudices, of conflicting opinions, of death imaginable. It’s the work is not to excuse Debney for sociopolitical context; as Napoleon said, “History is of a fundamentalist through resting on his laurels. But it’s the version of past events that people have decided and through: thuddingly literal important to remember that he to agree upon.” And note also the root of the word and repetitive (particularly in does the job he’s hired for, and “history”: “story.” the deranged overuse of slow- sometimes that job is to write The point of all this is to remember that a film motion), with a complete lack silly, dispensable ditties for like The Passion of the Christ, directed by Mel of irony or perspective. Gibson silly, dispensable swill like The Gibson, is a representation of a singular point of expends a tremendous amount Hot Chick and Bruce Almighty view on perhaps the hottest topic of all, and when of directorial energy emphasiz- and Snow Dogs. That’s just the you’re dealing with a faith with 34,000 different ing the brutality that is inflicted The Passion of the Christ way it works: monsters beget subsections, you’re going to get into trouble if you do upon Jesus and essentially none ★★★ monsters. Debney, more often on his teachings, which were than not, represents what most anything other than toe the party line. Translations JOHN DEBNEY and interpretations of the myth of Christ, after all, truly revolutionary for their time purist-minded film music fans are a dime a dozen. Gibson’s film deals almost and, in their core, resonate with Sony Music/Integrity Music 30122 hate: the phenomenon of the exclusively with the last 12 hours of Christ’s life, and us today. Again, it’s his right to 15 tracks, 54:09 yes-man who views a temp while it’s my obligation to grant Gibson a certain do this, blah-blah, but the effect track as a valuable directional

MARCH 2004 22 FILM SCORE MONTHLY guide. But it’s also dark electronic tones and rhythmic tempted by Satan, he finds comfort and important to remem- percussive elements. “Song of ber that Debney has Complaint,” an old traditional, is hospitality with the sisters of Lazarus, Mary never really handled a given a somber reading for and Martha. Mary tells Jesus to “Read your story this intensely dra- and merely paves the way for scriptures. God doesn’t want you to fast and matic—not to mention “Simon Is Dismissed,” which thun- pray; He wants you to make children.” They widely known—before. ders out of the gate with hammering then impart to the grief-stricken Jesus the Like Gibson’s film, the drum patterns and discordant per- information that John the Baptist has been music is defined by cussive effects before dropping down beheaded. Shortly thereafter, Jesus rips out the tightrope it walks into a disquieting drone. his own heart and shows it to his disciples, between an overused By this point in the film, Christ preparatory to proclaiming, “I believed in and inevitable overall has been condemned to his fate, love; now I believe in this!” (He raises an axe.) approach and those and thus begins an hour or more of “Who is with me?” Throughout these events, scattered, but star- the graphic bloodshed with which tling moments where Gibson is so taken. The first, and we hear elaborate strands of modal phrases Debney truly does THE DEVIL AND MR. DEBNEY: After weeks of most horrific, of these sequences on Eastern wind instruments punctuated by come into his own as a holding out, Satan finally manifests himself is a flagellation (“Flagellation/Dark varieties of percussion, creating an uncom- musician and artist. to the composer. Choir/Disciples”) which lasts well fortable juxtaposition of Brooklyn accents The unfortunate and over 15 minutes, beginning first and ancient musical evocations. Perhaps obvious precursor to with whippings and canings and the most important moment is the question Debney’s effort is Hans Zimmer’s score to Gladiator, moving right along to a cat-o’-nine-tails which rips asked of Jesus: “What do you think Heaven’s which has become very popular, not to mention inex- and shreds Jesus’ skin in oh-so-loving slow-motion. like?” “It’s like a wedding,” Jesus responds. plicably influential (sad moments in movies and epi- Debney, smartly enough, stays out of the way of all “God’s the bridegroom, and man’s spirit’s the sodic TV used to get sensitive piano music, and now this mayhem; he goes for the sad emotional truth bride. The wedding takes place in Heaven, they get a mournful solo vocalist, usually female). of the moment. As the torture plays out, editor John and everyone’s invited. God’s world is big The plaintive sound of the duduk, a double-reed wind Wright intercuts a flashback of Mary tending to instrument popularized most notably by Elia Cmiral Jesus as an infant; the uncomfortably pornographic enough for everybody.” Of course it proves in his score to Ronin, is also thrown in for maximum aspect of this sequence aside, Debney does pull to be not so. effect, and if you like that kind of thing, then this will off a soul-stirring rising chord for duduk and double Aside from the surprise of be right up your alley. The problem, however, is that violin, about 1:45 into the cue, that makes my hair as Pontius Pilate, the major jolt at the end the elements that Debney incorporates have been stand on end. The flagellation sequence is need- is the angel, aka Satan, removing the nails so overused that they have no real weight anymore. lessly repetitive and overlong, but Debney scores from Jesus and accompanying him away Throughout we get an approximation of emotional it with such skill and subtlety that I’d argue that it from Calvary to the spectacle of wedded music, as opposed to the genuine article, which is a would be much less intense a sequence without it. bliss, featuring hot sexual action with Mary shame; Debney is clearly writing from the bottom of “Mary Goes to Jesus” is a more straightforward Magdalene, culminating in babies and a long his heart and the depths of his soul, but, paradoxi- cue with a slow build to an orchestral and choral happy life, before the fantasy is exposed as cally, his use of overly familiar musical tools keep his crescendo, this time showcasing an elegiac melody yet another Satanic temptation and Jesus music frustratingly grounded and pedestrian, instead for Mary and closing with a brief but piercingly lovely of genuinely transcendent. flute solo. It’s a more traditional cue than many of goes back to the cross with a synthesizer the others on the album, and it succeeds better at apotheosis. Among Peter Gabriel’s fascinat- THE FILM OPENS IN THE GARDEN OF GETHSEMANE, solid emotional release than “Peter Denies Jesus,” ing arsenal of sounds are African percus- and Debney’s cue, “The Olive Garden,” efficiently sets which is in a similar vein but proves less effective sion, Armenian duduk, Egyptian kanun, a tone of solitary dread; Tanya Tsarouska’s vocal gives when isolated from the film. drums, Brazilian percussion, bass , the sense of a lone voice of beauty atop a blanket of The driving “Peaceful But Primitive/Progression,” pennywhistle, Turkish ney flute, trumpet, dark electronic and orchestral textures. Percussion however, marks the score’s permanent detour into Egyptian percussion, Senegalese voices, takes precedence in “Jesus Arrested,” with the first of overkill. The scenes are of Christ dragging his cross , Hammond organ, keyboards, violin many appearances of a full chorus and an ascending throughout the city, and the thumping percussion and viol, Persian kamanche, a lone English melodic progression for Christ that’s echoed through- occasionally gives it the slightly inappropriate feel choir boy, and the final instrumental credit: out. One of Debney’s interesting choices can be found of an NFL highlight reel; the very martial forward- all other original recordings, drums, voices here; in this particular sequence, a Roman soldier’s march of the music tends to overshadow the ear is cut off during the struggle to arrest Jesus, and tragedy. By the film’s second hour, you’re sick of and keyboards by Peter Gabriel. the miraculous healing of his wound is scored not being hammered, but Gibson and Debney relent- with choral fanfares but with undulating, ethereal lessly shove onward, continuing to jam thunder- Jesus (1999) figures for the flutes and stringed instruments. Christ ing music of Big Importance down your throat. nother miniseries for television, this heals the soldier not as a display of defiance but as “Crucifixion” continues this trend; the cue booms one was directed by Roger Young, a gesture of infinite love; Debney skillfully suggests and crescendos in all the right places, but it tends Awith music by Patrick Williams. The the ultimate futility of the action but also does not to echo the film’s overreliance upon Grand Guignol scoring is actually interesting, but no one will forsake its narrative relevance in the process. horror effects. I’d argue that the film needed even ever know because of the awfulness of the Consequently, “The Stoning” (co-written with less such music (if any at all), but oddly enough, closing credits, which uses a song by the very Shankar and Gingger) takes a more streamlined the album presentation allows you a better emo- slightly gifted LeAnn Rimes, about which and impressionistic approach, underscoring one of tional experience than the film does. Divorced further comment would be a waste of time. the film’s most evocative moments, a dialogue-free from Gibson’s cartoonishly over-the-top visuals, the flashback to Christ’s rescue of Mary Magdalene from music’s variety and balance become clearer, with a Jeremy Sisto, who will be happily recalled death at the hands of an angry mob, with simple, much more coherent dramatic arc. as the hot boy lusting after the equally hot solitary figures for voice, flute and double violin atop (continued on next page) but totally uninterested Alicia Silverstone in Clueless (1995), plays Jesus in the version that

FILM SCORE MONTHLY 23 MARCH 2004 (continued from previous page) “Jesus Is Carried Down” underscores the film’s admittedly remarkable final moments, with Christ’s death preced- ing an earthquake and a stunning tears-from-heaven visual-effects shot. Percussive elements come back in “Resurrection,” a cue that works far better on the album than it does in the film; Christ’s resurrection plays more like the return of the Terminator HANGING AROUND NAZARETH: Old School brutality. JESUS LITE: Goldman, Messing and Sisto. than that of a savior. (You can hear nasty folk may hereafter refer to as the Dude, Where’s when the spear pierces Jesus’ side and the hapless the announcer now: “The Son of God’s My Loaves and Fishes? Jesus movie. You know that you Roman below is slathered in blood was the shower back, and he’s pissed! Sunday-Sunday- Sunday!”) The stone rolls back, a grim- are in deep trouble when the most persuasive char- of pig blood in Carrie. I thought that if Jesus had col- faced Yahweh sits up, and the drums acter in a Jesus movie is Satan, in this case played by lapsed one more time during the Via Dolorosa scene, start thumping away. It’s a weird way the brilliant and believable Jeroen Krabbé. In a novel I would have stood up in the theater and started to end a film about a man whose mes- twist for Jesus movies, Satan provides our Jesus with screaming, but I thought it rude to disturb the 11 sage was peace and unity; it suggests two views of the future, including Crusaders bear- people remaining in the theater from the original retribution instead of reconciliation. ing down on their enemies screaming, “In the name 14, three of whom left during the bloodletting. I even of Jesus Christ!” and World War I soldiers wearing stopped being angry when it occurred to me that if DEBNEY’S EFFORT IS AS MIXED gas masks shouting the same, presumably being the Romans beat Jesus this savagely, he would never a bag as the film it supports, and yet its English-speaking followers of Jesus. have had the strength to make it to Calvary for the album presentation reveals its complex- There are many felicitous touches throughout the crucifixion. I found myself yearning for the purity ities. This is often the case with many score, such as variations on a hymn-like tune, sus- (not to mention clarity) of Jerry Goldsmith’s dazzling film scores, but not often the case with Debney, whose music on album tained strings for the sermon on the Mount of Olives and terrifying “Black Mass” for The Omen (1976), one tends to be hit-or-miss. Audiences with a trumpet melody, clustered strings over a harp of the extremely rare pieces of music which conjures seem to appreciate Debney’s efforts, ostinato for Mary Magdalene, a Night of the Living Dead Satan in a recognizable image. though: The album peaked at #17 on variation for the raising of Lazarus, and a yearning Under the circumstances, the notes I took about Billboard’s Top 100, which is practically contrapuntal string version of the Last Supper. Aside Debney’s score during the screening of The Passion unheard-of for an album of orchestral from the inclusion of a cue from the Requiem by the of the Christ have no meaning except for me. I noted underscore. Then again, the movie, as prodigiously untalented Andrew Lloyd Webber, sung things like a high-pitched wind instrument floating of this writing, has earned over $300 by his slightly less untalented ex-wife, with the worst over massed strings punctuated by drums here, a million, which proves yet again that box- crowd scenes since Ross Hunter’s 1973 musical ver- wordless female choir there, brass emphasized by office receipts and artistic quality don’t sion of Lost Horizon, the memorable moments from percussion here, and massive choral forces over always go hand-in-hand. I’ve been wait- this version of the Jesus story include Jesus’ choos- drums there...for none of which can I blame com- ing a long time for a knockout Debney score, and I’d be lying if I said the wait ing his disciples like a high school athletic team, poser John Debney. But he was more than eager to is over, but there’s enough creativity complete with ridiculous lineup, and the Blessed take the job, and he had quite a few personal bouts and skill evident in The Passion of the Virgin Mary saying to Jesus, “Your father would be with Satan during the scoring of the movie (visit Christ to convince me that he’s got it so proud,” with his response, “Which one?” But best www.johndebney.com if you think I am making in him yet. Perhaps that’s the kind of of all is Jesus’ famous line: “Father, forgive them for this up!). thinking that keeps audiences coming they know not what they do,” followed by the chief In conclusion, I nominate God’s tears dropping by the thousands to pay for two hours invented bad guy, an actor named Livio, declaring, down upon the crucifixion from a great distance as of punishment; perhaps that’s how “We know exactly what we’re doing, Messiah!” one of the worst scenes in the history of movies. peace, joy and brotherhood continue to And as a former Latin scholar, I howl with laughter be ideals that we all, in our own ways, The Passion of the Christ (2004) at the stupidity of Mel Gibson and his supposedly strive for. Perhaps that’s the mystery e reach the end of this survey with the historically informed staff for their ignorance of Latin of faith. Jason Comerford can be reached via most hateful movie I have ever seen in pronunciation—for example, in all forms of the verb [email protected]. Wmy life: The Passion of the Christ, directed “dicere” which require a hard “c,” as in “k,” not the by Mel Gibson with music by John Debney. To that liturgical pronunciation of one thousand years later REFERENCES: rarefied list of classics of pornographic violence such (e.g., “dicat” pronounced “deetschat”). Or incorrectly Armstrong, Karen. Holy War: The Crusades and as Ilsa: She Wolf of the S.S. (1974) and Ilsa: Harem Keeper pronouncing “v” in “veritatem” as in “Volvo.” Or Their Impact on Today’s World. Anchor Books, 2nd edition, November 2001. of the Oil Sheiks (1976) we may now proudly add this Pontius Pilate’s “Ecce Homo!” (“Behold the Man”) Hofstadter, Douglas. Le Ton Beau de Marot: execrable Mel Gibson title. This is the ultimate cin- being rendered as “Etsche” instead of “Ekke.” I found In Praise of the Music of Language. Basic ematographic turn-on for sadomasochists who get myself briefly wondering whether Mr. Gibson had Books, 1st paperback edition, 1998. hard or wet watching endless slow-motion depic- the intelligence to hire an expert in the pronun- Meacham, Jon. “Who Killed Jesus?” Newsweek, tions of laughing Romans scourging a hard-bodied ciation of Aramaic, since he obviously did not with February 16, 2004. Tolson, Jay and Linda Kulman. “The Real Jesus.” young Hollywood actor into a bloody pulp, or who regard to Latin. In Leon Wieseltier’s review (see the U.S. News & World Report, March 8, 2004. achieve orgasm by witnessing more blood dripping New Republic of March 8, 2004), entitled Mel Gibson’s Statistics from the Ontario Consultants on in the general direction of the audience than Brian Lethal Weapon: The Worship of Blood, Wieseltier notes that Religious Tolerance, www.religioustoleranc De Palma imagined in his most excessive fantasies the Aramaic of Jim Caviezel’s Jesus is, like everybody e.org. prior to the final cut of Carrie (1976). My first thought (continued on page 48)

MARCH 2004 24 FILM SCORE MONTHLY The BRIDE Revisitedhen thinking back on the legacy of Universal classic “monster” movies from the 1930s and 1940s, we conjure images of Bela Lugosi as Count Dracula, Boris Karloff as the Frankenstein Monster, and Lon Chaney, Jr. as the Wolf Man. Another character from that periodW made a very brief albeit iconic screen appearance: the Bride of Frankenstein. Memorably played by Elsa Lanchester, the Bride came to life in the fi lm’s fi nal reel, only to be subsequently destroyed; however, The Bride of Frankenstein stands as one of the most lauded early horror fi lms from Universal. Directed by James Whale in early 1935, The Bride of Frankenstein was a long-rumored sequel to Whale’s 1931 landmark fi lm Frankenstein, which starred Boris Karloff as the Monster. In The Bride of Frankenstein, Karloff reprises his role, as does Colin Clive as the eponymous Dr. Henry Frankenstein. German composer Franz Waxman (1906– 1967) had been brought to the U.S. to score Music in the Air and Liliom in 1934, and Whale was so impressed with the music from the latter that he brought Waxman in to create the eclectic music for The Bride of Frankenstein. Of signifi cance was the fact that the original Frankenstein, like Dracula before it, contained very little music and virtually no original score whatsoever. For The Bride of Frankenstein, Whale intended to layer the movie with a combination of horrifi c and comedic elements essential to the fi lm’s themes. In the score for The Bride of Frankenstein, Waxman crafts a handful of leitmotifs into a full-bodied score built from simple yet apt melodies. Infl uenced heavily by the Romantic composers, Waxman uses certain themes as building blocks and develops Franz Waxman’s Music them with techniques rooted in traditional counterpoint and harmony. Juxtaposed Stands the Test of Time, against his rigid technique are futuristic synthetic-sounding timbres, as well as One Way or the Other theremins and ondes martenots. Though scored nearly 70 years ago, these electric By GABRIEL MILLER-PHILLIPS and SCOTT ESSMAN tones still produce the same eerie and foreboding affect they did when their sounds were novel. Their timbres complement

MARCH 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 MARCH 2004 perfectly the miscellaneous art deco gadgetry arpeggiating a major triad in such a way as to Invented in 1928, the electric organ could that brings Frankenstein’s Bride to life, and, suggest an army’s rousing bugle. A snare drum not have sounded old to Depression era like the mad scientists’ accouterments, these and lower register horn respond, but just as moviegoers; on the contrary, it had a futuristic shimmering, hyper-modern tones remain quickly, the sensibility of the music shifts as connotation. To modern listeners, however, its timelessly intriguing. The mix of Waxman’s the horns drop out, the rhythm changes, and a timbre is distinctly of the past, and the organ’s classical, compositional formality with what somber organ alternates for a stint between a antique tone gives it an eeriness beyond what were at the time new, ominous sounds reflects major and dominant chord. Suddenly, playful could have been originally intended. the angst of the film’s subtext—the clash woodwinds enter awkwardly on top of a In addition to the piece’s tenor, the minimalist between modern, amoral technology and carnival-like bass line of alternating fourths instrumentation and creeping minor melody pastoral, God-fearing traditionalism. and fifths. The time signature and tempo again help make the “Dance Macabre” ghastly. Heralded as a pioneering film both change unexpectedly in order to accompany Waxman uses ascending and descending cinematically and musically, The Bride of a flute’s slow, lackadaisical melody. The piece sequences to build tension—a tool that forms Frankenstein deserves its acclaim. For today’s continues in this disjointed and mickey-mouse the backbone of his compositional technique savvy horror fan, though, this film’s attempts way until its end. There is no climax to speak throughout the score. A wonderfully executed to frighten may come off as clownish. of, nor is there any connection between the segue brings in the Bride’s theme with the celli, The Monster, played by Boris Karloff, is various ideas. Although the soundtrack for this which is then played by violins and violas to the counterpoint of a xylophone that chimes Dr. Pretorius’ theme. These two melodic Some anachronisms lines interplay as though they were partners dancing; each theme takes on qualities of the work to the score’s other, subtly suggesting the coming together of advantage. The “Dance Dr. Pretorius and the Monster. The Themes Macabre” features a Most of the melodic material in the “Dance Macabre,” and in every other piece, derives hollow-sounding electric from three main themes that Waxman uses as the musical foundations of the score. The organ with an antique tone Monster theme, Pretorius theme and Bride theme are all introduced in the “Main Title.” that gives it an eeriness The Monster theme is simple yet powerful, a reflection of the character it accompanies. beyond what could have Consisting of five notes and one minor-third leap, this intimates the force of the been originally intended. famous four-note motive of Beethoven’s Ninth Symphony. The Pretorius theme shares similar rhythmic more a creature of pathos than of fiendish scene is of the program style, Waxman could figures—the quarter-note triplets and the half- intent. Though Whale treats the Monster have crafted the music less haphazardly. note downbeat—to the elaborated Monster sympathetically and makes clear that the Other examples of the score’s emotional theme. Its melodic line arcs downward and Monster’s aggression stems from his frustration disconnect can be blamed on its age and a jaded back over the span of an octave in contrast to at misunderstood attempts at friendship, the modern ear rather than on its construction. the Monster theme’s upward leap and return movie was intended principally to thrill and The whole-tone scalar runs that give the music of a minor third. These similarities, easily titillate, secondarily to amuse and comment. some of its spookiness are today camp; young audible, cleverly tie the two motives together To modern viewers, however, even the most are taught to recognize this dated just as Pretorius’ own fate becomes intertwined well-done scenes, foremost among them being sound as the so-called supernatural scale. with Frankenstein’s creation. the Bride’s creation, are appreciable for their In the same way, the theremin’s association The Bride theme is the only one with cinematic craft rather than for their horror. The with Ed Wood films and old horror flicks can melodic sweetness. The dissonant repetition film’s attempts at suspense and fear might not make its sound kitschy and takes away from of a wistful major-seventh interval is lightened translate well into this century. its power to frighten the contemporary ear. by harp glissandi, and, in counterpoint both Waxman’s score, as the standard setter and musically and personally to the Monster and Too Cartoony? archetype, must suffer the inevitable fate of his minor theme, the Bride’s theme resolves, To some degree, the same may be said for becoming part of the cliché it created. in perhaps too facile a way, to the comfortable elements of Waxman’s music. Though it is In some cases, the anachronisms in the score placidity of a major chord. brilliantly composed, scored and orchestrated, work to its advantage. The “Dance Macabre” Variations and expansions of these three at times it falls short on an emotional level. piece, which plays when the Monster has versatile melodies appear throughout In the piece “Bottle Sequence,” for example, his chance meeting with Dr. Pretorius in the whole score, and they provide the the music sounds ad hoc, and more like the the underground crypt, features a hollow- compositional material for every piece except soundtrack to a cartoon than to a horror film. sounding electric organ that brings to mind the delightful “Menuetto and Storm.” The This piece begins with a horn lightheartedly some cobwebbed attic in a sinister old church. minuet reflects the refined dignity of Mary

