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Home , Alan and Marilyn Bergman, Alberto Iglesias, Alfred Newman (composer), Angelo Badalamenti, Anne Dudley, Billy Goldenberg

Volume 9, Number 9 Original for Movies and Television

Swinging! PG. 12

09 > Plus: scores Flanders Festival Report 7 252 74 93704 2 $4.95 U.S. • $5.95 Canada contents OCTOBER 2004

DEPARTMENTS COVER STORY

2 Editorial 1922-2004 Leave No We’ve another one of the greats; to describe Elmer Bernstein’s Behind. contributions to film music is an exercise in understatement. Still, we hope we’ve done his legacy justice with this tribute issue. 4 News 2004: One Bad Year. 16 Amazing Grace and Pluck 5 Throughout his long career, Elmer Bernstein navigated Round- seamlessly from genre to genre, pioneering styles and What’s on the way. somehow avoiding typecasting at the same time. 5 Now Playing By Jeff Bond 16 Conductor... Movies and CDs in release. 19 The Good Artist 6 Pukas Tributes by colleagues, peers and friends. Sideburned. 7 Upcoming 22 By Film Possessed Assignments From mere table scraps to the top of the era, Bernstein Who’s writing what it all in his first decade of composing music for film. for whom. By Ross Care 8 Concerts Film music performed 26 Elmer’s Magnificent 7 around the globe. The 1960s saw Elmer at the top of his game, including these seven standouts. 9 Mail Bag By Roger Hall Love With the Proper . 28 Musings of a Maestro Elmer enjoyed over 50 years as one of the most celebrated 22 Composer... 10 Downbeat of all time. And fortunately for us, he shared his The Price of Payne. experiences along the way. By Mark Hasan 30 Score More reviews, includ- FEATURES ing The Great Escape, Timeline, The Great Train 12 Isn’t It Incredible? Robbery and a couple of ’s animated superhero score newer ones as well. is the talk of the town. By Mark Hasan 45 Retrograde The Gift. 45 Get the Gist From Ghent comes out on top in this firsthand 36 FSM Marketplace account from the World Awards. By Arndt Holzmeier 28 Activist, teacher, friend.

On the cover: (ISSN 1077-4289) is published ten times a year (with double issues in May/June and November/December) for $36.95 per year by The Man With the Golden Baton. 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 Film Score Monthly, 8503 Washington Blvd, Culver City, CA 90232

FILM SCORE MONTHLY 1 OCTOBER 2004 EDITORIAL No Composer Left Behind

Volume 9 • Number 9 Elmer Bernstein, the internet, and the value of a good education.