MARCH 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 MARCH 2004 Shelley as she prepares to tell her tale, and in Such omens come to fruition in the its closing piece, reveal Waxman’s mastery the same way that this scene does not integrate crowning movement and the climax of the of orchestration. He is especially adept at into the movie’s plot, so too is its music score, “The Creation,” when the Bride comes writing music to fit visuals—he effectively uses unrelated to the rest of the score. The imitative to life. thump a 4/4 rhythm in eighth ascending runs to represent the Bride’s lifting minuet with its lilting, charming melody notes, which suggests a beating heart, and its platform, for example—and the score musters and its cheery instrumentation begins like a unrelenting drone drives the music forward enough Sturm und Drang for the chaos of string quartet, but with each variation comes for the entire movement. As the storm brews these final scenes. Waxman relies too heavily another instrument: celesta, harp, bassoon, and the visual tension heightens through on sequencing in these longer pieces, though, and clarinet all contribute. Forebodingly, awkward camera angles and strange lighting, and the music’s infusion with filler episodic the minuet changes to a rococo agitato that the three main motives clamber over one runs can numb the ear. To its credit, the crescendos diminished harmonies alongside another in varied tempos, melodic inversions sequences’ melodic choppiness complements an ascending melodic sequence. The musical and instrumentations. As in a witch’s cauldron, the Monster’s singular mindset and plodding tension increases until the motive returns to the musical ingredients simmer and brew movements. As he lumbers about, each step once again warm the listener, if only briefly. To with increasing energy and fury, threatening an effort of coordination, the music’s bulky complement the storm, Waxman increases the to explode. instrumentation and melodic repetition make tempo and introduces chromatic dissonances While the Bride is lifted to the roof on a the listener feel dragged along, too.

to both the melody and accompaniment. metal platform, her theme repeats, each time The Upside-Downside As quickly as the storm comes, though, it with greater passion and richer orchestration. This ability of the music to mirror and express disappears and the minuet’s theme satisfyingly The Monster revives from his drugged slumber the goings-on in the film is its best quality. returns. Waxman has superbly woven together in a fury, and his re-entrance is coupled with The downside is that many of the pieces don’t the conflicting moods of the lighthearted his leitmotif, played straight at first, and then make sense without an accompanying scene minuet and ominous storm, and he has created snarled with the powerful dissonances that to fill in the narrative, and those pieces that a beautiful piece that is fluid yet programmatic define this movement. Chromaticism and do stand alone, such as “Menuetto and Storm” to the scene. drastic shifts in register perfectly complement and “Processional March,” aren’t engaging In contrast to the lilt of “Menuetto and the building tension of the scene’s sparking, enough to call the listener back for repeated Storm,” the “Processional March” that plays whirling machinery and demonically lit, hearings. The score is hugely successful as during the return of the apparently dead Dr. maniacal faces by creating a frantic energy not program music, but it fails to be independently Frankenstein to his castle is a plaintive elegy previously heard. valuable as symphonic music. Nevertheless, in B minor. The breathy horns, eerie piccolos At the moment of creation, the Bride’s theme the job it sets out to do, it does very well, and and tremolo strings create a tremendous climaxes triumphantly, and the timpani beat the score remains historically valuable for its effect, while quarter notes from the timpani rousing intervallic fourths that suggest the significance as a milestone in the genre of foreshadow the steady ostinato heard later Bride’s freshly electrified heart. When we are thriller music. in “The Creation.” Although the motive is presented with the Bride in her flowing white Franz Waxman went on to score Artwork Artwork ©1935, All 2004 Rights Reserved Universal. catchy and fits the mournful bill, the chilling wedding dress, faux matrimonial music replete numerous Hollywood films and picked Hungarian minor scalar runs played by the with celesta and chimes, and emboldened up Oscars for his scores for Sunset Boulevard theremin steal the piece. This scalar line soon with tutti brass, announces her readiness with (1950) and A Place in the Sun (1951). The Bride gets taken over by tremolo strings and plays a glorious, satisfying cadence that feels like the of Frankenstein was re-released by Universal underneath the Monster theme in a subtle and culmination of the entire score. Home Video as part of a Frankenstein Legacy

The Bride of Frankenstein ominous allusion to upcoming events. “Creation,” the score’s apex, and “Finale,” DVD package on April 27. FSM

MARCH 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 MARCH 2004 The RZA Makes His Own Breaks By John Allina subconsciousness, and the matrixness and Zen of life. Quentin Tarantino found the perfect musical complement for Kill Ghost Dog was a great education for me. I went and you know what Bill: Vols. 1 & 2 in the RZA—a hip-hop icon, who’s transferred his I studied? Peter and the Wolf. I studied that play, ’cause it’s sweet, shall we gift for haunting, lyrical beats to the world of feature film scores. say. And I watched how they used each instrument for a character. So Already, the RZA has been nominated for a Grammy and a BAFTA when you watch Ghost Dog Qfor his score in Kill Bill: Vol. 1.

when it first comes on, when you see a bird, you hear my flute [hums “do-do-doo”]. And then I brought in the hip-hop drums. I researched and realized there’s an art to it. The RZA is proof that hip- FSM: Wu-Tang Clan sampled from kung fu movies, and now you’ve hop culture has extended its reach to include scored both Kill Bill movies. What’s your interest in kung fu movies? mainstream Hollywood movies. In five short years, he’s racked up RZA: My love for kung fu movies is like my love for hip-hop clothes. credits on pictures directed by Tarantino, Jim Jarmusch and the upcom- Martial arts has been a right arm for me. No, maybe a left arm, cause I ing David Goyer film, Blade 3. give God the right arm. I love martial arts films, I love the Asian culture, It was a natural tie-in for the RZA to work on pictures full of kung fu I love the philosophy behind it. I love the cinematography of it. I love action and philosophy. The hip-hop group he produced, the famed Wu- the music. I know a lot of those movies by heart. If you ever see me Tang Clan, derives its very name from a mythical kung fu sword. acting [Coffee and Cigarettes, Ghost Dog, Scary Movie 3], I probably act more As FSM learned, the RZA’s film scoring days just might lead to stints like an Asian actor than an American actor. ’Cause I’ve watched these as a Hollywood director. movies, 20, 30 times apiece. I’m glad that Quentin did Kill Bill because he had Hollywood invest so much money into this genre. And I’m looking FSM: How would you describe your music? forward to being the next person to bring out a great martial arts movie. RZA: I wouldn’t personally describe it. I like to have the fans describe I’m looking forward to getting my turn. it, more than anything. Sometimes I like the critics to describe it. FSM: Were there any major shifts in the music from Kill Bill Vol. 1 to But they give me a hard run sometimes. But my roots are hip-hop. Kill Bill Vol. 2? Anything I do is founded in hip-hop. RZA: Yeah. Major changes. Kill Bill 1 had more needle drops in it FSM: Jim Jarmusch called you up to do the score for Ghost Dog. If he [songs] than part two. And also Robby Rodriguez [director, El Mariachi, hadn’t, would you have tried breaking into film scoring anyway? Once Upon a Time in Mexico, etc.] came onboard for Kill Bill 2. And this guy’s RZA: It was ironic when Jim called me, ’cause it was actually what a genius. I mean, you know his work as a director, you know his work as I was thinking about. I was starting my own movie at that time. I put a writer. Now you’re gonna see his work as a musician. I mean he’s play- up about 300 grand and shot my own short movie. And I was about ing guitar. He’s directing an orchestra. I basically programmed a lot of to start proposing music for it. So I was looking forward to doing that, music, and he took the music I programmed and had an orchestra play and then Jim, he came like an angel almost, ’cause it was like, “Wow, to my music. We’re gonna have a few unique moments in this film. somebody wants me to do what I want to do.” So it really was kind FSM: On Blade 3 (co-credited with ) did you play off of ironic, ’cause me and Jim both talk a lot about the consciousness, the scores in the first two movies, or completely go your own way?

MARCH 2004 28 FILM SCORE MONTHLY The RZA Makes By John Allina Clan) is the star of Soul Plane. And for me, it was like, RZA: I won’t say that we’re gonna imitate parts one and two, we’re how great would it be for Wu-Tang Clan and for our fans to come to His Own Breaks gonna really go left field. That’s the goal. Unless the studio turns it a movie and see Method Man star in it, but guess what, music by the around and takes a different path, the goal is to do something totally RZA. Wouldn’t that be a treat? I did that as a personal gift to the fans. left field. For Blade 3, first I just compiled ideas. And I’ll just give you one It was more like idea. I went to London, and I found Beth

Method Man got the part in the movie, which I didn’t know about. And I got the score, but it wasn’t a friendship Gibbons, the lead thing, it wasn’t a buddy deal. It was two qualified men for the job. I singer of Portishead. And I’m looking wanted people to see that Wu-Tang is a unit, as well as individuals; to use her voice as one of my instruments. I did that six that there’s so much strength there. So that’s why I did that one. weeks ago. And I also went to Jamaica, because I was thinking about bringing in some roots sounds. Blade is a black character, reggae is Composer Cred becoming more accepted in America, I think, and I just thought that FSM: Are there any film composers who’ve influenced your work? I could do something like that, you know, take a chance. So if the RZA: I’m one of those guys who watch movies with an open ear. So studio goes for it, it’s gonna be beautiful. But those are the kinds of I hear everything and see everything. But the people who stand out of ideas I’m thinking about. all time, of course, are John Williams, Hans Zimmer, and the Newmans. You look at something like Star Wars and Raiders of the Lost Ark, and He Auteur Know you’re dealing with a master doing that work. I got a lot of respect for FSM: What are some of the differences in how Jim Jarmusch, Quentin the Hollywood composers. I know they’re master craftsmen. If I could Tarantino and now David Goyer approach the music in their films? make a thing like John Williams, [hums the bars] do-do-do-dooo, Close RZA: Oh, super difference. Three great minds, with three different Encounters of the Third Kind... It’s like, Star Wars, I’d love to do something backgrounds. Quentin is very musically inclined. I like to call Quentin like that. a hip-hop producer who doesn’t like to use the equipment [laughs]. And as far as from the earlier community as they call it, I try and ’Cause he has a lot of records with a lot of great breaks in ’em. A lot of mold myself in the likes of the approach that Curtis Mayfield had with things that hip-hop artists would love to get their hands on. A lot of DJs Superfly and Claudine, the approach James Brown had with Black Caesar, in fact. Jim was more into the philosophy of what music brings about. and Isaac Hayes when he did Shaft. I also try and catch some of that And you see that in his movies. vibe, too. And as far as David, he basically said, “Give us some dope s**t.” He’s FSM: Do you eventually see yourself directing your own movies? not trying to act like he knows music. I don’t even know how musically RZA: That’s my personal goal. For the next phase of my life. You know, intuitive he is. But I know that he’s got a great piece of product here and I did the hip-hop thing, I did the touring, but I would love to cherry this he’s very keen on me and Terence doing the job. He can’t really express off with me being respected as a director. what he wants, but he hears it. Some people can’t explain it in words, FSM: What does the RZA mean? they gotta see it or hear it. RZA: Well, RZA is actually a title. It means someone who went all FSM: You’ve worked on movies with mythical, comic-book type char- around the world in search of things, and found it inside himself. acters. Are you looking to move in a different direction? Is that why you Sometimes you gotta look around everywhere. chose to work on Soul Plane? What’s the old saying? God asked man, “Where should we hide the RZA: The true reason why I chose Soul Plane was ’cause it was more like secret of God? We’ll hide it in the ocean. No, one day man will get a a statement for me. And I’ll give it to you. A lot of people were calling submarine, and go to the ocean. Let’s hide it on the moon. No, one day me to do movies right after Kill Bill: Vol. 1, and Method Man (of Wu-Tang man will get rocket ships, and go to the moon. Hide it inside himself. He’ll never look.” FSM

FILM SCORE MONTHLY 29 MARCH 2004 REVIEWS OF CDS SCORE

CLASSIC ★★★★★ GREAT ★★★★ GOOD ★★★ BELOW AVERAGE ★★ SCORE WEAK ★

Jerry Goldsmith at (well, it had to go somewhere). great accomplishments. Goldsmith (since horror movies work well 20th Century Fox The first real treat for collectors re-recorded this for Intrada in the with scary music, action movies ★★★★★ comes on disc three. No, it’s not late ’80s, but there are some fasci- work well with exciting music JERRY GOLDSMITH Chain Reaction (it would have been nating differences in performance and love stories work well with Varèse Sarabande VCL 0204 1028 nice to hear the unreleased bridge that make the original well worth romantic music), I think it took 6 CDs – 151 tracks – 7:01:07 chase from that score), although listening to. ’s Airplane! score arèse Sarabande’s announce- that, The Edge, Magic and the three Shock Treatment—is another lost to finally demonstrate that com- Vment of a six-disc set of Jerry Omen movies are included here. If gem, with elements of Freud and edies are actually funnier when Goldsmith music—three discs of you bought Varèse’s The Mephisto Goldsmith’s Twilight Zone scores the music takes the film seriously which were previously released, Waltz/The Other, you know that The combining in a gloomy, unset- (if not hyper-seriously). S*P*Y*S is and three of which consisted of Other was melded into a suite that tling musical landscape. Little a replacement score for a movie must-have, never-before and forces you to listen to three or remains of Fate Is the Hunter, a that somebody (correctly) deter- maybe never-again released four minutes of annoying carnival drama about an airplane-crash mined was not very funny, and music—both thrilled and infuri- music in between Goldsmith’s investigation, but Goldsmith’s since the movie itself couldn’t be ated fans. All of them wanted gorgeously wistful underscore; on main title is haunting and lovely changed, Goldsmith was brought to hear Damnation Alley, but few the new CD the score’s three best (although the chorus adds an in to provide a new score that wanted to pay $130 for music cues are available for the first time unusually dated aspect to it). would ostensibly punch up they already owned. Despite the individually. The Mephisto Waltz, For Von Ryan’s Express, Goldsmith the jokes. I can’t quite describe controversy, the set quickly sold one of Goldsmith’s most fascinat- did his own take on the jaunty, Goldsmith’s theme to S*P*Y*S out—and according to Varèse this ing works, remains a victim of indomitable little march Elmer except to say that it uses electron- will be part of a year-long cele- the elements that were available Bernstein wrote for The Great ics, has a chorus of voices saying bration of Goldsmith’s 75th birth- to assemble it originally, and with Escape, and while there’s some “S*P*Y*S!” and it made me want to day, so we could have a spec- the main title emphasizing some- broad comic music on display, go back and listen to Mr. Baseball tacular eight months ahead of us. thing like a theremin instead of a the final set of action cues show again. Since a Russian woman Since Goldsmith at Fox is a sellout, piano, this is a kind of alternate off the composer at his most figures prominently in the movie, this review is moot as a consumer interpretation of the score. stark and percussive. Goldsmith reworks a lot of the guide, but we can hardly ignore a It’s likely that disc four is going Goldsmith has unquestion- Russian music jokes from In Like release of this magnitude. to be the first one collectors ably mastered just about every Flint, although there is one cool I’m not going to belabor the pop into their players, and it’s a possible film genre, but it has cue late in the game (“The Buy”) first three discs—if you’re a beauty. First there’s Goldsmith’s to be said that comedy is not with eerie, hallucinogenic effects. Goldsmith fan you already have original recording of his “The his strong suit. In many of these If you’re looking for 19 minutes all this music, and if you don’t, I Artist Who Did Not Want to cases he tends to write “funny” of madcap, wacky, mirth-filled direct you to the FSM CD catalog Paint” prologue to The Agony and music. While this may seem agony, this is the score for you. for more than half of the mate- the Ecstasy, one of the composer’s clearly the correct approach While it’s been released on LP rial represented here. Suffice it (and on an unlistenable CD years to say that disc one matches up ago), The Chairman has long been Goldsmith’s big war scores (Patton, considered lost, and since it was Tora! Tora! Tora!, The Sand Pebbles and recorded in London it’s one of the Morituri) with his two Planet of last things I expected to find on the Apes films and the two Derek this compilation. The all-too-brief Flint spy spoofs. Disc two com- 13-minute suite starts off with a piles the composer’s westerns big surprise, a great little cue with (Take a Hard Ride, Rio Conchos, 100 a wonderfully aggressive, bouncy Rifles, Stagecoach and the woefully brass figure on top of one of the underrated Bad Girls) with some score’s main themes—this one appropriately “bucolic” (I love that was not on the LP. Goldsmith’s word) efforts like The Flim Flam tranquil love theme follows this Man, A Girl Named Sooner and Ace before the score moves into some Eli and Rodger of the Skies, wrapping of the composer’s coolest action up with Justine and The Stripper and suspense music, as the film

MARCH 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 MARCH 2004 REVIEWS OF CDS SCORE races toward its conclusion on the American tongue as if it’s Elvish), CLASSIC ★★★★★ Chinese border. The suite allows is a mixed-breed cowboy per- GREAT ★★★★ two of the climactic action cues suaded to run a 3,000-mile race GOOD ★★★ to finally be reunited, but there’s on his trusty mustang Hidalgo BELOW AVERAGE ★★ an incredible third cue as Gregory against the best thoroughbreds WEAK ★ Peck’s character squeezes under in the world. Unfortunately, the a barbed-wire fence, and after movie suffers from tone problems, hearing the previously unreleased at times trying to be earnest about SCORE music that opened the suite I was the plight of Native Americans, getting all sweaty hoping to hear and at others, just being a goofy that, but no dice—all the rest of cartoon (I swear, Hidalgo is only the pieces are from the LP, but believe that he only really enjoys composer conjured up a whole a voice box away from being Mr. in excellent mono sound. Here’s scoring movies like Rudy, but world with two notes in Alien, but Ed). James Newton Howard’s score hoping we haven’t heard the last when you listen to this amazing in some of these scores the effect suffers as a result. word on this score. music it’s impossible to believe seems to be marking time before The album starts brilliantly, The Detective is another lost gem, that the composer wasn’t having the interesting music shows up. with a quiet melody at the begin- and it makes an interesting coun- a ball writing it. There are echoes In this 12-minute suite, that point ning of “Main Titles,” which take terpoint to Contract on Cherry Street, of Twilight’s Last Gleaming (both doesn’t get reached for about five place during a rest bit of a horse a later film scored by Goldsmith, films involve nuclear missile silos, minutes, but The Vanishing’s action race. This piece of music and most also with Frank Sinatra as a tough after all), The Swarm and The Satan finale is fun stuff while it lasts. of the stuff during the American police detective. The Detective was Bug here, but most of this score, That’s seven hours of music, West portion of the film set up made in 1968, the same year while unmistakably Goldsmith, from 39 films—and this set defi- expectations that Howard may Goldsmith scored Planet of the doesn’t really sound like anything nitely leaves the listener hungry be taking an approach that dif- Apes—but ironically, with the pres- else he’s written. It’s a classic for more. A big salute to Nick fers from the Lawrence of Arabia ence of sitar and the semi-psyche- example of the composer writing Redman, Bob Townson, Michael notions many critics were hoping delic vibe of several cues, the score music for some imaginary better Matessino and Matthew Joseph he would avoid. Alas, the tempta- prefigures some of Goldsmith’s movie rather than for what’s on Peak for putting together one tion for Howard (or more likely Escape From the Planet of the Apes screen—Damnation Alley’s special of the most beautiful-look- director ) to quote writing. Of course Goldsmith effects and action stank on ice, ing, impeccably produced and Maurice Jarre’s Oscar-winning characterizes Sinatra with a mel- so Goldsmith provides all the incisively written soundtrack score once we land in the Middle low theme for muted brass, but energy and spectacle that’s lack- packages ever released. And, East was too great. Of course it The Detective boasts a thicker, cooler ing. The mood gets substantially finally, congratulations to Jerry doesn’t help that Omar Sharif sound than Cherry Street, with more low-key with Anna and the Goldsmith. I think it’s hokey to actually has a supporting role in at least a tip of the hat to the King, a pilot for a TV series that refer to Goldsmith as “Maestro” this movie and was directed to of Nelson Riddle. boasts one of the composer’s (but I won’t stop you from doing ham it up. The gestures toward contemporary most charming title tunes, kind so, gentle reader), but I’m per- Not that there’s anything effects (including the sitar) don’t so of an Oriental take on The Trouble fectly happy to call him “Genius.” I wrong with the middle section much date the score as they define With Angels. Goldsmith reprises a can’t imagine anyone else writing of Howard’s score. There just the coolness of the era. cue from The Sand Pebbles here, but seven hours of music with this aren’t many surprises. And, in The Alien suite is superbly put most of the score is a most wel- much variety, beauty, power and truth, where many casual listen- together and is all unreleased come addition to the composer’s sheer fascination—and it’s only a ers might point to Jarre’s score for stuff, including the original trademark mastery of Asian effects small sample of what he’s done inspiration, I find more traces of main title (the greatest music and textures (there’s also a hint of for us over the past four and a John Williams’ Indiana Jones scores. Goldsmith ever dismissed), the his gamelan-based music for The half decades. —Jeff Bond This is especially evident during subsequent hypersleep cham- Spiral Road). A Tree Grows in Brooklyn a chase scene (not on the CD) to ber cue, Harry Dean Stanton’s is more traditional but equally Hidalgo ★★★ 1/2 save a Princess in a walled city death scene (with music writ- touching and delicate, proving JAMES NEWTON HOWARD (this during a convenient break ten for this scene but removed that Goldsmith could get into the Hollywood 2061-62419-2 from the horse race) and “The and moved to the beginning of mind set of a lonely little girl from 14 tracks - 45:31 Trap,” which is the big ambush Ash’s attack on Ripley later in the Brooklyn as easily as he could hen I went to see Hidalgo, scene that includes cheetahs (or film), and the climactic “alien in characterize a giant carnivorous WI was expecting something similar large cats). Arabian music the closet” music with its insidi- cockroach for Damnation Alley. The akin to Seabiscuit, not Raiders of the is quoted, world voices are incor- ous, snake-charmer’s dance for Vanishing is another “lost” score, Lost Ark. And yet there was Viggo porated and the orchestra is in serpent, woodwinds and strings, chiefly because it’s one of the few Mortensen’s Frank T. Hopkins, full gear during the thrilling finale. one of many unused attempts to Goldsmith scores of the ’90s to with his cowboy hat, riding across All well done, and all predictable. get at what director Ridley Scott not receive a soundtrack album. the Arabian Desert, going through The good news is that the score was looking for. Disc six contains The hesitant, two-note gesture for a litany of adventures to survive CD is a fun ride and an enjoy- the big prize: Damnation Alley, the psychotic Jeff Bridges character booby traps and outrun the bad able listen. Typically, I find James another seemingly lost master- became the backbone of a few too guys. Mortensen, in full Aragorn Newton Howard’s action scores piece. Goldsmith would have you many later Goldsmith scores—the mode (he speaks the Native less exciting than his dramatic

MARCH 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 MARCH 2004 SCORE works like The Prince of Tides and married to the Silvestri The Emperor’s Club. Howard seems string motif. I absolutely love less invested in his action scores, this track, and the blast of evil but that doesn’t mean they can’t brass at the end solidifies it. “Hog be enjoyable albums. Chase Part 1 and 2” then present —Cary Wong a tour de force of action music in a decidedly non–Media Ventures Monster ★★ 1/2 style, with actual themes and BT emotional progression. Most DTS 1112 important, it sounds like music 15 tracks - 74:52 instead of someone hitting all irected by Patty Jenkins, the sonic angst by dropping hard “cool” drum loops (something that the keys on a sampling board at DMonster is lurid. In it, Charlize beats into the mix. Nevertheless, has plagued the latest Bond scores once for every exciting action on Theron plays an overweight the track still manages to works in particular). screen. Every possible beat gets lesbian prostitute who murders its melody to death. “20 Items” is about as close explored, every theme pirouettes men for money, survival, pleasure Soft, sedate, at times even to techno as the score gets, but about. A new heroic theme shines and love. Strangely, the film has pretty, BT’s score drifts like a it quickly fades away in favor throughout “Part 2,” flowing into enjoyed almost universal praise, handkerchief in the wind, dull- of strings and more traditional the main-title theme beauti- despite the thematic similarities ing the senses like a supersized percussion. A Silvestri-esque fully. Powell even proves to those it shares with other “gay killer” dose of NyQuil. Perhaps people descending motif complete with unwilling to take a chance on movies. That is, Monster manages who enjoy raves and ecstasy will sawing strings dances throughout Frankie Muniz that his Agent Cody to appeal to many of the same respond to it enthusiastically. The “Wolfe Pack” until breaking out Banks theme was cool when he all people who condemned Basic rest of us, however, are sure to into a triumphant burst that’s but quotes it 2:53 into “Part 1.” Instinct and The Silence of the Lambs rub our eyes and yawn. good enough to be a main theme gets for being homophobic. —Stephen B. Armstrong of its own. “Crystal Balls” returns a reworking for “I Don’t Arguably, much of the credit to the main-title theme, complete Remember,” which sounds almost for this acceptance and success Paycheck ★★★★ with obvious Bond-influenced like it could be an alternate layer belongs to Jenkins, who shot the JOHN POWELL brass punctuation and techno to Claudia’s theme from Interview picture in a standard, non-expres- Varèse Sarabande 302 066 535 2 underlay. Though techno elements With the Vampire. That’s not a slight sive manner, using conventional 14 tracks - 48:03 may date many scores down the to Powell—it sounds amazing. camera angles, subdued lighting nitially, I was upset to see that road (when some new element is “The Finger” flows from “Fait and an incredibly slow pace to IJohn Powell was attached to decided upon as being the “hip Accompli” and blasts out some arouse sympathy, rather than Paycheck, the latest film from John thing kids listen to”), I don’t think quick action music to make sure horror and disgust. No doubt her Woo. Not only was I anticipating that’ll be much of a problem here, the score leaves on an exciting decision to use BT’s restrained, another dreadful Woo synth- where the ideas are understated note before segueing into the emotive score helped to make the laden score, but the project and integrated. This approach—as placid denouement of “Rachel’s film less offensive, as well. seemed another step backward for opposed to pasting orchestral ele- Party.” This track brings back the Like Cliff Martinez and Paul Powell. Imagine my surprise when ments around a burly piece of main theme in string quartet Oakenfold, BT uses electric guitars, Paycheck’s lush orchestral score techno—avoids what essentially form, and is simply beautiful. and high-tech edit- blasted from my speakers. Not becomes a brawl between the This track has quickly become ing to create aural patterns that only does this music crack the music and a glorified click track. one of my all-time favorites; I float somewhere between sound techno/orchestral code that David It also helps that Powell is one will never be able to describe design and music. And though Arnold and Don Davis have failed person, with one idea of how how well the peaceful repeti- his work isn’t exactly annoying, to breach, but it also delivers the music should sound, rather tions and main theme seep inside it isn’t thrilling either. On a track something immensely entertain- than two composers fighting to and soothe. Its like Philip Glass, like “The Bus Stop,” for example, ing and infectiously hummable. have their sound win out. Or one except shorter and less repetitive. this émigré from the L.A. club Don’t be fooled—for about the composer against some keyboard This album has got to be the scene lays down a minimalistic first 1:20 of the “Main Title,” the jockey in a “versus”-style remix most pleasant surprise since theme with a subdued bass; then score sounds like it might just be battle. Hint, hint, if you haven’t Gigli—which, ironically enough, he reinterprets it over and over another sampled rehash...a glori- already gotten it. is another John Powell score to and over and over and over, using fied Face/Off. Then, lo and behold, “Mirror Message” barely fea- a Ben Affleck movie. If you’re a a multitude of instruments. And full strings erupt. The ensuing tures any noticeable material and fan of Powell, this one is a must- on “First Kill,” a showcase for the theme immediately echoes John ends up sounding like a sinister have. If you think all any Media “vielle a roue,” or hurdy-gurdy, Barry’s Bond scores, an obvi- take on the “Cave Waltz” music Ventures alumni can do is punch he constructs a simplistic, depres- ous choice for inspiration for an Powell did for Evolution. He even a drum loop, check this out. And sive rhythm that seesaws back espionage-style thriller, but it manages to get some kazoos in if you like David Arnold, but and forth, until electronic strains succeeds in a way David Arnold’s there at 2:35 (a Powell favorite wish he’d turn down the percus- seep in and tear the figure apart. Bond scores never did. Powell from his lighter scores such as sion mix so you could actually With “News on TV,” in contrast, relies far more on constructed Chicken Run and Agent Cody Banks). hear the 80-piece orchestra he he spares us for a moment from rhythm and melody instead of “Imposter” features arpeggiated bothered to record, this is for you

MARCH 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 MARCH 2004 SCORE as well. Kudos to John Powell—I The music itself is themati- heartbreak and eventually, reso- can’t take the damned thing out cally rich and diverse, easily one lution—and it’s stylistically miles of my CD player! —Luke Goljan of Newman’s top five scores, and away from “Spanish Heist.” arguably the best. It’s a master- So you should savor this CD for The Robe 50th Anniversary piece of the historical/biblical the exquisite moments it contains. Deluxe Edition (1954) ★★★★★ genre, and as such is brimming Revel in the effective four-chord ALFRED NEWMAN with marches, passion, lust, greed ostinato in pseudo-religious Varèse Sarabande VCL 1103 1025 and glory. We finally get the dra- orchestration in “The Prophecy,” Disc 1: 18 tracks - 53:53 matic and powerful centerpiece to or in the shifting textures and Disc 2: 18 tracks - 49:30 the score, “The Crucifixion,” which rhythms, the “wacka-chicka” elec- hate to read a review contain- did not exist among the elements tronics, and the blaring trumpets Iing the phrase “every serious available for the Arista CD and straight out of a David Arnold collection of film music should was the only track encumbered Bond score in “Sleeping Beauty.” contain ____”; everyone has differ- by dialogue and sound effects on While there are no overarch- ent tastes and will not necessarily the mono rerecording. It forges on ing themes to hold onto in Alias, find ____ essential. But in the case like a tragic yet hopeful funeral there is plenty to enchant, from of this new release of The Robe dirge, with Ken Darby’s choral moment to moment. (1953), every serious collection of arrangements adding consider- —Andrew Granade Golden Age music should, well, ably to the spiritual weight of the you get the picture. proceedings. Gothika ★ This is actually The Robe’s third On a lighter note, the song “The JOHN OTTMAN release on CD, and although Resurrection,” while having been Varèse Sarabande 302 066 520 2 it is the best, it may not be an sung with reverence by Carole 15 tracks - 49:51 essential purchase for those who Richards to a sparse accompani- sible for almost all of the music ears ago, I was upset when have an earlier edition. The first ment, contains what must be the in the first two seasons of the YJohn Ottman got kicked off album, also on Varèse, was a most awkward word to sing in hit Alias, a show that offers a Halloween: H20, but when I finally straight reissue of the original LP, the English language: “sepulcher.” lot of scoring challenges. Varèse heard the rejected score, the pain itself a mono rerecording made If you’ve heard this track you Sarabande’s release of this com- went away. I began to under- by Newman after the film’s suc- know what I mean. This limited pilation album showcases why stand that John Ottman cannot cessful opening. The second CD, release (1,500 copies) is recom- Giacchino has received so much write horror music. Between the released on Arista/Fox Music, was mended, and sadly, officially sold acclaim. In the liner notes, J.J. rejected H20, Urban Legend 2 and a two-thirds-complete release of out. Watch for stray copies! Abrams, Alias’ creator, writes now Gothika, he has proven that the original film tracks, mostly in —Darren MacDonald that Giacchino’s music is pitch he simply cannot wrap his mind stereo. This album features the perfect, that in “adopting the around what it takes to scare entire original score as recorded Alias ★★★ 1/2 style and instrumentation of the an audience with music. He can for the film, and could only have MICHAEL GIACCHINO various international locales vis- write pretty music and slightly been made better by including Varèse Sarabande 302 066 521 2 ited on Alias, Michael performs odd music—even loud, obnox- the tracks from the mono LP as a 26 tracks - 65:10 a miracle.” Abrams touches on ious music...but none of it sounds bonus (a Super Deluxe Edition?). elevision composers rarely what makes this recording so scary. Indeed, much of it grates on As it stands this is a superla- Thave the luxury of develop- fascinating, and occasionally the nerves rather quickly. tive album, remastered mostly ing themes over a large canvas, frustrating; Giacchino is a mas- Ottman also seems to relish from different and better-pre- as film composers like Howard ter at helping the audience live falling into the pitfall of extremely served multitrack elements than Shore and Don Davis have been in the moment, deftly switching obvious temp-tracking. As an edi- were used on the Arista CD (and able to do over the past few years. from style to style. Therefore, the tor and director, he has become Nick Redman, producer of both Music written for television is movement from track to track too reliant on his temp scores, at albums, explains in the detailed often even more rushed than that becomes slightly schizophrenic, times behaving a bit like a fledg- liner notes why these higher for film scores, and cues tend to and can be dislocating to a casual ling band and creating music that quality elements were legally be shorter and more disparate as film-score listener. Consider the sounds like a lesser version of unavailable at the time) for supe- commercials constantly intercede. move from “Spanish Heist,” one of another composer. Even though rior sound and about 30 minutes Television composers have a dif- the disc’s best tracks, to “Double the first few moments of Gothika of extra music. A couple of tracks ferent, but equally challenging Life.” “Spanish Heist” conjures a tease with the promise of creepi- feature minor distortion and job. They must write music that Mexican locale with castanets ness, it turns into another Snow one has significant damage, but helps the audience live in the and flamenco guitar intertwining White: A Tale of Terror, because here, most are in brilliant stereo, mixed moment, no matter where that over a pulsing beat, with a vocal too, the first five seconds are the down to perfection by Michael moment may be. This is more dif- line occasionally embellishing the best part of the score. Right after Matessino from the multi-track ficult on certain shows, where the top. It is followed by the lyrical that, the Dune theme is quoted stems. Much appreciation must composer must be able to jump “Double Life,” in which Jennifer verbatim, followed by the Die Hard be given to producers Redman, between widely disparate styles at Garner’s Sydney Bristow contem- theme 1:55 in. “First Escape” Robert Townson and their hard- the drop of a hat. plates her role in the world as a (2:53 in) and “Willow Creek” (3:20 working team. Michael Giacchino is respon- spy. It’s a cue full of indecision, in) hint at the blatant rip of Aliens

MARCH 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 MARCH 2004 SCORE that erupts in full glory 1:15 into history of the American musi- “Revelation.” And while “I See Dead cal theater than the instrumental Kids” sounds decidedly Elfman- introduction to Gypsy. The circus- esque, what should we expect after like aspects of show business, “You’re Next” has already quoted Rose’s dazzle-or-die determi- the main theme from The Frighteners nation and the desperation of right at the start? Unlike Ottman’s the mother-daughter disunion work on X-2, where he unabash- at the center of the story are edly stole the theme from Lifeforce, all orchestrally in evidence. As then built an incredible score arranged and conducted by Frank around it, Gothika never surpasses Perkins, the movie’s overture is its source material. To hear Merman belt “I had a is one of the most eagerly antici- in some ways more vibrant and Other than the first track, the dream...” as she launches into pated numbers in the score and commanding than its theatri- only marginally interesting bit of “Everything’s Coming Up Roses” the presentation here is some- cal equivalent. Equally sublime music appears in “Recollections” is undeniable proof that there is a thing of a letdown—not only is the Warner Brothers Studio and “The House/Dream,” which God and she was born in Astoria, are the seams showing on the Orchestra’s sizzling accompani- boast interesting vocal textures Queens, in 1908. Kirk-Russell patchwork but Kirk’s ment of Natalie Wood’s reprise and ethereal glissandos. But none Although Merman was inexpli- subbing seems too sluggishly of “Let Me Entertain You.” As of it really creates any definitive cably passed over for the movie paced to project the requisite fire burlesque goddess Gypsy Rose mood, meandering about aim- of Gypsy, her volcanic spirit hovers necessary for the quintessential Lee, Wood’s hopeless attempts lessly. Considering how loud and over the film like a furious specter. “get outta my way” anthem. On at vocalizing are ironically on raucous it can be at times, this The controversially cast Rosalind the poignant and winsome side target in underscoring her char- score is surprisingly forgettable. Russell, a consummate talent in of things, Kirk is far more effec- acter’s discomfort as she’s cruelly This is especially the case with the her own right, gamely tries her tive with two endearing Styne- exploited by the unrelenting Rose. main theme for Miranda, where best as Jack Warner’s Momma Sondheim ballads, “Small World” This remastered release also Ottman phones it in with another Rose, wisely relying on her sub- and “You’ll Never Get Away retrieves (at last) the memorable wandering piano melody over lime comedic abilities to carry From Me.” When Merman was “Together Wherever We Go,” soft vocals. her through. The vocal demands subtracted from Gypsy, her sonic- which was deleted from the Ottman’s music may (or may of the role were far beyond boom chutzpah was forfeited but release print in an effort to shave not) have perfectly matched Halle Russell’s range, however, and the a certain warmth and humanity a few minutes from the picture’s Berry’s exploits on screen, but it star wasn’t completely forthcom- was regained. As Rose savors the running time. It’s puzzling why sure as hell isn’t worth paying ing in her 1977 memoir Life Is a words “small and funny and fine” this ditty was deemed expendable attention to on CD. —Luke Goljan Banquet when she wrote, “That’s at the conclusion of “Small World,” as Russell, Wood and even the Roz, and nobody else, as Rose on Kirk is arriving at a genuine emo- woefully miscast Karl Malden are Gypsy (1962) ★★★ the soundtrack of Gypsy.” What tional discovery whereas Merman all in peak comedic form. JULE STYNE and cinema audiences and soundtrack (on the original Broadway cast The cover of the liner notes STEPHEN SONDHEIM devotees actually heard was an album) is still steamrolling. booklet is graced with the original Warner Bros./ amalgamation of voice double “We can say she wore black- poster art and not the garish col- Turner Classic Movies Music Lisa Kirk (mostly) and Russell and-white pumps and that’s lage featured on the jacket of the 22 tracks - 69:56 (very sparingly). about it,” is how Arthur Laurents, original LP issue. All things said ’ve had to listen to boys in Unlike Marni Nixon, who the author of Gypsy, has glibly and done, this adaptation of Gypsy IGreenwich Village piano bars loaned her lilting soprano to dismissed Russell’s performance wasn’t the four-star classic it could bitch about this one for years. Deborah Kerr for The King and in the film. A handful of unadul- have been but it’s certainly not Now I’m going to exact a bit of I and Audrey Hepburn for My terated Roz vocals are collected the devastating catastrophe that artistic revenge and tell the world Fair Lady, Lisa Kirk (1925–1990) at the conclusion of this Warner some boys on their third vodka how I really feel: I don’t think hasn’t received nearly the same Bros./Turner Classic Movies Music stinger would have you believe... there’s much wrong with Warner attention for her own ghost belt- edition of the soundtrack and the How do you like them egg rolls, Brothers’ splashy 1962 film adap- ing achievements. Hand-picked painful quality of most of these Mr. Goldstone? —Mark Griffin tation of the 1959 Broadway by Cole Porter to originate the tracks would seem to validate musical milestone Gypsy. Before role of Lois Lane in the original Laurents. However, that gorgeous One From the Heart (1982) I’m stoned in the streets by Broadway production of Kiss Me nervous breakdown known as ★★★★ legions of fanatical Ethel Merman Kate, Kirk enjoyed a successful “Rose’s Turn,” inspires Russell TOM WAITS admirers, I will readily acknowl- career as a nightclub chanteuse to previously unscaled heights Columbia/Legacy/Sony CK 85813 edge that The Merm’s indelible and Great White Way favorite. and she earns her rightful place 14 tracks - 50:18 interpretation of the unstop- It’s unclear whose idea it was to in the National Diva Registry by he music for the quirky Francis pable Momma Rose is justifiably use Kirk for the Gypsy dubbing, fully committing to a spirited and TFord Coppola film One From the worshipped. Ethel’s overbearing but she produced a respectable impassioned delivery. Light the Heart is in effect a “songtrack,” but stridency perfectly conveyed the though never truly electrifying lights, indeed. one made up of material written ferocious ambition and roaring Rose Hovick. For my money, there is no specifically for this movie. Tom angst of the ultimate stage mother. The invigorating “Some People” more exhilarating overture in the Waits’ score was nominated for

MARCH 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 MARCH 2004 SCORE an Oscar in 1983 (along with the score available in such fine sound, lowed by the remarkable “Moto Ralph Burns adaptation of Annie, and with two previously unre- Perpetuo,” which brings the disc with both losing out to Mancini’s leased cuts. Incidentally, there are to a satisfying conclusion. All the Victor/Victoria). The CD is filled with occasional sound effects added selections are well performed and songs featuring both Tom Waits in at the end of tracks—none are extremely close-miked, with pre- and Crystal Gayle. particularly distracting. cious little hall ambience. The opening montage sequence Perhaps today’s generation, For those who do not speak is a dynamic jazz number that fascinated by the likes of Moulin Italian, DigitMovies has gra- reveals the amazing artistry of Rouge, will be interested in One ciously included a translation Ms. Gayle with Waits’ own vocals From the Heart, an unusual film in of Morricone’s comments in the providing a fantastic rougher its own right. A double-disc DVD booklet. Unfortunately, these don’t contrast. Accompaniments include set is being released concurrently. (1969) all the way to The Legend of offer any additional information a variety of jazz mini-combos as The CD is filled out with a music 1900 (1998). The “Four Studies” for on the music. Still this is a fine well as fuller orchestral arrange- video. —Steven A. Kennedy piano will catch some Morricone disc that illustrates the many faces ments. Shelly Manne and trum- fans off guard. They’re harsh, dis- of this master composer. —S.A.K. peter Jack Sheldon also make La Leggenda della Pianista and sonant musical expressions of This limited edition disc available at an appearance or two, lending other Music for Film ★★★★ contemporary, atonal piano writ- www.digitmovies.com. even more class. The more you ENNIO MORRICONE ing. The same goes for the “Rag hear Gayle’s vocals, the more you DigitMovies CDDM006 Frantumi” (1988). These are in wild L’Anima Gemella ★★★ 1/2 notice some of the roots of Norah 24 tracks - 73:18 (22 tracks; contrast to the thematic selections PINO DONAGGIO Jones’ style. Not all of the songs 2 commentary Tracks: 10:02) from Love Affair (which sound like DigitMovies CDDM012 are “great,” but then again, there hen the phrase “recorded the published version available 17 tracks - 39:21 are spots in Victor/Victoria and Annie Wlive” appears on an Italian in recent sheet music collections) ergio Rubini’s L’Anima Gemella that drag as well. There is cer- production, it generally sends and Cinema Paradiso. Sdebuted at the 2002 Venice tainly enough to maintain interest shudders down one’s spine. La In addition to selections from Film Festival. It never received a throughout the variety of ballads Leggenda is a live piano concert Cane Bianco, Stark System and other wide release but did garner critical and instrumental arrangements. recording from 1998 featuring films less familiar in the U.S., there praise in Italian film circles. Pino Taken as a whole, there are many Gilda Butta (who played on The are five tracks devoted to the Donaggio, who has been wonderful moments that build Legend of 1900 soundtrack) per- aforementioned The Legend of 1900. especially busy with television slowly across the span of the disc. forming music from a variety of The exquisite “Playing Love” gets a miniseries projects, somehow It’s especially nice to have this Morricone films from Gott Mitt Uns show-stopping performance, fol- (continued on page 43)

is to its benefit. The section on viewpoint. There are a number Gabriel Yared’s THE ENGLISH PATIENT: Yared’s scoring style includes some of identified themes that are dis- A Film Score Guide ★★★ basic discussion to whet the appe- cussed in terms of their placement Heather Laing tite for the later exploration of The throughout the film. This is coupled English Patient. There are several with some brief discussion of Scarecrow Press, 2004 brief sections given to music theory. orchestration. 194 pages, $34.95—hardcover Strangely absent was a discussion The supplementary material of key relationships and Yared’s use will be of use to those interested WITH SO MANY GREAT FILM SCORES TO of rhythm. The latter is especially in further exploration of research. research and discuss in academia, it boggles the unfortunate given his interest in Appendix A provides a filmography mind why this least interesting of Yared’s scores Baroque forms and their use in the that should be titled as “selec- from a mind-numbing film was the first choice to film. Where the text suffers most tive”: it starts in 1980, missing kick off what appears to be a series of film music is in its musical discourse, though Yared’s score for the 1974 film guides from Scarecrow Press. Perhaps it’s because there are flashes of attempts at seri- Miss O’Gynie et les Hommes the score did receive 1997’s Oscar and Golden ous musical analysis. The analysis Fleurs; television work is omitted Globe awards despite hefty competition in an of the music in reference to specific from the list; and recent projects excellent year for film music. It proved to be a turn- film scenes fares better but seems are not included. There are also ing point in Yared’s own compositional career even less academically informed. some dating problems; for example, Possession if it did immediately relegate him to other proj- It is in the central chapter that Laing’s schol- was released in August 2002 but is listed in the ects of a similar nature. Still, there is something arship shines best as she traverses a historical filmography as 2001. There are a few other dis- mesmerizing about his score to Minghella’s 1996 discussion of the themes and elements of the film. crepancies in the list that could be addressed with adaptation that perhaps lends itself to further dis- Since the chapter makes up roughly a quarter of an explanatory paragraph on how the films are cussion. Laing’s treatise is additionally informed by the written text, it levels the general impression dated. Appendix B’s list of awards and nominations personal interviews with Yared and access to the that the musical side of the book gives. The orga- is equally hard to follow. The bibliography is sub- film’s written score. The chapters are laid out like nization of the material is well thought out and stantial and helpfully categorized by subject area. a dissertation, with a discussion of Yared’s musical is accomplished in such a way that even those The annotated notes are helpful in directing further background, his scoring techniques, the film itself, unfamiliar with academic explorations will find the commentary on particular issues raised in the text. narrative, and of course the score. discussion interesting and informative. The chap- The hefty price is difficult to justify for such The biographical chapter is written more in the ter on narrative is entertaining reading and good a slim volume. This text is recommended for its style of a colloquial research report than a more film analysis. It is unfortunate that the exploration general analysis of the film, less so for the musi- academic encyclopedic or biographical style. That of the score is written from a primarily thematic cal analysis. —S.A.K.

MARCH 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 MARCH 2004 We’re pleased to offer hard-to-find, unusual soundtrack-related products, including: Exclusive CDs; Books for music lovers; Books for composers; One-of-a-kind collectibles; and more! Order online, by phone or by mail: see contact info below. All CDs are $19.95 plus shipping & handling unless otherwise noted. FSM marketplace  Vol. 7, No. 6  Vol. 7, No.5 The Shoes of the Fisherman The Swan ALEX NORTH BRONISLAU KAPER Film released: 1968 Film released: 1956 Studio: M-G-M Studio: M-G-M Genre: Political Thriller Genre: Historical Drama Silver Age Classics Golden Age Classics • CD released: April 2004 CD released: April 2004 Stereo • 49:54 Stereo • Disc One: 77:09 • Disc Two: 74:50 The Swan was Grace Kelly’s penultimate film, in a role FSM’s premiere 2-CD set features the complete, massive that eerily foreshadowed her own destiny as Princess underscore on disc one, remixed and remastered; Disc Grace of Monaco. This premiere CD features the com- two collects source and alternate cues, plus demo tracks plete, original soundtrack remixed from three-track from Ice Station Zebra (9:47) and the complete LP record- masters in stereo, as well as brief monaural passages ing of Where Eagles Dare (40:39), all in stereo. $24.95 recorded originally for The Swan’s LP. $19.95

 Vol. 7, No. 4  Vol. 7, No.3  Vol. 7, No. 2  Vol. 7, No.1  Vol. 6, No. 21  Vol. 6, No. 20  Vol. 6, No. 19 Logan’s Run (TV Series) Diane Khartoum/Mosquito The Prisoner of Zenda Where Eagles Dare/ Moonfleet McQ LAURENCE ROSENTHAL, MIKLÓS RÓZSA Squadron ALFRED NEWMAN Operation Crossbow MIKLÓS RÓZSA ELMER BERNSTEIN et al. Film released: 1956 FRANK CORDELL Film released: 1952 RON GOODWIN Film released: 1955 Film released: 1974 Telecast: 1977 • Studio: MGM Studio: M-G-M Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Studio: Warner Bros. Genre: Science Fiction Genre: Historical Drama Studio: United Artists Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Genre: Police Thriller Silver Age Classics Golden Age Classics • CD Genre: Historical Epic/WWII Golden Age Classics Genre: WWII Espionage Golden Age Classics Silver Age Classics CD released: March 2004 released: March 2004 Espionage CD released: February 2004 Silver Age Classics CD released: January 2004 CD released: November 2003 Stereo • 78:55 Stereo • Disc One: 71:36 Silver Age Classics Mono • 58:21 CD released: January 2004 Stereo • 77:11 Stereo • 49:24 This short-lived TV series Stereo & Mono • Disc Two: 77:43 CD released: February 2004 This colorful remake of the Stereo • Disc One: 74:04 A moody tale of smug- borrowed props and ideas Lana Turner’s final film at Stereo • 78:55 1937 swashbuckler sports Disc Two: 78:37 glers directed by Fritz Elmer Bernstein combines from the feature film, with M-G-M gets a lush score of Two military-themed scores a robust adaptation of A 2-CD presentation of two Lang. The score is richly his traditional symphonic new music by Rosenthal, beauty and grace. Disc one on one CD: Khartoum (41: Newman’s original score classic scores: The entire melodic with a particularly approach with ’70s Bruce Broughton, Jerrold presents the underscore; 46) is a sweeping epic with (by Conrad Salinger). The underscore (not the LP lovely main theme. FSM’s for a unique, swagger- Immel (Dallas) and Jeff disc two includes alter- British and Arabian colors; score is brimming with re-recording) from Where premiere album release ing sound. This premiere Alexander. Includes suites nates and source cues Mosquito Squadron (37: 08) Wagnerian leitmotifs for Eagles Dare, and the pre- includes the complete album release includes the from all nine episodes of (57:45), plus unreleased includes aggressive action the major characters, and a miere release of Operation score plus numerous alter- complete score from the original music, remixed material from Plymouth writing and a noble, patriot- rousing underscore for the Crossbow, plus source and nates and source cues. original scoring elements. from three-track masters, Adventure (7:48) and ic theme. Both scores from climactic duel. $19.95 alternate cues from Eagles. $19.95 $19.95 in stereo. $19.95 Moonfleet (12:10). $24.95 stereo LP masters. $19.95 $24.95

 Vol. 6, No. 18  Vol. 6, No. 17  Vol. 6, No. 16  Vol. 6, No. 15  Vol. 6, No. 14  Vol. 6, No. 13  Vol. 6, No. 12 On Dangerous Ground The Man From U.N.C.L.E. The Brothers Karamazov Wild Rovers The Cobweb/ Hawkins on Murder/ Toys in the Attic BERNARD HERRMANN Vol. 2 BRONISLAU KAPER JERRY GOLDSMITH Edge of the City Winter Kill/Babe GEORGE DUNING Film released: 1952 JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 LEONARD ROSENMAN JERRY GOLDSMITH Film released: 1962 Studio: RKO Films broadcast: 1973, ’74, ’75 TV Produced: 1963-67 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Studio: United Artists Genre: Film Noir Studio: M-G-M Studio: M-G-M Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Genre: Southern Family Drama Golden Age Classics Genres: Crime, Biography Genre: Secret Agent Golden Age Classics Silver Age Classics Golden Age Classics Golden Age Classics CD released: November 2003 Silver Age Classics Silver Age Classics CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 CD released: July 2003 Mono • 48:24 CD released: July 2003 CD released: Oct. 2003 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 Stereo • 70: 27 Stereo • 77:24 Mono • Disc One: 77:54 A rich and varied score for One of Duning’s greatest Herrmann’s only film noir Two early scores by one Mono/Stereo Disc Two: 76:29 one of the greatest works A favorite score gets the Three TV movie scores: scores (and one of his of cinema’s most distictive runs the gamut from furi- Because you demanded in literature—composed by deluxe, definitive treat- Hawkins (16:51) is a few on CD) is sensitive, voices: The Cobweb is the ous chase music to heart- it: Another 2-CD set of the one of the novel’s greatest ment from FSM: This CD courtroom drama featuring rich and melancholy as first 12-tone score for mov- felt warmth. Presented in classic TV series scores, fans. Kaper draws upon includes the never-before- Jimmy Stewart; Kill (17: befits the tangled personal ies; this release features complete, chronological including music by Fried, Prokofiev, gypsy melodies released film recording 58) is a dramatic pilot for relationships of the film. CD the complete score in order with a bonus suite of Shores, Riddle and more. and his natural gift for dra- (39:47); the expanded LP Andy Griffith; Babe (26: features album sequence stereo (36:41). Edge of the rehearsal outtakes. NOTE: Two unused versions of the matic writing to create a recording (35:59); plus 41) is the Emmy-winning from Citadel LP followed by City is a reprise of the thrill- This CD was produced theme and music from the classic soundtrack. $19.95 bonus vocal tracks, all in story of Olympic star Babe bonus tracks. $19.95 ing mono suite originally from acetate recordings of feature films are included. stereo. $19.95 Didrikson Zaharias, plus $24.95 released on LP. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 6, No. 11  Vol. 6, No. 10  Vol. 6, No. 9  Vol. 6, No. 8  Vol. 6, No. 7  Vol. 6, No. 6  Vol. 6, No. 5 The Appointment Our Mother’s House/ The Adventures of Soylent Green/ Knights of the Round All Fall Down/ Green Fire/ MICHEL LEGRAND, The 25th Hour Huckleberry Finn Demon Seed Table/The King’s Thief The Outrage Bhowani Junction JOHN BARRY GEORGES DELERUE JEROME MOROSS FRED MYROW/ MIKLÓS RÓZSA ALEX NORTH MIKLÓS RÓZSA & DON WALKER, Films released: 1967 Film released: 1960 JERRY FIELDING Film released: 1953/1955 Film released: 1962/1964 Film released: 1954/1956 STU PHILLIPS Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Studio: M-G-M Studio: M-G-M Film released: 1969 Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure/ Genre: Drama/Western Genre: Adventure/Drama Studio: M-G-M Silver Age Classics Golden Age Classics Silver Age Classics Swashbuckler Silver Age Classics Golden Age Classics Genre: Drama CD released: June 2003 CD released: June 2003 CD released: May 2003 Golden Age Classics CD released: Apr. 2003 CD released: Apr. 2003 Silver Age Classics Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 CD released: May 2003 Stereo • 52:54 Stereo/Mono • 79:20 CD released: June 2003 Our Mother’s House (31:18) A giant of Americana scor- Stereo • Disc One 70:31 Two complete scores by Green Fire (51:04) is an Stereo • 77:06 Two ’70s sci-fi scores on is the story of orphans and ing writes a bouncy, rich Disc Two 78:21 the great Alex North: All adventure set in Colombia A tale of obsessive love fea- one disc: Soylent Green their deadbeat dad; The score for Mark Twain’s clas- Knights (86:25) is the Fall Down (38:24) is hushed, with a gorgeous symphonic tures music by a quartet of (40:21) features a mix of 25th Hour (27:31) follows sic tale. Originally planned complete film recording of sweetly jazzy score to main theme; Bhowani noted composers: Legrand pop, classical and avant- one man’s tragi-comic as a musical, our CD Rózsa’s thunderous, epic family/coming-of-age Junction (27:52) is a (18:59); Barry & Walker garde sounds; Demon journey during WWII. Both includes snippets of songs score, including bonus drama. The Outrage (14:29) politically charged romance (26:19); Phillips (31:48). Seed (39:28) is a wild blend delicate, melodic scores in the score as well as rare tracks; Thief (56:47) is a is spare music to western sporting indigenous, “world- Remixed from the original of the electronic and sym- are remastered in stereo. demos. $19.95 rousing swashbuckler in remake of Rashomon. music” source cues. $19.95 masters, it’s a one-of-a-kind phonic. Stereo with mono $19.95 the Korngold mold. $24.95 $19.95 trio. Special price: $16.95 alternates. $19.95

 Vol. 6, No. 4  Vol. 6, No. 3  Vol. 6, No. 2  Vol. 6, No. 1  VOLUME 5, NO. 20  Vol. 5, No. 19  Vol. 5, No. 18 THX 1138 Home From the Hill Ice Station Zebra Plymouth Adventure Never So Few/ Tribute to a Bad Man The Man From LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA 7 Women MIKLÓS RÓZSA U.N.C.L.E. Vol. 1 HUGO FRIEDHOFER/ JERRY GOLDSMITH, et al Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 Film released: 1956 Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M ELMER BERNSTEIN Studio: M-G-M TV Produced: 1963-67 Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Film released: 1959/1966 Genre: Western Studio: M-G-M Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: M-G-M Golden Age Classics Genre: Secret Agent CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Genre: WWII/Drama CD released: Jan .2003 Silver Age Classics Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 Silver Age Classics Stereo • 50:30 CD released: Dec. 2002 Mono • Disc One: 77:05 George Lucas’ first film is a Vincente Minnelli’s excel- This ’60s Cold War nailbiter Miklós Rózsa’s mag- CD released: Jan. 2003 Rózsa’s rare western is Stereo • 73:46 Mono/Stereo Disc Two: 76:08 startlingly original vision of lent Southern family drama is enhanced by Legrand’s nificent historical music sweeping, full of melody, a dystopian future. Schifrin is highlighted by a master- offbeat, epic scoring for for the 1620 voyage of the Two Asian-flavored clas- and flecked with the America’s first hit spy TV adds a fascinating score ful score by Bronislau orchestra. Remixed for Mayflower, from his most sics: Never So Few (42: brooding melancholy series features varied, ranging from avant garde Kaper, weaving together superior sound, and rese- fertile period of epic scor- 18) blends action and expected of a mature jazzy, high-energy music. soundscapes to cheeky romance, tension and quenced into film order, ing. Includes the complete romance, while 7 Women “psychological western.” All of Goldsmith’s scores plays on Latin jazz. The violence. All of the music this dramatic score gets soundtrack as used in the (31:27) is more introspec- This fan favorite has been plus scores by six others CD includes many unused from the film is present, the deluxe treatment with film (47:00) plus a bevy of tive, but with a big, excit- remixed from the original (inc. Fried, Schifrin, Scharf, passages and is entirely in plus bonus tracks and over twice the music on alternates (32:35). $19.95 ing title theme for the stereo masters. $19.95 Stevens) are represented stereo. $19.95 alternates. $19.95 the original LP—in stereo. Mongol horde. $19.95 on this 2-CD set. $24.95 $19.95

 Vol. 5, No. 17  Vol. 5, No. 16  Vol. 5, No. 15  Vol. 5, No. 14  Vol. 5, No 13  Vol. 5, No. 12  Vol. 5, No 11 The Seventh Sin The Prize The World, the Flesh The Green Berets Scaramouche The Gypsy Moths Above and Beyond MIKLÓS RÓZSA JERRY GOLDSMITH and the Devil MIKLÓS RÓZSA VICTOR YOUNG ELMER BERNSTEIN HUGO FRIEDHOFER Film released: 1958 Film released: 1963 MIKLÓS RÓZSA Film released: 1968 Film released: 1952 Film released: 1969 Film released: 1952 Studio: M-G-M Studio: M-G-M Film released: 1959 Studio: Warner Bros. Studio: M-G-M Studio: M-G-M Studio: M-G-M Genre: Drama Genre: Espionage Studio: M-G-M Genre: War/Adventure Genre: Costume Adventure Genre: Drama Genre: WWII Golden Age Classics Silver Age Classics Genre: Science Fiction Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Dec. 2002 CD released: Nov. 2002 Golden Age Classics CD released: Sept. 2002 CD released: Sept. 2002 CD released: Aug. 2002 CD released: Aug. 2002 Mono • 59:26 Stereo • 72:37 CD released: Nov. 2002 Stereo • 72:37 Mono • 62:28 Stereo • 61:08 Mono • 55:44 Stereo • 52:53 This reworking of The The Prize is an early The first major U.S. film to The last of the Golden- This tale of barnstorming This combination of Painted Veil inspired Jerry Goldsmith action- A rare Rózsa’s sci-fi address the Vietnam con- Age swashbucklers by skydivers contrasts robust, wartime drama and Rózsa to apply three of suspense gem for a score (Two men and flict features a stirring sym- Rafael Sabatini (Captain action-oriented cues and domestic struggle is his signature sounds; film Hitchcock-styled thriller. one woman struggle in phonic score, befitting an Blood, et al) gets a heroic sweeping Americana with driving by a stirring, pro- noir, exotic and epic film CD features complete post-apocalyptic NYC), action movie directed by and charming score by softer, bittersweet melo- gressive score, with one scoring techniques com- stereo score plus source embellishes end-of-the- and starring John Wayne. the prolific Victor Young. dies. CD features complete of Friedhofer’s greatest bine to create a unique music and vintage re- world loneliness and doom All of Rózsa’s music is This premiere release underscore plus nightclub main titles. Complete, and unmistakable score. recorded LP cuts. $19.95 with romantic splendor. here (plus “The Ballad includes all of the score, and marching band source chronological score in Includes source music Premiere release of com- of the Green Berets”) in plus alternates, unused cues. $19.95 best possible monaural suite. $19.95 plete stereo score. $19.95 excellent stereo. $19.95 and source cues. $19.95 sound. $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 5, No. 10  Vol. 5, No 9  Vol. 5, No. 8  Vol. 5, No 7  Vol. 5, No. 6  Vol. 5, No 5  Vol. 5, No 4 I Spy The Prodigal Point Blank/ On the Beach/ The Traveling 36 Hours The Man Who EARLE HAGEN BRONISLAU KAPER The Outfit The Secret of Santa Executioner DIMITRI TIOMKIN Loved Cat Dancing TV Produced: 1965-67 Film released: 1955 JOHNNY MANDEL/ Vittoria JERRY GOLDSMITH Film released: 1964 JOHN WILLIAMS Network: NBC Studio: M-G-M JERRY FIELDING ERNEST GOLD Film released: 1970 Studio: M-G-M • Genre: MICHEL LEGRAND Genre: Secret Agent Genre: Biblical Epic Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M WWII/Spy Film released: 1973 Silver Age Classics Golden Age Classics Studio: M-G-M Studio: United Artists Genre: Black Comedy Golden Age Classics Studio: M-G-M CD released: July 2002 CD released: July 2002 Genre: Film Noir Genre: Drama, Comedy Silver Age Classics CD released: May 2002 Genre: Western Stereo/Mono • 77:57 Stereo • 75:11 Silver Age Classics Golden Age Classics CD released: May 2002 Stereo • 66:41 Silver Age Classics Stereo • 39:39 Five episode scores for Complete stereo score CD released: June 2002 CD released: June 2002 A taut, piano-dominated CD released: Mar. 2002 Stereo • 77:54 Stereo • 70:59 Stereo • 65:37 groundbreaking series for gargantuan biblical The main theme blends score with an accent on starring Robert Culp and epic starring Lana Turner Two films based on Two scores from the films Americana, Dixieland and stealth—flamboyant, yet A lost gem from Williams’ Bill Cosby: “So Long, features male and female D.E. Westlake’s crime of director Stanley Kramer circus sound, but the score naturalistic. Remixed and melodic, pre-blockbuster Patrick Henry,” “The Time choruses, solos, source novels: Point Blank (39: on one CD. Beach is a touches all the bases, from remastered, this CD dou- career, plus Legrand’s of the Knife” “Turkish cues and thundering 38) is a landmark 12-tone gorgeous symphonic score bluegrass to avant-garde bles the playing time of the unused, unheard take on Delight,” “The Warlord” symphonic glory. Includes score, ethereal and ingeniously interpolat- to full-scale action. This LP including bonus tracks the same material. A rare and “Mainly on the Plains.” unused alternate cues. strange; The Outfit (38:16) ing “Waltzing Matilda”; first-release ever is com- of vocals, piano demos, opportunity for collec- First three & theme in ste- $19.95 features a dark, pulsating Secret is a lyrical slice of plete, with every note in and a jazz trio improv of tors—all in stereo! $19.95 reo; all OST, not LP record- score punctuated with “Italiana,” with one bonus excellent stereo. $19.95 the main title. $19.95 ings. $19.95 unexpected melody. $19.95 cue. $19.95

 Vol. 5, No. 3  Vol. 5, No 2  Vol. 5, No. 1  VOLUME 4, No. 20  Vol. 4, No. 19  Vol. 4, No. 18  Vol. 4, No. 17 Joy in the Morning Logan’s Run Lust for Life Farewell, My Lovely/ Demetrius and the Broken Lance John Goldfarb, BERNARD HERRMANN JERRY GOLDSMITH MIKLÓS RÓZSA Monkey Shines Gladiators LEIGH HARLINE Please Come Home! DAVID SHIRE FRANZ WAXMAN JOHNNY WILLIAMS Film released: 1965 Film released: 1976 Film released: 1956 Film released: 1954 Studio: M-G-M / Studio: M-G-M / Genre: Sci-Fi Studio: M-G-M Film released: 1975/88 Film released: 1954 Studio: 20th Century Fox Film released: 1965 Genre: Romance Silver Age Classics Genre: Biography Studio: M-G-M Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Golden Age Classics CD released: Feb. 2002 Golden Age Classics Genre: Film Noir/ Genre: Biblical Epic Golden Age Classics Genre: Comedy CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Suspense Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 Stereo • 61:51 Silver Age Classics CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 This classic story of a dys- Stereo • 71:32 CD released: Jan. 2002 Stereo • 61:51 Disney’s workhorse Herrmann’s last studio topian future gets the royal Premiere of Rózsa’s heart- Stereo • 73:48 project is sweepingly treatment by the master of felt, stirring accompani- Spectacular score for composer from the ‘30s This wacky comedy romantic, surging with pas- speculative soundtracks. ment to the tragic tale of Farewell, My Lovely (33:06) Biblical epic emphasizes (Pinocchio) provides a starring Shirley MacLaine sion and haunting in its use Jagged action cues, Vincent van Gogh. A favor- is symphonic jazz score for romance, action and reli- dark, rich Americana score and Peter Ustinov is of melody. The complete Coplandesque nostalgia, ite of the composer, this CD ‘70s noir classic; Monkey gion, interpolating themes to this adaptation of King the earliest feature film score from the original bracing electronics and has been remixed from the Shines (40:41) is leitmotivic from The Robe by Alfred Lear set in the American soundtrack by John three-track recording with more in this restored, three-track masters with suspense score for George Newman. Plus bonus West. $19.95 Williams available on CD. liner notes by Christopher remixed, resequenced bonus alternate cues and Romero monkey thriller. tracks (11:06) and remixed Johnny does Arab go-go Husted, manager of the release! $19.95 more. One of the greatest $19.95 cue from The Egyptian music! $19.95 Herrmann estate. $19.95 film scores! $19.95 (5:04). $19.95

 Vol. 4, No. 16  Vol. 4, No. 15  Vol. 4, No. 14  Vol. 4, No. 13  Vol. 4, No. 12  Vol. 4, No. 11  Vol. 4, No. 10 The World of The View From The Illustrated Man The Bravados Morituri/ The Best of Everything Voyage to the Bottom Henry Orient Pompey’s Head/ JERRY GOLDSMITH ALFRED NEWMAN & Raid on Entebbe ALFRED NEWMAN of the Sea HUGO FRIEDHOFER JERRY GOLDSMITH/ Song by Newman & PAUL SAWTELL ELMER BERNSTEIN Blue Denim Film released: 1969 Piano Concerto by Sammy Cahn, & BERT SHEFTER ELMER BERNSTEIN/ Studio: Warner Bros. Film released: 1958 DAVID SHIRE Kenneth Lauber Perf. by Johnny Mathis BERNARD HERRMANN Genre: Sci-fi/Anthology Studio: 20th Century Fox Films released: 1965/77 Song by Russell Faith, Film released: 1959 Film released: 1964 Films released: 1955/1959 Silver Age Classics Genre: Western Studio: 20th Century Fox Perf. by Frankie Studio: 20th Century Fox Studio: United Artists Studio: 20th Century Fox CD released: Sept. 2001 Golden Age Classics Genre: WWII/ Film released: 1961 Genre: Drama/Romance Genre: Comedy/Drama Genre: Drama Stereo • 42:02 CD released: Sept. 2001 Docudrama,TV Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Stereo (some bonus tracks in Silver Age Classics Genre: Sci-fi/Irwin Allen The Illustrated Man is CD released: Aug. 2001 CD released: Nov. 2001 CD released: Nov. 2001 mono) • 69:34 CD released: Aug. 2001 Silver Age Classics one of Jerry Goldsmith’s Stereo • 71:14 Stereo • 40:32 Stereo • 75:15 Stereo (Morituri)/ CD released: July 2001 most haunting sci-fi cre- Two Hollywood legends Mono (Entebbe) • 57:50 Newman’s last Fox score Stereo • 55:55 Bernstein’s “second-best” This pair of films by ations, with airy beauty, collaborate for a rich, is a romantic gem; think score for children sports Philip Dunne feature solo female vocalise, handsome western score Morituri (41:46) is in Thundering B-movie hyste- New York at twilight. fabulous sound from the romantic, intimate scores early electronics, strange with a memorable, driving Goldsmith’s percussive ‘60s ria plus soothing, romantic Complete score (48:21) in legendary Goldwyn scoring by Elmer Bernstein effects and an aggressive main theme and darkly style; Raid on Entebbe (15: undersea passages for the stereo, plus some bonus stage. Whimsical, melodic (lovely Americana) and climax. $19.95 brooding interior pas- 29) features suspense, pul- film that launched the hit tracks in mono. $19.95 and magical. $19.95 Bernard Herrmann (“baby sages. $19.95 sating action, and Israeli TV show. $19.95 song climax. $19.95

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 Vol. 4, No. 9  Vol. 4, No. 8  Vol. 4, No. 7  Vol. 4, No. 6  Vol. 4, No. 5  Vol. 4, No. 4  Vol. 4, No. 3 Between Heaven and Room 222/ A Man Called Peter The French Connection/ The Egyptian Untamed The Towering Inferno Hell/ Soldier of Fortune Ace Eli and Rodger ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER of the Skies Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 JERRY GOLDSMITH Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Films released: 1969/73 Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Studio: 20th Century Fox Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Genre: Sitcom (TV)/ CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 Americana (feature) Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Silver Age Classics Stereo & Mono (I)/ Stereo • 72:06 Stereo • 75:31 Biopic of Scottish minister Stereo (II) • 75:01 19th century African colo- CD released: June 2001 Disaster masterpiece A superlative Hugo Mono (Room 222)/Stereo & Peter Marshall receives At last: the classic nialist adventure starring Friedhofer doubleheader: Mono (Ace Eli) • 71:37 rich, reverent, melodic Cop thrillers get pulsating, Newman/Herrmann collab- Susan Hayward receives gets premiere CD release, Between Heaven and score by Alfred Newman; dynamic, avant-garde oration for Fox’s historical thrilling adventure score by doubled in length from Hell (complete: 40:18) is a Room 222 (12:15) com- CD features complete scores by jazz artist. First epic. Original stereo tracks Franz Waxman in first-rate the LP. Fantastic main moody war thriller; Soldier prises theme and two score including source (37:52) includes unused were believed to be lost sound. Wonderful main title, climactic action cue; of Fortune (surviving episode scores for popular music. $19.95 music; sequel (37:09) a bit or unusable, but this CD title, love theme. $19.95 plenty of moody suspense tracks: 32:41) an exotic, TV series; Ace Eli (59:21) a more traditional. $19.95 features every surviving and romantic pop. $19.95 melodic jewel. $19.95 lyrically-scored barnstorm- note. $19.95 ing movie. $19.95

 Vol. 4, No. 2  Vol. 4, No. 1  VOLUME 3, No. 10  Vol. 3, No. 9  Vol. 3, No. 8  Vol. 3, No. 7  Vol. 3, No. 6 How to Marry a Conquest of.../Battle for Beneath the The Stripper/ From the Terrace Batman The Undefeated/ Millionaire the Planet of the Apes 12-Mile Reef Nick Quarry ELMER BERNSTEIN NELSON RIDDLE Hombre Theme by Neal Hefti HUGO MONTENEGRO/ ALFRED NEWMAN & TOM SCOTT/ BERNARD HERRMANN JERRY GOLDSMITH Film released: 1960 CYRIL MOCKRIDGE LEONARD ROSENMAN/ DAVID ROSE Film released: 1953 Film released: 1963/68 Studio: 20th Century Fox Film released: 1966 Film released: 1953 LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Genre: Drama Studio: 20th Century Fox Films released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Golden Age Classics Genre: Adventure/Camp Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics CD released: Dec. 2000 Silver Age Classics Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 Stereo • 71:27 CD released: Nov. 2000 Silver Age Classics Stereo (Stripper)/ Mono • 65:23 CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Paul Newman/Joanne CD released: Sept. 2000 Stereo • 70:03 Mono (Quarry) 73:35 Stereo • 72:33 CD released: Feb. 2001 Fantastic undersea adven- Woodward soaper fea- Holy Bat-tracks! 1966 Stereo & Mono (Conquest)/ Early Goldsmith feature feature produced at time Western doubleheader: Marilyn Monroe comedy Stereo (Battle) • 74:44 ture score gets premiere tures tuneful, romantic features period songs release of original stereo (42:01, plus 21:06 bonus score by Bernstein. Rich of ‘60s TV show features The Undefeated (w/John adapted as instrumental Final Apes films get vintage tracks, albeit with minor tracks)—is in romantic Americana music, sensi- Neal Hefti’s theme, Wayne, 47:33) is underscore. “Street scores by Scott deterioration. Lots of Alex North style. Quarry tive romantic themes, Nelson Riddle’s Bat-villain accessible and sym- Scene” (5:36) conducted (38:47, w/unused cues) and harps, “underwater” color, (10:27) is a TV rarity— haunting melancholy. signatures, swingin’ under- phonic. Hombre (w/Paul by Alfred Newman opens Rosenman (34:43), plus TV seafaring melodies. $19.95 sounds like Flint music. $19.95 scoring and larger action Newman, 21:30) is the movie and CD. $19.95 series theme (1:13). $19.95 $19.95 setpieces. $19.95 moodier, sensitive—a quiet gem. $19.95

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 Vol. 3, No. 5  Vol. 3, No. 4  Vol. 3, No. 3  Vol. 3, No. 2  Vol. 3, No. 1  VOLUME 2, No. 9  Vol. 2, No. 8 A Guide for the Tora! Tora! Tora! Beneath the Planet The Omega Man Take a Hard Ride The Flim-Flam Man/ Rio Conchos Married Man JERRY GOLDSMITH of the Apes RON GRAINER JERRY GOLDSMITH A Girl Named Sooner JERRY GOLDSMITH JOHNNY WILLIAMS JERRY GOLDSMITH Film released: 1970 LEONARD ROSENMAN Film released: 1975 Film released: 1964 Title Song Perf. by The Turtles Film released: 1971 Studio: 20th Century Fox Film released: 1970 Studio: Warner Bros. Studio: 20th Century Fox Films released: 1967/1975 Studio: 20th Century Fox Film released: 1967 Genre: WWII Studio: 20th Century Fox Genre: Sci-fi/Fantasy Genre: Western Studio: 20th Century Fox Genre: Western Studio: 20th Century Fox Silver Age Classics Genre: Sci-fi/Fantasy Silver Age Classics Silver Age Classics Genre: Drama/Americana Silver Age Classics Genre: Comedy CD released: May 2000 Silver Age Classics CD released: Mar. 2000 CD released: Feb. 2000 Silver Age Classics CD released: Dec.1999 Silver Age Classics Stereo • 54:45 CD released: Apr. 2000 Stereo • 65:39 Stereo • 46:38 CD released: Jan. 2000 • Mono/Stereo (combo) • 75:28 CD released: July 2000 Stereo • 72:37 Stereo (Flim-Flam)/Mono Classic Goldsmith war Charlton Heston sci-fi Early Goldsmith western Stereo • 73:10 Strange “blaxploitation,” (Sooner) • 65:20 score enhances docu- Second Apes pic gets classic features one-of-a- score is presented in com- foreign-produced western Vintage score is drama take on Pearl atonal score by Leonard kind symphonic/pop fusion A rural Americana double- plete form (55:43) in mono, gets wonderful symphonic “Johnny”’s most elaborate Harbor. Aggressive action Rosenman with many by the late Ron Grainer. header: Flim-Flam (34: with some cues repeated score from Goldsmith; for a comedy, with long music combined with avant-garde highlights. Unforgettable themes, 37) stars George C. Scott in stereo. Includes delight- great main theme, action setpieces, groovy title avant-garde effects, Includes complete original period effects; great stereo as a Southern con man; fully bizarre vocal version cues. Take a hard ride, theme, and orchestral Japanese instrumenta- tracks (46:03) plus 1970 LP sound quality. $19.95 Sooner (30:43) is smaller, of the main theme. $19.95 indeed. $19.95 underscoring foreshadow- tion. $19.95 re-recording with dialogue sensitive TV movie score. ing his dramatic works. (26:34). $19.95 $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com  Vol. 2, No. 7  Vol. 2, No. 6  Vol. 2, No. 5  Vol. 2, No. 4  Vol. 2, No. 3  Vol. 2, No. 2  Vol. 2, No. 1 All About Eve/ The Comancheros Prince of Foxes Monte Walsh Prince Valiant Patton/The Flight 100 Rifles Leave Her to Heaven ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN of the Phoenix JERRY GOLDSMITH ALFRED NEWMAN Film released: 1961 Film released: 1949 Film released: 1970 Film released: 1954 JERRY GOLDSMITH/ Film released: 1969 Film released: 1950/45 Studio: 20th Century Fox Studio: 20th Century Fox Studio: CBS Studio: 20th Century Fox FRANK DE VOL Studio: 20th Century Fox Studio: 20th Century Fox Genre: John Wayne/Western Genre: Historical Adventure Genre: Western Genre: Historical Adventure Film released: 1970/65 Genre: Western Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Studio: 20th Century Fox Silver Age Classics Golden Age Classics CD released: Sept.1999 CD released: July 1999 CD released: June 1999 CD released: May 1999 Genre: WWII/ Adventure CD released: Mar. 1999 CD released: Nov. 1999 Stereo • 47:44 Stereo • 46:39 Mono (1 track. in stereo) 61:51 Stereo • 62:17 Silver Age Classics Stereo/Mono (combo) • 77:08 Mono (2 trks. in stereo) • 44:19 Elmer Bernstein’s first “Lost” Tyrone Power Revisionist western gets Fox’s colorful 1954 adapta- CD released: April 1999 Burt Reynolds/Raquel Stereo • 76:24 Eve is a cinema master- of many scores for John historical adventure gets vintage John Barry score tion of the famous epic Welch western gets piece; the complete score Wayne is a western gem, exciting, robust score 20 years before Dances comic strip features stir- Patton (35:53) is complete explosive score, heavy on is appropriately theatrical, with rhythmic main title by Alfred Newman, With Wolves. Song “The ring adventure score by OST to WWII biopic clas- Mexican colors and gut- perfectly drawn. Leave and high-tailing action newly mixed into stereo. Good Times Are Comin’” Franz Waxman in “leitmo- sic. Phoenix (40:51) is a tural action. CD features Her to Heaven is more music. Think in terms of Glorious main title, stir- performed by Mama tiv” style, a la Star Wars: rare album release for score twice, in stereo and dramatic, brooding film “The Magnificent Eight.” ring love theme. $19.95 Cass; many bonus tracks. hero, villain, princess, Frank De Vol, a rousing in mono with slight varia- noir. $19.95 $19.95 $19.95 mentor. $19.95 adventure/ survival score. tions. $19.95 $19.95

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 VOLUME 1, No. 4  Vol. 1, No. 3  Vol. 1, No. 2  Vol. 1, No. 1  FSM-80125-2  FSM-80124-2  FSM-80123-2 The Return of Dracula/ Fantastic Voyage The Paper Chase/ The Stagecoach/The Loner Mad Monster Party Deadfall The Taking of I Bury the Living/ LEONARD ROSENMAN Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JOHN BARRY Pelham 1-2-3 The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Film released: 1998 Film released: 1968 DAVID SHIRE Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Studio: 20th Century Fox Film released: 1973/72 Film released: 1974 Mark of the Vampire Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Genre: Sci-fi Studio: 20th Century Fox Studio: M-G-M GERALD FRIED Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Retrograde Records Films released: 1958/58/62/57 Genre: Thriller Silver Age Classics Silver Age Classics CD released: May 1998 CD released: 1997 CD released: 1997 Studio: UA/ 20th Century Fox Retrograde Records CD released: Sept. 1998 CD released: July 1998 Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 Genre: Horror • Silver Age Classics CD released: 1996 Stereo • 47:28 Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 30th Anniversary collector’s Features “Romance for Stereo & Mono • 30:55 CD released: Jan. 1999 • Mono Classic western film plus Disc One: 61:06 Disc Two: 73:20 Sci-fi classic gets imagina- Two complete ’70s scores edition features score and Guitar and Orchestra,” & title Unparalleled ’70s 12-tone jazz/ theme and two episode 2-CD release of creepy, early tive, avant garde score; a plus the main title (6:07) to the vocal talents of Boris song by Shirley Bassey, plus funk fandango on FSM’s first scores for TV series. $19.95 horror scores. $29.95 signature work. $19.95 Conrack (1974). $19.95 Karloff & Phyllis Diller. $16.95 two rare alternates. $16.95 album release. $16.95

CHECK YOUR ORDER ONLINE Visit https://secure.filmscoremonthly.com/store to place JOIN THE CLASSICS CHARTER CLUB an order on our secure server. You will receive an automatic confirmation. All of your info is Get every Classics release FIRST—automatically! Plus, receive discounts on multi-disc sets and kept confidential and encrypted for your protection. Save days and rest easy! other member surprises! See order form for details.

Getting the Best Score for Your Film: BOOKS FOR COMPOSERS A Filmmakers’ Guide to Music Scoring by David Bell NEW!!! 2003 Film/TV Music Guide From the Music Business Registry A respected TV composer, Bell wrote this book in 1994 to help producers and Isn’t your career worth it? An exhaustive directory of record labels, music pub- directors get the most out of film music. Aimed at filmmakers, this book also lishers, film/TV music depts., music supervisors, music editors, composer rep- provides useful info for pros—and fans. Topics include spotting, communicating, resentatives, composers, clearance companies, recording studios, performing recording, budgeting and licensing, with explanations of the personnel and enti- ties involved in each; plus lists of agents, clearance companies, glossary terms rights societies, and music libraries—names, addresses and numbers. $94.95 and resources. Silman-James Press, 112 pp., softcover. $12.95 8 Sound and Vision: 60 Years of Motion Picture Soundtracks BOOKS FOR MUSIC LOVERS by Jon Burlingame Foreword by Leonard Maltin The Score: Interviews with Film Composers by Michael Schelle Journalist and historian Burlingame’s conducts an overview of film compos- This 1999 book uses a Q & A format to converse with contemporary composers, ers and history in clear and direct prose. Comprised of composer mini-bios, featuring lengthy transcripts with Barry, Bernstein, Blanchard, Broughton, Chihara, with reviews of their most notable works and photo portraits, there is also Corigliano, Howard, Isham, Licht, McNeely, T. Newman, Shaiman, Shore, Walker a thorough overview of soundtrack album history (LP and CD), a section and C. Young. Written by a composer, who delves deeply and precisely into each devoted to song compilation reviews, and a helpful movie music bibliography. composers’ ideas. Silman-James Press, 432 pp., softcover. $19.95 Billboard Books, 244 pp., softcover. $18.95 Music for the Movies 2nd Edition by Tony Thomas U.S. Soundtracks on CD: Scores for Motion Pictures and TV 1985-1999 Price Guide by Robert L. Smith The original film music book ( written in 1971, updated in 1997), tells the sto- ries of Hollywood’s most successful composers. Composers featured (many FSM’s 2nd market-standard price guide contains 2,400+ album titles with with photos) include Stothart, V. Young, Green, Newman, Tiomkin, Waxman, composers, label numbers, collectible info and estimated values. Listings Kaper, Rózsa, Steiner, Korngold, Herrmann, Raksin, Antheil, Thompson, are annotated to differentiate between originals, reissues, commercial North, Bernstein, Duning, Rosenman, Goldsmith, Mancini, Schifrin, Scott, albums and promos. Smith surveys the market and provides a checklist for Shire, Broughton and Poledouris. Silman-James Press, 330 pp., softcover. the top 50 collectible CDs. Vineyard Haven LLC, 154 pp., softcover. $17.95 $19.95

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com The Music of Star Trek: Profiles in Style by Jeff Bond Stu Who? Forty Years of Navigating the Minefields The first-ever history of Star Trek scores, from 1966 thru 2000—by of the Music Business by Stu Phillips FSM’s editor-at-large. With interviews of composers Goldsmith, Stu Phillips’s career encompasses groovy cult films (Beyond the Valley of Courage, Fred Steiner, Fried, Ron Jones, McCarthy, Chattaway, pro- the Dolls) and virtually every Glen Larson TV show ever produced (Battlestar ducer Robert Justman, music editor Gerry Sackman and others, the Galactica, Knight Rider). Stu Who? is his candid, breezily told memoirs full book contains a complete list of music written for four TV series; a of exciting stories from the worlds of arranging, music directing, record pro- guide to score tracking and credits; Trek manuscript excerpts from the ducing, and film and TV scoring. Published Cisum Press, 304 pp., hardcover, composers; and several cue sheets. Lone Eagle Publishing. 224 pages, illustrated. $29.95 softcover, illustrated. $17.95

Overtones and Undertones: Reading Film Music Memoirs of a Famous Composer— Nobody Ever Heard Of by Earle Hagen by Royal S. Brown Composer Hagen (b. 1919) has had an outstanding career: as a The first serious theoretical study of film music explores the relation- player with Benny Goodman; working under Alfred Newman at 20th Century ship between movie, music and narrative, chronicling the its aesthetics Fox; and as a composer/music director for thousands of hours of television, through several eras. Key works analyzed include The Sea Hawk, Double including I Spy, The Mod Squad and The Andy Griffith Show. He wrote the Indemnity, Laura, those of Prokofiev and Eisenstein, Herrmann and standard, “Harlem Nocturne,”and authored two books on film compos- Hitchcock, and several scores for Jean-Luc Godard. Also features probing ing. This is Hagen’s story, filled with charming anecdotesand some of the interviews with Rózsa, Raksin, Herrmann, Mancini, Barry and Shore. U.C. biggest names in movie music. Xlibris Corporation. 336 pages, hardcover. Press. 396 pp., softcover. $24.95 $34.95

Hugo Friedhofer: The Best Years of His Life A Heart at Fire’s Center: Edited by Linda Danly, Introduction by Tony Thomas The Life and Music of Bernard Herrmann by Steven C. Smith The gifted musician of such classics as The Best Years of Our Lives, Above The most influential film composer of all time, who scored Citizen Kane, and Beyond and Soldier of Fortune was considered by his peers to be the most Vertigo, Psycho and , Bernard Herrmann (1911-1975) was as famous sophisticated practitioner of their art. Friedhofer (1901-1981) gave a lengthy for his musical passion as his bad temper. This hard-to-find 1991 book is the oral history to the AFI, rife with anecdotes, opinions and wit, which forms the definitive biography of the legendary composer, covering his film, television, centerpiece of this book. Includes a short biography by Danly, the eulogy from radio and concert work as well as his personal life. It’s a brilliant illumination NEW softcover ed. Friedhofer’s memorial service by David Raksin, a filmography, photographs and of Herrmann and probably the best film composer biography ever written. NEW lower price! more. The Scarecrow Press, 212 pp., softcover. $24.95 University of California Press. 416 pp., hardcover. $39.95

Film Music and Everything Else! Music, Creativity and Culture as Seen by a Hollywood Composer by Charles Bernstein Essays by the composer of the original Nightmare on Elm Street, Sadat, Cujo and others. Originally written for“The Score,” the quarterly journal of the Society of Composers and Lyricists. Topics include: melodies, “hummers,” emotion and more. It’s a rare opportunity to read thoughtful opinions and musings from a film composer directed towards other practitioners of the art. Turnstyle Music Publishing, 132 pp., softcover, limited to 500 copies. $18.95 BACK ISSUES OF FSM • VOLUME ONE, 1993-96

24 pp. unless noted. *#40, Dec. ’93 16 pp. Kraft/Redman 4; Re- cert; Morricone/Beat; the Internet; Takemitsu; Robotech; Star Trek; 10 Readers Poll ’96; “Into the Dark Pool” 2 Asterisk (*) indicates photocopies. recording The Magnificent Seven. Recordman/liner notes. Influential composers; Glass; H. Villa- *Vol. 2, No. 3, May ’97 Michael Fine: *#30/31, Mar. ’93 64 pp. M. Jarre, B. *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; *#51, Nov. ’94 H. Shore; T. Newman; Lobos; songs in film; best of ’95; film Re-recording Rózsa; Poltergeist, Mars Poledouris, J. Chattaway, J. Scott, C. J.N. Howard; Kitaro & R. Miller; R. J. P. Robinson; Lukas’s Mom; music of score documentary reviews. Attacks!, Rosewood; Lukas/Bond Young, Morricone albums,1992 in review. Portman; Ken Darby; Star Wars trivia; Heimat, Star Trek. *#68, Apr. ’96 The Taking of Pelham One reviews. *#32, Apr. ’93 16 pp. Matinee temp-track, sexy LP covers; ’93 in review. *#52, Dec. ’94 E. Serra; M. Shaiman; Two Three; C. Burwell; gag obituaries; *Vol. 2, No. 4, Jun. ’97 D. Elfman, Promos SPFM ’93 Conf., Star Trek editorial. *#44, Apr. ’94 J.McNeely; B. Poledouris; Sandy De Crescent; Valencia Film Music Apollo 13 promo/bootleg tips. 2, M. Denny & Exotica, Lady in White; *#33, May ’93 12 pp. Book reviews, SPFM: Morricone. Conference; SPFMPt. 1; StarGate; *#69, May ’96 Plan 9 from Outer Space; Brian May obit, The Fifth Element. classical/film connection. *#45, May ’94 R. Newman; G. Revell (The Shostakoholics Anonymous. Movie music glossary; Herrmann & *Vol. 2, No. 5, Jul. ’97 E. Goldenthal, M. *#34, Jun. ’93 16 pp. SPFM: Goldsmith; Crow); Goldsmith concert, Schindler’s *#53/54, Feb. ’95 M. Shaiman Pt. 2; D. Rózsa on radio; Irwin Allen; “Into the Mancina, G.S.Clinton, ASCAP & BMI Orchestrators; Lost in Space; Herrmann; List; Instant Liner Notes. McCarthy; Sergio Bassetti; Jean-Claude Dark Pool.” nites; Crash, Lost World. C.Young; Bruce Lee scores. *#46/47, Jul. ’94 P. Doyle, J.N.Howard; Petit & Armando Trovajoli; Academy *#70, Jun. ’96 Mancina, desert isl& Vol. 2, No. 6, Aug. ’97 L. Schifrin, J. *#35, Jul. ’93 16 pp. David Kraft; John J.Morgan (on H. Salter); Mancini tribute; Awards Pt. 1; rumored & quad LPs. lists, summer movies; TV’s Biggest Hits Powell, Shaiman; Tony Thomas; Summer Beal Pt. 1; scores vs. songs; Herrmann M. Nyman, collectibles. *#55/56, Apr. ’95 B. Poledouris; A. review. movies, TV sweeps. Christmas; Film Composers Dictionary. *#48, Aug. ’94 M. Mancina (Speed); C. Silvestri; J. Lo Duca; Oscar & Music 2; *#71, Jul. ’96 D. Arnold; M. Colombier; *Vol. 2, No. 7, Sept. ’97 Zimmer vs. FSM, *#36/37, Nov. ’93 40 pp. Bob Townson ; Cirino & P. Rotter; aspiring composers Recordman’s Diary; SPFM Conf. 2. Recordman/Congress; summer round-up. M. Beltrami, Curtis Hanson; Film Music R.Kraft & N.Redman; John Beal; CAM advice; CAM CDs; Cinerama LPs. *#57, May ’95 Broughton; M. Goodman; *#72, Aug. ’96 10 Best Scores of ’90s; as Fine Art, Recordman. CDs; E. Bernstein fantasy scores. *#49, Sept. ’94 H. H. Zimmer; S. Walker; ’94 Readers Poll; Goldsmith concert. T. Newman; Escape from L.A.; cond. J. *Vol. 2, No. 8, Oct. ’97 Poledouris, Shore, *#38, Oct. ’93 16 pp. J.Debney; Kraft/ L. Rosenthal; H.Salter; Williams concert; *#58, Jun. ’95 M. Kamen; Royal S. Mauceri; ref. books; A. Ifukube CDs. Zimmer vs. FSM 2, Alloy Orchestra; Redman 2. Recordman/flea market. Brown; Recordman/Annette; History of *#73, Sept. ’96 Recordman on War ; Golden Age CDs. *#39, Nov. ’93 16 pp. Kraft/Redman 3; Fox #50, Oct. ’94 A. Silvestri; M. Isham; Soundtrack Collecting. Monstrous Movie Music; Ifukube CDs 2; Vol. 2, No. 9, Nov./ Dec. ’97 D. Arnold; CDs; Nightmare Before Christmas. sex & soundtracks; Schifrin con- *#59/60, Aug. ’95 48 pp. Sex Sells; M. Miles Goodman obit. J. Frizzell; Neal Hefti; U-Turn & The Jarre; Soundtrack Collecting 2; Rózsa *#74, Oct. ’96 ’90s Action Scores; Cine Mephisto Waltz, Razor & Tie CDs. Remembered; film score concert debate. Music ’96 (Barry, Zhou Jiping); Vic Mizzy. EXCLUSIVE VIDEO! *#61, Sept. ’95 E. Goldenthal, Kamen 2, *#75, Nov. ’96 Barry Interview; J.Bond’s Basil Poledouris: His Life and Music C. Lennertz; Star Trek: TMP, classical reviews; Recordman on War 2. VOLUME THREE, 1998 An intimate visit with the composer of Conan the music for film score fans. *#76, Dec. ’96 R. Edelman, J. Barry 2, R. Expanded format! Issues 48 pp Barbarian, Free Willy, Starship Troopers and Lonesome *#62, Oct. ’95 D. Elfman; R. Townson; Cooder; Laserphile, Lukas’s reviews. Dove. Take a tour of his work and lifestyle, from his J. Ottman; 10 Influential Scores; Jerry *Vol. 3, No. 1, Jan. ’98 Williams methods of composing to his love of sailing. The video video. Buyer’s Guide 1, M. Danna, Titanic‘s runs 50 minutes and includes footage of Basil conduct- *#63, Nov. ’95 James Bond Special! VOLUME TWO, 1997 music supervisor, Silvestri lecture, ing and atwork on synthesizer mock-ups of Starship J. Barry; E. Serra; History of Soundtrack First color covers! Issues 32-48 pp. Rykodisc CDs. Troopers, as well as dozens of behind-the-scenes and Collecting 3; Davy Crockett LPs. *Vol. 3, No. 2, Feb. ’98 Glass, Williams family photos, and appearances by wife Bobbie and *#64, Dec. ’95 D.Elfman Pt. 2, S. Bartek, *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars: Buyers Guide 2, D. Amram, Goldsmith on daughter Zoë. Discover the man behind the music, in Recordman/Blaxploitation; Kamen 3; re- Williams interview; Special Edition CDs. Varèse, Pendulum CDs; TV CDs. a way you’ll never see on TV, or experience in print. recording House of Frankenstein. *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen; Vol. 3, No. 3, Mar./Apr. ’98 Titanic/ Specify NTSC (U.S.) or PAL (European) $19.95 *#65/66/67 Mar. ’96, 48 pp. T. Newman; promo CDs; Congress in Valencia; J.Horner, Best of 1997, Cinerama, Greig

TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com McRitchie, Fox Newman Stage, Oscars. SCORES: animation, Morricone, horror, PROKOFIEV; Friedhofer & Fox; Vol. 7, No. 4, May/Jun. ’02 Vol. 3, No. 4, May ’98 B. Broughton, Golden & Silver Age Hollywood, concert Ghostbusters; J. Danna, R. Shore; SUMMER BLOCKBUSTERS Spider-Man; VOLUME EIGHT, 2003 D. Arnold; CE3K restoration; Williams work CDs. Bender at Chiller, more. Attack of the Clones ; M. Mothersbaugh 48 pp.each Guide 3; Ed Shearmur; Fox Classics CDs. Vol. 6, No. 6, July ’01 PLANET OF THE (Welcome to Collingwood); Legend on Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS *Vol. 3, No. 5, Jun. ’98 M.Snow, Classic APES; H. Zimmer; Horner Guide 2; DVD; (ASCAP winners). INTERVIEWED (finally!); The Best & the Godzilla; J. Chattaway; Broughton VOLUME FIVE, 2000 Goldenthal; Shore; Williams. *Vol. 7, No. 5, Jul. ’02 Worst of 2002; Star Trek film scores. Buyers Guide; D. Reynolds, D. 48-64 pp.each Vol. 6, No 7, August ’01 QUINCY JONES MURDER MUSIC: Film Noir; Vol. 8, No. 2, Feb. ’03 HOW THE AWARDS McCarthy, Anne Dudley), SCL Conf.. Vol. 5, No. 1, Jan. ‘00SUPERMAN:THE PART 1; Moulin Rouge; J. Morgan Williams (Minority Report); Goldsmith WERE WON (Oscars past & present); *Vol. 3, No. 6, Jul. ’98 T. Rabin; Barry MOVIE CD reissue: film, cue sheet on Golden Age Scores; Schifrin, (The Sum of All Fears); M. Kamen; J. Williams & L. Slatkin concerts; Jan Concert; Aussies: B. Dallwitz, C. Gordon; analysis, ’50s TV score; H. Shore Jones, Diamond & Debney; Score P. Schickele (Silent Running); Hammer, C. Martinez, C. Pope, S. Walker. D.Wiseman; ‘70s soul soundtracks. (Dogma); Goldenthal, Barber, Tyler, Internationale; Random Play. Laserphile: Summer Thrills; SCL pix, Vol. 8, No. 3, Mar. ’03 MAGNIFICENT *Vol. 3, No. 7, Aug. ’98 South Park Debney, Robbins; Pocket Reviews debut, Vol. 6, No 8, September ’01 ANGELO more. MOVIE MUSIC MOMENTS; Brian Tyler (A. Berry, B.Howell), I. Newborn; Laserphile. BADELAMENTI (Mulholland Drive); Vol. 7, No.6, Aug. ’02 JAZZ IN FILM: Miles (The Hunted, Children of Dune); J.Ottman Taxi Driver, BMI & ASCAP dinners, *Vol. 5, No. 2, Feb. ’00 JERRY FIELDING: N. Carolina School of the Arts; Quincy Davis, E. Bernstein, S. Clarke & T. (X-Men 2); D. Davis (Matrix Reloaded). Broughton Guide 2; Schifrin, Bernstein tribute, Camille Fielding; Top picks for ’99; Jones Pt 2; Earle Hagen; Halloween Blanchard; K. Badelt (K-19 : The Vol. 8, No. 4, Apr-May ’03 & Legrand. Oliver Stone’s score-o-matic (Any Given DVDs; more. Widowmaker); G. Clinton (Goldmember); MEET THE FOLKS: H. Shearer & M. *Vol. 3, No. 8, Sept. ’98 L.Schifrin; Sunday); George Duning obit; Score Vol. 6, No. 9, Oct./Nov. ’01 LORD OF THE Louise Steiner memoir; Billy Goldenberg McKean (A Mighty Wind); M. Hamlisch; B.Tyler; T. Jones; Williams premiere, Internationale;1999 release stats. RINGS; Ronald Stein; T.Jones (From (Duel, Kojak) more . G. Fenton (The Blue Planet); E. Shearmur ASCAP seminar, Rykodisc CDs. Vol. 5, No. 3, Mar. ’00 How to burn Hell); Davis Meets Williams (Jurassic Vol. 7, No.7, Sept. ’02 FSM’S TOP 40: The (Charlie’s Angels); Bond reissues. *Vol. 3, No. 9, Oct./Nov. ’98 Phantom Menace CD at home; Readers Park III); M. Danna (Hearts of Atlantis); most wanted composers in Hollywood; Vol. 8, No. 5, June ’03 BOOM TIMES: (T3, E.W.Korngold: Biography & books; picks for ’99; Film vs. concert music; C.H. ST:TMP on DVD refit; Pukas comix debut. John Frankenheimer; L. Schifrin; Signs; Hulk, Down With Love); Bond reissues 2; Williams at Tanglewood; C. Burwell; S. Levenson’s “last” letter, reader survey. Vol. 6, No. 10, Dec. ’01 One Hour Photo (J. Klimek) The Kid Jan Hammer 2; Korngold DVD. Boswell; Citadel Records. Vol. 5, No. 4, Apr./May ’00 SCORES OF SCORE reviews; Alejandro Stays in the Picture (J. Danna); 25 scary Vol. 8, No. 6, July ’03 THE PIRATE ISSUE: Vol. 3, No. 10, Dec. ’98 The Prince of BERNARD HERRMANN: 10 Essential ’50s Aménabar (The Others); G. Yared; Hobbit DVDs. K.Badelt (Pirates of the Carribean), H. Egypt (Zimmer, S.Schwartz), E. Cmiral Scores, CD checklist, Journey to the music; C. Young, H. Gregson-Williams, R. Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- Gregson-Williams (Sinbad: Legend of the (Ronin); 50+ CDs; Elfman, Young, Center of the Earth; R. Marvin (U-571); Kent, M. Isham. UP: E. Bernstein (Far From Heaven); Seven Seas), 11 Great Pirate Scores; R. Beltrami, C. Eidelman, D. Cuomo & J.Z.K. on Tora! Tora! Tora!; Film score E. Goldenthal (Frida); D. Elfman (Red Portman’s opera, The Sherman Bros.. Kamen. agents, pt.1. Dragon); Goldsmith, Williams con- Vol. 8, No. 7, August ’03 SEX, Vol. 5, No. 5, Jun. ’00 TENTH VOLUME SEVEN, 2002 certs; S. Bramson (JAG); The Michael LIONS & AUDIOTAPE: P. Doyle (Calendar ANNIVERSARY! Kendall remembers; 48 pp.each Hennagin story; 25+ CD reviews; more. Girls & Secondhand Lions); M. Kamen; VOLUME FOUR, 1999 FSM Timeline; The Film Score Decade; Vol. 7, No. 1, Jan. ’02 THE BEST & THE Vol. 7, No.9, Nov. ’02 BOND TURNS 40: Betty Comden (Singin’ in the Rain), C. 48 pp.each Jaws 25th Anniversary CD; J. N. Howard WORST: 2001; Horner Guide Pt 3:1989-86; D. Arnold (Die Another Day, reviews Lennerz (Medal of Honor game), R. Kent, *Vol. 4, No. 1, Jan. ’99 NFL Films (Dinosaur); Goldsmith Guide Pt 6. Zimmer (Black Hawk Down); Logan’s & re-releases); W. Ross (Harry Potter, audio formats explained. (S.Spence), Goldsmith/Carnegie Hall, Vol. 5, No. 6, Jul. ’00 SUMMER SCORE Overrun; Enterprise; Yann Tiersen. Tuck Everlasting); George Feltenstein Vol. 8, No. 8, Sept. ’03 LOVE THAT BOOB Elfman, Wing Commander game, books, ROUND-UP; D. Newman (Bedazzled, The Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, (Turner Classic Movies); 12-CD Wishlist; TUBE: Alias, Carnivale, Penn & Teller’s Indian funk soundtracks. Klumps); Film score agents 3; Session ELMER BERNSTEIN; Rózsa speaks! (Lust Omaha’s Orpheum Theater; Holiday DVD Bullshit! & Boomtown; Staff picks; *Vol. 4, No. 2, Feb. ’99 Goldsmith Buyer’s Notes (debut); They Might Be Giants. for Life); Richard Rodney Bennett; John reviews. Indiana Jones and the Temple of Doom; Guide: The ’90s; The Exorcist (lost Vol. 5, No. 7, Aug ’00 B. BROUGHTON; Q, Frailty; Laserphile (baseball DVDs). Vol. 7, No.10, Dec. ’02 M. Barwood on Dragonslayer & *batter- score); D. Shire; TVT sci-fi CDs; promos; Silverado; Shaiman gives hell; Film score Vol. 7, No. 3, Mar/Apr. ’02 THE TOWERING ACHIEVEMENTS: H. Shore ies not included. P. Glass. ggents fiery conclusion; Fall DVDs; W, SCORPION KING; Hook (Williams); Edda (The Two Towers); P. Glass (The Hours); Vol. 8, No. 9, Oct.-Nov. ’03 MATRIX *Vol. 4, No. 3, Mar. ’99 Best of ’98; Stromberg; Elfman & mom. Dell’Orso; Craig Armstrong (Moulin Ray Ellis (Filmation cartoons!); The Alloy CONCLUSIONS: D.Davis; “Dumped”: 50+ W. Carlos; Goldsmith Guide 2: (‘80s); Vol. 5, No. 8, Sept./Oct ’00 R. NEWMAN Rouge); Oscars. Orchestra, Spy Notes (secret agent cut & altered scores; The Gospel of Jeff Hammer; Recordman; ST:TMP CD (Meet the Parents); Things To Come; discs); Adaptation & Punch-Drunk Love. Danna; M. Isham; LOTR concerts. review. The Goonies; Requiem for a Dream; NPR Vol. 8, No. 10, Dec. ’03 SHORE RETURNS: Vol. 4, No. 4, Apr./May ’99 F. Waxman honors; “Cinema of Dreams”. At the Return of the King sessions; Final (Prince Valiant ); ’98 Readers Poll; Vol. 5, No. 9, Nov./Dec. ’00 64 pg. special tribute to Michael Kamen; G. Yared (Cold Goldsmith Guide 3: (‘70s); DIVX festival; 101 GREAT FILM SCORES; T. Dun & Yo-Yo FSM: The Complete Collection—STILL AVAILABLE! Mountain); Holiday DVD roundup. Barry bios; C.Gerhardt obit. Ma (Crouching Tiger, Hidden Dragon); Something we offer—that most *Vol. 4, No. 5, Jun. ’99 The Phantom Shore; Silvestri; . magazines do not—is the chance to buy Menace scoring session/Trilogy themes; VOLUME NINE, 2004 every single issue of Film Score Monthly Halloween H20; Affliction, Futurama; 48 pp.each we’ve ever published. Free Enterprise, Election. VOLUME SIX, 2001 Vol. 9, No. 1, Jan. ’04 THE BEST OF Vol. 4, No. 6, Jul. ’99 E. Bernstein (Wild 48 pp.each From #1, the little one-page xerox Lukas THE WORST, 2003; Thomas Newman Wild West); Austin Powers 2; Goldsmith Vol. 6, No. 1, Jan. ’01 THE BEST OF THE Kendall circulated to 11 people in June 1990, interviewed; A. Desplat (Girl With a Pearl Guide 4: (‘70s); USC film score program. WORST: 2000; Our Town; Hollow Man to the present day—the glorious, glossy mag Earring); J. Williams’ debut; The Vol. 4, No. 7, Aug. ’99 Warner Animation DVD; Total Recall ; C. 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(we have to photocopy the older issues). It comes in a big ol’ box and is sure to comp.; Poledouris; Goldsmith Guide 5: Ellis; Irwin Allen discs; R. Kent (Town & give many hours of reading pleasure, not to mention eyestrain. (‘60s); concert advice for Jerry. Country); Italian Imports/BEAT. Index What exactly have we printed in Vol. 4, No. 9, Nov. ’99 COMPOSER Vol. 6, No. 4, Apr./May ’01 J. Horner Shipping is FREE in the U.S. via USPS priority mail or UPS ground (your FSM? Here’s a handy index of all con- STAMPS; Papillion; Peter Thomas; Buyer’s Guide; The Mummy Returns, choice, but UPS is recommended). (Add $30 for air mail to Canada, $40 for sur- tent through 2002, compiled by Dennis Inspector Gadget; The Thomas Crown Swordfish; Hoyt Curtin; Epics on DVD; face mail to the rest of world, or $80 air mail rest of world.) Schmidt. Cost: same as one back issue. Affair; BMI awards. Atlantis The Lost Empire. 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TO ORDER: Call Toll Free 1-888-345-6335 • Overseas 1-310-253-9598 • Fax 1-310-253-9588 • Online www.filmscoremonthly.com SCORE Reinwand’s contributions are a (continued from page 35) bit more interesting, especially the found the time to work on three song “Dream on Dream.” They are features in 2002. This one finds all firmly in the “sugar pop” style him dabbling in a sound that that has hints of . Many mixes Goblin/Argento hor- of Carson’s songs are in the style ror thrillers with his own Body of 1960s jazz-pop numbers of Double—and Silvestri’s What Lies the likes heard in Down With Love. Beneath or Death Becomes Her thrown The score elements are a cross in for good measure. between Rolfe Kent and Marc The opening “Il Mistero” is an Shaiman. There is even a Latin interesting Herrmann-esque blend number in “Jane’s Attraction.” The of driving strings, a bright orches- score tracks are mostly episodic tral bell sound and light winds, and too brief to develop into suggesting the great Hitchcock anything substantial, which is a thrillers. Thematic ideas weave common trap in this type of film effortlessly throughout the score, scoring. and ideas are likely tied to the No doubt young people will characters whose track names they flock to the film. The disc itself is bear. These are expansive, lyrical oddly packaged with no refer- melodies that are played against ences to the song performances intimate chamber writing or fasci- at all. Carmen Rasmussen’s name nating motivic fragments that float appears on the back of the disc in and around the other material. light reel of concert selections recorded too closely, is definitely case. Fans of hers (she was on last There are also some pop featuring the Chilean tenor Tito presented like a solo pop singer, year’s American Idol) will be disap- instrumental tracks such as “Il Beltran. In all, it’s a great album instead of in a more operatic or pointed in paying for one song Barbiere”—a good example of a and shows why Beltran is one of classical ambient mix with the full performance. —S.A.K. limited motivic idea driven by those potential tenor stars who orchestra. It sometimes sounds repetitive rhythms derived from might replace the aging icons of like he was recorded in a booth The Mad, Mad World of samba. The slow tango rhythms the past two decades. His famil- away from the orchestra, which Soundtracks Vol. 2 ★★★★ of “Teresa” are quite inspired as iar traversal of “Nessun Dorma” would be quite a feat in the VARIOUS an idea that plays like a piano from Puccini’s Turandot is among Puccini selections! This approach Universal Jazz Germany 520 942-2 quartet or one of those Astor the finer individually recorded may not be as musical (or at least 20 tracks - 55:17 Piazzolla pieces. All-out horror performances of this aria, rivaling as natural), but it definitely allows rom Frank Jastfelder and Stefan is on display in “Lo Scambio” the likes of Luciano Pavarotti. “O us to focus on Beltran’s wonderful FKassel (authors of The Album where Donaggio makes more Sole Mio” is also strong, and the voice. On the flipside, the Crouch Cover Art of Soundtracks) and pro- out of held closely scored ideas closing arrangement of “Amazing End Festival Chorus is not well ducer Matthias Küennecke comes than most composers writing Grace” makes this familiar hymn served in the Turandot excerpt— this long-awaited second volume for similar scenes. “La Cava del sound like a kind of patriotic ode. they sound like they’re trapped in of rare, swinging, “mod” and hip Mistero,” however, sounds like it Though the album doesn’t make a cave somewhere. —S.A.K. cover performances of film and could have been written for any it entirely clear, it’s very likely that TV soundtracks. The first volume ’80s film. For as many American these selections are culled from Pride and Prejudice ★ featured tracks recorded between films that we seem to get in this three other Silva releases. BEN CARSON 1966 and 1972; this sequel cov- genre, the scores rarely are as Beltran’s sound is a bit more Highway E47192 ers 1968 through 1977. This might captivating as this one for a film nasal than Placido Domingo’s, but 24 tracks - 58:43 seem anathema to film score pur- that many of us may never see. his diction is far better, especially ride and Prejudice is an adapta- ists—and pure gold to our colum- Donaggio fans need not hesitate, his English. And the Italian songs Ption of Jane Austen’s classic nist, John Bender—but these are and those who think they might that grace so many tenor cross- novel. By the looks of the pho- not original film versions. Rather, enjoy a blend of impressionism over collections are performed tographs that appear in the CD the producers have sought out and Herrmann noir scoring will with zest and an infectious joy. booklet, Andrew Black’s adapta- bizarre vocals, covers, pop singles enjoy this score. —S.A.K. The City of Prague Philharmonic tion has the look of last year’s and so forth covering familiar proves that it’s not just an eleva- Down With Love. The Brigham themes, as well as obscure ones. Tito Beltran: The Amazing Tenor tor Muzak orchestra, with fine, Young University graduate set the On the familiar end: Astrud ★★★★ supportive playing throughout. film in Utah and that is where the Gilberto doing “A Time for Us” VARIOUS Unfortunately, the notes don’t fea- film had a very limited release in from the 1968 Romeo and Juliet Silva America 6037 • 14 tracks - 54:41 ture any of the texts for the opera early December 2003. (Nino Rota); The Bachelors alter- hough some of the arias and selections, so neophytes are not Most of the songs are writ- ing “Diamonds Are Forever” TNeapolitan songs featured served well. ten by Carson, with collabora- (John Barry) to a male perspec- on this collection have appeared A brief word about the record- tors Stephanie Smith and Scott tive (which plays havoc with the in films, this CD is more a high- ing: Beltran’s voice, while not Reinwand providing four others. lyrics: “They are all you need to

MARCH 2004 36 FILM SCORE MONTHLY FILM SCORE MONTHLY 43 MARCH 2004 SCORE please her...”); Scott Walker doing Gunter Kallmann Choir changing an improvement. Two punchy and Pat Williams’ own cover of “That Night” from The Fox (Lalo the phrasing of “The Windmills ’70s U.S. TV themes are given “The Streets of San Francisco.” Schifrin); the vocal version of of Your Mind” from The Thomas great instrumental treatments: There are also German film “The Odd Couple” (Neal Hefti) Crown Affair (Michel Legrand and John Gregory’s cover of The Six and TV selections: “Das gelbe with charming lyrics; and The the Bergmans)—not necessarily Million Dollar Man (Oliver Nelson) Haus am Pinnasberg” by Rolf Kühn, “Wie ein Blitz” by Sam Spence (sounds like NFL music!), Alma Zimbalist, Arturo Toscanini and Pablo Casals, the “Tatort” by Klaus Doldinger, A Fiddler’s Tale: last of whom spontaneously sat in for a two-cello quintet How Hollywood and Vivaldi Discovered Me by Schubert. Kaufman was present for the famous 1927 “Angels Who Burn Their Wings” Louis Kaufman, with Annette Kaufman Carnegie Hall premiere of George Antheil’s noisy Ballet by the almost distinctive Madison: University of Wisconsin Press, 2003 Mécanique (the one with the typewriters and airplane Peter Thomas, “Die Kette” by 462 pages + color plates and CD, $26.95 propellers). Soon he was touring Europe with the Quartet, Jochen Brauer Group & Tender earning very little cash but managing to meet many of the Aggression (a great piece of important interwar artists in Paris and start buying their IT IS A LONG WAY FROM THE MERRY WIDOW ’70s German proto-disco) and (Herbert Stothart, 1934) and Modern Times (Charlie works. Kaufman was a lifelong art collector and early “Robbi, Tobbi & das Fliewatüüt” Chaplin/David Raksin, 1936) to Spartacus (Alex North, friend of Milton Avery. By the mid-1930s he was introduc- by Ingfried Hoffmann (the OST 1960) and John Goldfarb, Please Come Home (Johnny ing Avery and other East Coast artists to Alfred Newman Williams, 1965), but one musician embraced all these and other art-loving film folk. Bernard Herrmann became a to a popular German children’s scores and hundreds more: the American violinist Louis lifelong friend of Kaufman and his wife, Annette. Herrmann TV series). German fusion pop of Kaufman (1905–1994). In his fascinating posthumous once exchanged his New York apartment for a stay in the the ’60s and ’70s is very distinc- memoir, we hear a lot about the studio contract orchestras Kaufman’s richly decorated Los Angeles home. It was there tive—pulsating, hard-edged and that Herrmann composed Anna and the King of Siam, and of the Golden Age. But somehow Kaufman managed to tuneful—and these are great cuts. soar above them all. He seems to have played for every- he credited Kaufman’s Buddhist bronzes as the source of There are also softer songs: body’s most important work: He played The Best Years of his inspiration. Ella Fitzgerald singing the title Our Lives for Friedhofer. He played in just Kaufman’s career blossomed when, about all of Korngold’s scores. His was the after 14 years of regular studio work, he theme from A Place for Lovers famous devil’s fiddle for Herrmann’s All decided to tour more widely. Among many (Manuel De Sica and Norman That Money Can Buy. For Alfred Newman other achievements, he made some of the Gimbel); Claudine Longet doing he was soloist from 1934 onward through earliest and most influential recordings of “Nothing to Lose” from The Party Vivaldi, helping to bring The Four Seasons Wuthering Heights (earning a special bonus (Henry Mancini and Don Black); for that one), Captain from Castile and The to the special prominence it enjoys today. and a rare Chet Baker vocal of Greatest Story Ever Told; for Miklós Rózsa He was among the early performers of from Double Indemnity through El Cid. music by Samuel Barber, Darius Milhaud, “Come Saturday Morning” from When Max Steiner needed a soloist to Francis Poulenc, Miklós Rózsa and many The Sterile Cuckoo (Fred Karlin and audition his Gone with the Wind themes others. His Vivaldi cycle earned the Grand Dory Previn). Rounding out the for a skeptical David O. Selznick, it was Prix du Disque in 1950 and was inducted tracks are three instrumental Kaufman he brought along. His last major into the Grammy Hall of Fame a half- oddities: organist Jimmy Smith’s century later, in 2002. By then Kaufman credit seems to have been the Sherman haunting take on the theme from Brothers’ musical version of Tom Sawyer was no longer with us. He passed away The Night Visitor (Henry Mancini) that John Williams supervised in 1973. in 1994, leaving extensive notes for this Overall, Kaufman played in some 500 memoir. They have been collected and as arranged by the late, great Hollywood films, often as soloist or concertmaster. The edited by his widow and longtime accompanist. Oliver Nelson; Fred Hector & book’s appendix lists only a portion of these and does not Though I first approached this book only to browse for its His Accordion Orchestra’s ver- make it entirely clear whether Kaufman was concertmas- Hollywood history and famous names, I soon found myself sion of “Bond Street” (with nine ter for all of them. But we know that he was engaged for reading every page. Kaufman was a connoisseur not only accordions!) from Casino Royale of music, both early and contemporary, but also of art exactly that purpose on his very first movie, Ernst Lubitsch’s (Burt Bacharach)—which I at M-G-M version of The Merry Widow. “Are you Kaufman, the and of cities. This memoir does not escape the pitfalls of first thought was the Benny Hill violinist?” asked the studio’s musical contractor. “Mr. Ernst “and then I played/heard/met.” Tighter editing could have Lubitsch, the director, tried out all the violinists at M-G-M eliminated some repetition. (A letter of Rózsa’s and some theme; and a straight 4/4 version and didn’t like anyone. Last night he heard you over KFI Herrmann anecdotes are repeated twice.) But the persons by The Button Down Brass of The and decided that you are what he wants for solos.” And and places are so fascinating—from chamber music in French Connection theme (Don Ellis). so it went for nearly four decades. Kaufman did studio Alfred Newman’s home to tea with Gertrude Stein—that This last track, incidentally, bears work steadily for 14 years—mid-forties dissatisfaction with readers will forgive these flaws. This is a generous treasury. almost no resemblance to any- The five appendixes include a 34-page discography, and “nepotism” and incompetence at Twentieth Century-Fox thing from The French Connection, seems to have ended his regular association there—and there is a generous color insert of plates by Milton Avery but it’s still a fun track. intermittently in later years. and other artists from Kaufman’s collection. Finally, there But film scoring was only a part of Kaufman’s life. is a richly diverse CD whose 13 tracks include a number The liner notes provide a his- American born (Portland, Oregon) of Romanian Jewish of CBS Symphony recordings under the baton of Bernard tory of each track—essential read- ancestry, Kaufman was no prodigy. He studied locally Herrmann and the Much Ado About Nothing Suite from ing considering their diverse and and then with the German teacher Franz Kneisel in New the Korngold memorial concert of 1959. From this book obscure origins. It’s a marvelous York. There he played for a few years with the Musical you take something of the same impression you get from compilation, from the selections Miklós Rózsa’s Double Life. It’s like spending a few hours Art Quartet and had a chance to mingle with the elite of to the sound quality to the retro the musical world. At one quartet tryout in the home of in the company of a rich and generous-spirited man of the packaging. —Lukas Kendall Walter Damrosch (of the New York Symphony Society), world. It tells much about Hollywood but keeps everything FSM he played viola for an audience that included Efrem and in true musical perspective. —John Fitzpatrick

MARCH 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 MARCH 2004 SCORE MULTIMEDIA REVIEW Welcome Back to Sherwood! A great “golden-oldie” gets dual-layered treatment. By William Flanigan, Ph.D.

his is the new CD reference re-

recording of The Adventures of T Robin Hood and the first Korngold film score reference

recording of the 21st century! A

comparison of the Marco Polo CD

with the heretofore reigning refer-

ence recordings from BMG RCA

Victor (1972 and 1975, both con-

ducted by Charles Gerhardt and A RICH REWARD: Fans of the classic swashbucker finally have gotten what they’ve been waiting for.

performed by the National Philharmonic result is a spectacular restoration. Besides Music First Orchestra) and from DCC Compact Classics the broadcast, disc two includes a number The restoration/orchestration for the CD is (1996, originally recorded in 1961, conducted of improvised excerpts from film scores first rate, as is the miking/mixing. More to by and Kurt Graunke, and played, hummed and “sung” by the com- the point, John Morgan’s restoration and his performed by an uncredited Munich orches- poser, along with a bit of chatting (mostly and William Stromberg’s orchestration yield tra) leaves no doubt. protesting) by Korngold—I believe this is a score jam-packed with instances of instru- Sixty-six years ago, the score for Robin the first time Korngold’s voice has been ments brought to the fore (pick any track) and Hood won Erich Wolfgang Korngold an heard in a commercial recording. Shades of probably not so distinctly heard (or heard at Academy Award for what was his “first” Garbo! Proceeding beyond the DVD-V ver- all) since Korngold conducted the score; swashbuckler score. He had declined to take sion of the OST, the Marco even Little John’s whis- on-screen, compositional credit for the score Polo CD contains the first tling is included. Perfectly of Captain Blood (1936), even though he wrote recording ever made of the presented percussion pas- all but the few minutes he lifted from Liszt. complete score for Robin sages abound. Interludes Robin Hood turned out to be Korngold’s only Hood. It includes music that underline Korngold’s score for a motion picture filmed in color that was edited out prior lighthearted sense of (Robin Hood was filmed using the three- to the film’s release (now musical humor (often de- stripe Technicolor process then crossing restored in track 19) and, emphasized or just about over from experimental shorts to features). in track 6, music that never absent in modern record- It was also the first film score to be broad- made it into the final score ings except for, perhaps, cast (albeit abundantly abridged) live and on and, therefore, that has his Baby Serenade, Op. 24) coast-to-coast radio in 1938. You can hear a never been heard before! are copious (e.g., tracks 6, 8 version of that broadcast on disc two of the The CD also presents the and 12). Warner DVD-Video. Moreover, a 12-minute first modern recording in The Adventures of Robin Hood Mr. Stromberg’s con- suite Korngold distilled from his full score virtually the same tempos (1938) ducting is simply superb. may have been the first film music ever per- that Korngold used when ★★★★★ The Moscow Symphony formed in a concert hall (conducted by the he recorded the OST (more ERICH WOLFGANG KORNGOLD Orchestra (MSO) has been composer in 1938). on this later). Finally, the Marco Polo 8.225268 carefully and skillfully Disc one of the Warner DVD-V contains CD is the first Korngold 25 tracks - 78:27 crafted into a disciplined much of the original soundtrack, processed recording that should Digital Stereo whole that mesmerizes the for the first time in Dolby Digital, and the require a warning label. unwary (or even the wary)

MARCH 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 MARCH 2004 MULTIMEDIA OSTs vs. Re-Recordings: The Final Conflict

SO WHY BOTHER RE-RECORDING AN OST OR even selections from it? Not an easy question to answer. Puristic considerations aside, one reason may be to increase the clarity of historic scores that used recording techniques considered primi- tive by today’s standards. But even this may be bogus when a historic OST can be digitally remas- tered to remove recording artifacts, improve listener to the point of near total distrac- testing the pace of the tempos the conduc- fidelity and/or expand the sound field by adding tion; the ensemble is also extremely well- tor insisted upon. Bravo Maestro Stromberg! channels. Re-recording might also be called for rehearsed. This hard work rewards us in And wimp awards all around for the “tempi when the original score has been shortened to spades, especially in the banquet fight and challenged.”) match a film’s final edit, later replaced after, say, escape (track 5), the forest attack (track 10), The multi-authored CD booklet provides an unfavorable preview or tossed aside and not the archery tournament capture (track 14), a special treat and a substantial bonus. Film used in the film at all. the escape from the gallows (track 16), and historian Rudy Behlmer sets the scene with There may be a quality intrinsic to many/most the final battle and sword fight (track 23). little known and fascinating background OSTs that does not seem to apply to other musi- Throughout, the music repeatedly refuses to facts and anecdotes about both the score cal genres (like compositions that target the stay on the page. Properly presented tempos and the film. Principal Korngold biographer concert hall or CDs). Perhaps seeing and hearing and transitions between tempos as well as Brendan Carroll builds on information in is mutually reinforcing—OSTs could sound better back-and-forth “dueling” of tempos/themes his biography, and provides one of the most than re-recordings because film sequences flash have a lot to do with it. comprehensive and lucid (not to mention into the mind’s eye more often and are more Listening to Korngold’s OSTs (especially riveting), non-technical film score analyses vivid when an OST is heard. Some music videos his swashbuckling ones) appears at first written to date. Mr. Carroll has also provided seem to sound “better” than their corresponding blush to be the aural equivalent of watch- previously unpublished scoring-session CDs. Or it may simply stem from plain old pres- ing silent movies running too fast. But this is photos, including one with Korngold on the sure. Without the film’s director and/or backers not as it seems. Korngold had access to the podium and his parents sitting off to the breathing down the necks of a composer, con- best (and, for Robin Hood, the largest) studio side! Restoration guru and master orches- ductor and orchestra during a re-recording, an orchestra of the day, filled with outstanding tral arranger John Morgan describes the important dynamic is lost—the sense of urgency West Coast instrumentalists. And he chose psychological roller coaster he experienced (if not flat-out panic) conveyed by OSTs. tempos for action cues that didn’t just match in his quest to fully restore the complete And then there are silent-film scores. Does the the pace of shot editing (Korngold also may score for Robin Hood, and offers a number of original score usually sound better than a newly have had the political clout to have shots commentary gems: during the OST record- commissioned one? edited to match his music), but added action ing, for example, the pace of Korngold’s If or Wagner had recorded to the action on screen. Compare the sense music would often require “turning a page their music when they conducted it, would this of speed in a fight or action sequence from every two seconds!” (Korngold did not use a preclude new recordings/presentations of the Robin Hood with the sound off, then on. conductor’s score, but conducted from the same? Seems unlikely. Just about all 20th- Modern recordings of Korngold’s film music full orchestral score.) century concert composers recorded their own almost always seem ponderous, stuck in works. This hasn’t prevented other conductors low gear, and somnambulant when com- Picture This from earning tidy sums from doing it over and pared with the OSTs. Some conductors have There are some problems with the audio over again. been heard lamenting that Korngold’s tem- recordings presented on the DVD-V. For There does seem to be a similarity between pos are beyond the capabilities of today’s starters, while the OST on disc one con- film remakes and new recordings of original film performers. This Marco Polo CD forcefully tains most “major” cues (but not in their scores. Few remakes are greater or even as great and definitively dispatches such whining entirety), others are missing (starting just as the original film. The same seems to hold true rationalization (and just plain nonsense) to a few minutes into the film). Given the for re-recordings of OSTs. —W.F. the trash bin. (During rehearsals for the CD, history of how the OST was rescued from some MSO musicians apparently kept pro- obliteration at the proverbial eleventh hour,

MARCH 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 MARCH 2004 Korngold Piano Session,” also on disc two (called “Korngold Scoring Session” on the back of the slip case) broken down into frag- ments from 12 listed film scores (and a few notes and bars from other ones). Although not acknowledged, all fragments come from a tape made in 1951 at a birthday for and at the home of Mr. Ray Heindorf (music direc- tor for Warner Bros.) with the composer as the honored guest (Heindorf also made the recording). One fragment, “Love for Love” from Escape Me Never (1947), can also be heard on at least three CDs and one laserdisc, with the source usually not clearly acknowledged. No fragment on the DVD-V exceeds 2 min- utes 30 seconds, and several are less than 30 seconds long. Fragmenting as opposed to just running the tape end-to-end also seems foolish. It is simply not the way to enjoy an impromptu session of Korngold at the piano. we are indeed fortunate to have what we So, what’s this about a warning label? I have. However, the cues presented on this couldn’t wait to hear the CD, so I first played disc are synchronized with a silent version of it on my car stereo. Some folks complain that the film. This means that they end up being using cell phones are a major distraction from separated by all sorts of pauses (while dia- driving (and a number of U.S. states have logue is occurring). Presenting a chopped up laws banning the practice). Here’s another version of the OST (in Dolby Digital no less) threat. Within less than a minute (actually as an adjunct to a silent movie seems pretty it was at about 34 seconds into track 1), I dumb. Only those with an academic inter- missed a well-traversed freeway exit (and est in matching cues with had to go about five miles film scenes may find this of further up and back). On value—say about five folks my return, crossing over on the entire planet! Next the freeway I ran a red we have the “live” radio light (just didn’t see it) broadcast on disc two. This and while merging into appears to be a complete traffic almost side-swiped version (at a little over a huge, conspicuous SUV. 28 minutes), but it suffers The CD clearly needs a from print-through and warning stuck on the wow & flutter, especially at front of each jewel box the beginning. Given these strongly cautioning the tell-tale signs, this presenta- listener against playing tion does not sound like it the disc while driving. was directly derived from State legislators, listen up! original studio records. A final observation: Perhaps of greater interest The Adventures of Robin Hood The primary problem is that the miking/mixing DVD Video with Korngold’s music is also decidedly different Warner Home Video 65131 (and, especially, his film (and much improved) from Disc 1: Special Features, Music Only Track, symphonies) is that it is 1 an earlier, shorter version Title 1, Chapters 1-29 ★★★ /2 too darn addictive. Even released on CD (Facet 8104, Disc 2: Special Features, Audio Vault, when you manage to stop 1987), which really sounds 5/11/1938 National Radio Broadcast, playing a disc and go cold Artwork Artwork ©1938, 2004 Turner Entertainment Co. All Rights Reserved like a live recording. So The Robin Hood Radio Show, Title 10, turkey, the music can go are we really hearing a live Chapter 1, 28:23 ★★★★ on in the mind’s ear for broadcast on disc two or a Disc 2: Special Features, Audio Vault, Erich weeks. With this CD, I recording made for broad- Wolfgang Korngold Piano Session, Title 11, wager, the rehab process 1 cast or a recording that was Chapter 1, 16:52 ★★★ /2 could jump from weeks to never broadcast? Finally, we Dolby Digital 1.0 months. Consider yourself

The Adventures Theof Robin Adventures Hood have the “Erich Wolfgang forewarned. FSM

MARCH 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 MARCH 2004 figuration, satire, synaesthetic should include the author’s name, Mail Bag News effects, etc. the full title of the submission, all (continued from page 9 (continued from page 4) Submitted essays must not relevant contact information, and Perhaps someday I’ll get Kaper’s have been previously published a short abstract of no more than Lord Jim and Mutiny on the Bounty. anywhere. In order to facilitate 300 words. Musical examples, There are many more great scores The Journal of Film blind review of the submissions, photographs or figures should out there, and I know you are authors should send a copy of be submitted on separate sheets working on them. Thanks for the Music Wants YOU their article on disc (preferably of paper with notes in the text classics as well as the surprises. MS Word) and five complete as to approximate placement of Brad Igou he Journal of Film Music invites copies on paper without iden- each example. On disk, examples Lancaster, Pennsylvania Tinterested writers to submit tifying themselves anywhere in must be in TIFF format at 600 papers for a special issue—entitled the manuscript. Essays, including dpi resolution. All examples must L.K. responds: Thanks for your nice Transformations: “Classical” Music endnotes, must be double-spaced have permissions secured by the words!! We do our best. in the Cinema. Here it is in their on 8 1/2” x 11” paper. Please leave author.” Submission deadline is Let us know how you think that we’re academic words: a one-inch margin on all sides. Sept. 1, 2004. doing—good or bad: “We are particularly interested For matters of style, please follow Please address submissions to: FSM Mailbag in creative forms of adaptation the latest edition of The Chicago [email protected] 8503 Washington Blvd. that challenge and change the Manual of Style. The cover letter Culver City, CA 90232 way we listen to (more or less) Or email us: familiar music through recontex- Introducing FSM’s newest News column… [email protected] tualization, editing, recomposing, arrangement, etc. Such transfor- Scoring News From Down-Under mations may range from astute For Christ’s Sake reinterpretations to productive rt Phillips, president of the Australian Guild of Screen (continued from page 24) misunderstandings, from sci-fi, Composers, has provided us with the latest film-music news cartoons and commercials to Afrom the other side of the equator. So, without further ado: else’s in the film, grammatically cor- feature films and documentaries, rect and risibly enunciated. So Mel from Gregorian Chant to Ligeti. In Gibson, the son of Holocaust- this special issue, the JFM intends denier Hutton Gibson, spends $20 to present a variety of approaches million of his own money to make including, but not limited to, this piece of garbage but does not phenomenological, analytical, set aside a few bucks to hire a aesthetic and historical questions. couple of experts in the pronuncia- Submissions might, for example, tion of Latin and Aramaic. It may be explore the following themes: okay for you to be treated like an • Ambiguity, shift and diversity asshol*, but it is not okay for me. I of meaning; • SYDNEY NOW HAS ITS FIRST PURPOSE-BUILT ORCHESTRAL leave the closing words to • The use of classical music film scoring stage located at Fox Studios. TSS—Trackdown Scoring David Denby in The New Yorker (of in composition and Stage—includes a main recording area to accommodate more than March 8, 2004): “This is a sickening, accompaniment; 110 musicians and a 5.1 monitoring control room equipped with unilluminating and ignorant show.” • Problems of reception; the ProTools HD. Currently, Craig Armstrong (Moulin Rouge, The Quiet In conclusion, I advise potential conflicting expectations on the American) is recording the new Chanel commercial for Baz Luhrmann audiences for the soundtracks of part of composer, arranger, direc- using an 85-piece line-up from the Sydney Symphony Orchestra. Jesus movies to stick with Miklós tor, and audience; • THE AGSC’S RECENT INFORMAL CHAT SESSION, “ON THE Rózsa, Alfred Newman and per- • The collaboration between Couch,” featured Randy Edelman. He’s currently assigned to score haps Peter Gabriel. And if it’s the music business and film the upcoming feature Stealth, which is being shot on the local Fox lot. important to sit through an entire industry in marketing and popu- Jesus movie complete with Mary larizing ‘classical’ music through • GUY GROSS IS SCORING FARSCAPE : THE MINISERIES. A part- and Joseph and Herod and the films and its effects on musical ner in the TSS facilities at Fox, Gross will be recording ten 88-piece disciples, with all the major epi- literacy; orchestral recording sessions for the series in mid-April. sodes, stick with The Gospel According • Adaptations of music that • ROGER MASON IS SCORING THE MARVEL COMICS HORROR to St. Matthew. If you think there is contradict cultural, genre and feature Man Thing. The score will blend American Indian music with any upside to spending your hard- stylistic conventions or historical orchestra. earned dollars viewing the Mel ‘authenticity’; Gibson version, I strongly advise • Techniques of transforma- • CHRIS AND BRAEDY NEAL ARE BURNING THE CREATIVE that you first download the indis- tions, such as harmonization, candles with their score, currently in progress, on the 13-part chil- pensable Maureen Dowd’s orchestration, distortion, fragmen- dren’s series entitled Noah and Saskia. The BBC and ABC (Australia) are “Stations of the Crass” in The New tation, etc.; the principal initial broadcasters. The series starts mid-April. FSM York Times, February 26, 2004. FSM • Effects of transformations, such as alienation, irony, trans-

MARCH 2004 48 FILM SCORE MONTHLY GOLDEN AGE CLASSICS • FSMCD VOL. 7, NO. 5 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Composed by Bronislau Kaper Conducted by Johnny Green

THE SWAN (1956) WAS A ROMANTIC FAIRY TALE set in early-20th-century Europe, based on a play by Ferenc Molnár. Grace Kelly starred as a young princess whose desperate mother hopes to betroth her to the crown prince, Alec Guinness. However, Guinness’ visit leads to a romantic triangle, with the third leg being the palace tutor, Louis Jourdan—a commoner. What starts as a comedy of manners becomes a bittersweet romance and ultimately the coming-of-age story of Alexandra—who accepts her role in society as a rarified “swan.”

THE SWAN WAS GRACE KELLY’S PENULTIMATE FILM, in a role that eerily foreshadowed her own destiny as Princess Grace of Monaco. The film features fine performances, gorgeous architecture (including footage filmed in a North Carolina mansion) and splendid M-G-M production values—with a heartfelt and evocative score by Bronislau Kaper.

KAPER CONSIDERED THE SWAN TO BE ONE OF his finest projects, as if its fairy-tale atmosphere rekindled his childhood memories of prewar Europe. He ably matched its many moods, providing a shimmering, beautiful waltz for Kelly; light and frothy music for the affairs of the royal palace; an adaptation of the Hungarian “Rakoczy March” as Guinness’ theme; and lengthy,

romantic passages for the deepening drama. His score is Album Produced by Lukas Kendall by turns noble, whimsical, melancholy and magical. 1. Main Title/Europe 1900/Telegram 3:59 8. Ballroom Waltz 7:07 2. Hurry/Instructions/En Garde/ 9. The Return 1:46 KAPER’S SCORE FOR THE SWAN (CONDUCTED BY Father Hyacinth/ 10. Confession/Why Then? 6:43 studio music head Johnny Green) was released on Vega/Inspection Bugle Call 5:05 11. Man in Love 3:36 LP at the time of the film. This premiere CD features 3. Arrival/Asleep/Eat/Auntie 3:22 12. Wing/Under Arrest/The Emperor 1:53 the complete original soundtrack in stereo, remixed 4. Shall We Try/Hand 2:05 13. Indisposed/I’m Packed/ from the original three-track masters, as well as 5. Rákóczy March 1:50 Too Large a Gift 4:26 6. Theme From The Swan 2:12 14. Take Me In & End Cast 3:26 the passages recorded specifically for the album, in 7. Foils/Reading/Smile/ monaural sound, as they were recorded (consisting of National Anthem of Swanovia 1:54 Total Time: 49:54 “Theme From The Swan” and brief transitions). $19.95

Don’t miss this month’s Silver Age Classic The Shoes of the Fisherman by Alex North See back cover for details SILVER AGE CLASSICS • FSMCD VOL. 7, NO.6 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Composed by Alex North A 2-CD set featuring bonus selections from 1968 M-G-M Widescreen Spectaculars

ALEX NORTH HAD HIS ROOTS IN THE AMERICAN STAGE but achieved his greatest fame in the epic film genre: his scores for Spartacus (1960), Cleopatra (1963) and The Agony and the Ecstasy (1965) are beloved for their scope and grandeur. 2001: A Space Odyssey (1968) was to be another North epic but ended up with Stanley Kubrick’s selections of classical music. Later in 1968 North was able to use some of his ideas for 2001 in M-G-M’s The Shoes of the Fisherman, a colossal modern-day tale about the first Russian Pope.

THE SHOES OF THE FISHERMAN WAS BASED ON A NOVEL by Morris L. West and starred Anthony Quinn as Kiril Lakota, a political prisoner who rejoins the Vatican after his release. When the Pope dies, Kiril emerges as an unlikely successor, and must set the course for the Vatican’s role in a current world crisis. The film also starred Laurence Olivier as the Soviet Premier, David Janssen as an American journalist, and Oskar Werner as a Jesuit philosopher and friend of Kiril’s.

ALEX NORTH APPLIED THREE MAJOR APPROACHES for the film: For Quinn’s Russian character, North wrote a Ukrainian-styled folk theme, orchestrated for anywhere from full symphony to small folk ensemble. David Janssen’s TV journalist is in the midst of a marital crisis, and North provided a romantic, pop-flavored theme, also used for Kiril’s fascination with the modern city of Rome. But it is the score’s third area that has long thrilled film music fans: mammoth, crashing chords for the Church itself—not liturgical music, but a modernist symphonic approach for the awesome concept of God on earth. (This is the music derived from North’s unused score to 2001.)

DISC ONE: ALTERNATE SCORE CUES ICE STATION ZEBRA THE SHOES OF THE FISHERMAN WAS RELEASED ON LP 1. Overture 4:02 21. Main Title (alternate) 2:48 Demonstration Tracks at the time of the film. FSM’s premiere 2-CD set features the 2. Main Title 2:00 22. Election of the Pope 9. Water Theme 3:19 3. Kiril’s Release/ (film version) 4:01 10. Theme From complete underscore on disc one, remixed and remastered Kamenev 2:33 23. Kiril’s Loneliness(alternate) 2:12 Ice Station Zebra 3:23 from the six-track 35mm masters, including a bonus section 4. Rome 2:32 24. Theme From The Shoes 11. Water Theme/Theme 5. of the Fisherman 1:58 Pope and Kiril/ From Ice Station Zebra of additional and alternate cues. The score features all the Announcement/ 25. Solitary Pilgrimage (combined) 2:55 St. Peter’s Square 2:18 (alternate) 2:25 symphonic power for which North is known—at over 100 Total Time: 9:47 6. Ceremony 3:10 26. Coronation (alternate) 0:46 pieces, it was one of the largest orchestras ever used for 7. Arrival of the Cardinals 3:03 27. End Titles (Leone version) 1:02 WHERE EAGLES DARE film—plus his intimate attention to drama. 8. The Election 28. Rome (alternate)/Main Title Album Recording (album version) 4:37 (excerpt of alternate) 1:57 9. Kiril’s Past 1:38 Total Time: 17:23 12. Main Title 3:05 13. Ascent on the Cable Car 7:06 DISC TWO OF THIS RELEASE IS A BONUS DESIGNED TO 10. Kiril Is Proclaimed Total Disc Time: 77:09 “close the book” on three widescreen M-G-M spectacles, Pope/White Smoke 3:59 14. Pursued by the Enemy 4:04 11. Entr’Acte/Leone 2:25 DISC TWO: 15. The Booby Trap 3:20 which were all released at the end of 1968. FSM has already 12. Kiril’s Loneliness 2:12 M-G-M 1968 Widescreen Spectaculars 16. Encounter in the Castle 2:03 released these soundtracks, but each has had additional 13. Adventure 2:15 THE SHOES OF THE FISHERMAN 17. On Enemy Territory 4:00 14. 6:54 Source Music recordings that could not fit on their respective albums: Consolation/Tiny Folly 18. Descent and Fight on the 15. Commission’s Reaction/ 1. Veni Creator Spiritus 7:08 Cable Car 7:16 source music and pop-based alternates for The Shoes of the Telemond’s Death 2:23 2. Tu Es Petrus 6:00 19. The Chase to the Airfield 3:43 Fisherman (including the full-length liturgical choral recordings 16. Solitary Pilgrimage/ 3. Celebration 1:40 20. Three Incidental Pieces From 2:39 Daybreak at St. Peter’s 4. Roman Band 0:27 the Film: (a) Beguine 1:13, made in Rome); Michel Legrand’s demo recordings for Ice 17. The Gathering 2:19 5. Zoo 1:05 (b) Polka 2:12, 18. Coronation 4:29 Station Zebra (FSMCD Vol. 6, No. 2); and Ron Goodwin’s LP re- 6. Roman Party 2:53 19. End Title/End Cast 1:32 (c) Fox Trot 2:05 5:36 7. (jazz version) 2:18 recording of Where Eagles Dare (FSMCD Vol. 6, No. 21). 20. Exit Music 2:00 Tiny Folly Total Time: 40:39 8. Tiny Folly (film version) 2:29 Total Time: 59:47 Total Disc Time: 74:50 Total Time: 24:23 The entire 2-CD set is in stereo. Liner notes are by Jeff Bond Album produced by Lukas Kendall and Lukas Kendall. $24.95

Don’t miss this month’s Golden Age Classic The Swan by Bronislau Kaper See inside back cover for details

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