o here it is, another FSM tribute issue; this means that virtually anyone with internet access EDITORIAL STAFF time dedicated to the life and music of the can take the classes, from essentially anywhere in Editor & Publisher recently departed Elmer Bernstein. Say, the world. LUKAS KENDALL whatever happened to the good ol’ days Executive Editor Swhen our job was to cover living film composers? ecently, I’ve had the opportunity to JONATHAN Z. KAPLAN Don’t get me wrong, I appreciate the opportunity take an online ear-training course at Managing Editor to be a part of these career retrospectives, and I’m Rberkleemusic.com. As most of you know, TIM CURRAN touched to see how the industry’s greatest com- has a long history of Design Director posers have really affected the everyday lives of turning out some of the world’s best musicians, JOE SIKORYAK their fans. But after the year we’ve all had, losing and its curriculum includes some of the most in- Supervising Content Consultant some of the best of the best, I think I speak for all depth music study in the nation, including in its AL KAPLAN of us when I say: Enough already. film scoring program. Still, I was a little hesitant Editor-at-Large JEFF BOND So it is with that edict that I take a slightly differ- when it came to taking an online course. I didn’t Copyeditor ent tack with regard to the loss of Elmer Bernstein. trust the technology, the ability of the teacher to LAURA ARENDAL Yes, it was a great loss. Yes, we’re all sad about it. instruct effectively, or the classroom interaction Contributing Writers And yes, his music is a gift. But something struck that was promised. Those doubts were quickly STEPHEN B. ARMSTRONG me as I pored over the content of this issue that allayed. The folks at berklee.com have really ROSS CARE focused on Elmer Bernstein’s contributions to film done their homework, particularly regarding JASON COMERFORD music. He was more than just an artist. More than the technical side of things. The coursework DAVID COSCINA a world-class composer. And more than a genu- was amazingly hands-on, the musical examples ROGER HALL ine guy who was universally loved. were easy to access, and the instructor’s feedback MARK HASAN He was an educator. was timely and valuable. They’ve got discussion ARNDT HOLZMEIER In every aspect of the word, Elmer taught, and groups within classes, the ability to upload files to MARK GRIFFIN STEVEN A. KENNEDY on many different levels. Obviously, his music share with others, and forums that allow you to DARREN MACDONALD spoke volumes, and any aspiring composer communicate beyond the class with other Berklee JASON VERHAGEN would attest to the value in studying his work. students. The biggest hurdles that berklee.com— CARY WONG The same could be said for the work of any great and online education in general—has to deal composer; say , for example. But with are the self-discipline and technical knowl- BUSINESS STAFF where Jerry kept a distance between himself and edge required of the user to complete the work. most of the rest of the world, Elmer shared. He These classes slow down for no one, so if you get Editorial & Subscriptions gave of himself. He was a man of integrity, an behind, you’re out of luck. Those considerations 8503 Washington Blvd. outspoken supporter of his colleagues, and a aside, I give berklee.com a huge recommendation Culver City, CA 90232 critic of the industry as well. He was a historian, for self-motivated music students of all levels who PH. 310-253-9595 FAX 310-253-9588 writing articles about his work, interviewing seek an alternative to a classroom setting. E-MAIL [email protected] other composers and preserving a chronicle of So the broad message here is that today, more film music that will prove an invaluable resource than at any other time in history, education Sales & Marketing Manager in the years to come. He was also an educator comes in many forms. More specifically, film BOB HEBERT in the more traditional sense, teaching classes at composers need to take advantage of them. As we 8503 Washington Blvd. USC for years and mentoring aspiring composers all know, “trial by Media Ventures” is not cutting Culver City, CA 90232 in programs like the Young it. It’s easy to write musical wallpaper, or to touch PH. 323-962-6077 Film Composers Competition. that key that triggers a sample called “Orchestral FAX 310-253-9588 Sometimes those who can, teach. FX.” It’s harder to pick up a great orchestral score The very idea of film music education is one and really study what makes it work, or to take that’s often overlooked within the industry itself, a refresher course in or harmony. Our Website Is updated five times weekly! which is why people like Elmer Bernstein are so Harder yes, but it’s what Jerry and Elmer would Point your browser at: rare. But the good news is that just outside of that have done. WWW.FILMSCOREMONTHLY.COM closed circle is a world of music resources grow- Enjoy the issue, © 2004 Vineyard Haven LLC. ing by the minute. Nowadays, both aspiring and Printed in the U.S.A. established film composers can choose among film-scoring programs at major universities, both in the classroom and online. The online courses are becoming increasingly , which Tim Curran, Managing Editor

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U.S. Mail ($3.50 1st disc, 40¢ for ea. add’l)______■ charge credit card # ______/ ______/ ______/ ______/ exp. date______/______Europe($7.00 1st disc, $2.00 for ea. add’l)______www.intrada.com residents please add applicable sales tax______Total______2220 Mountain Blvd. Suite 220, Oakland, CA 94611 OCTOBER 2004 2 FILM SCORE MONTHLY Concerts Now Playing Record Label Round-Up Upcoming Film Assignments “Pukas” newsan appropriately relaxed motif. ble orchestral score was recorded painting), flying, and non-scoring Melle’s groundbreaking work with the Symphony compositions. —Scott Bettencourt with electronics led to his first , but it has never seen a feature scoring assignment, soundtrack release (however, sev- Robert Wise’s The Andromeda eral of his projects are now avail- Strain. The director spoke on able on DVD, including recently his collaboration: “I thought released first season box sets of The Andromeda Strain needed an and Night Gallery). underscoring, but it shouldn’t be Despite earlier acclaim, Melle’s a standard background musical feature assignments became less score. I wanted it to be almost prestigious through the ’70s and like sound effects.” Melle worked ’80s. In the latter part of his scor- in a studio specially constructed ing career he was typecast largely on the Universal lot, complete in thrillers and adventures, and with a film projector and a vari- while his TV output included ety of electronics, including his such schlock as Gold of the Amazon “Percussotron III,” which the Women and The Curse of King Tut’s Michel Colombier 1939-2004 Gil Melle 1931-2004 soundtrack liner notes identify as Tomb, he also scored first-rate ichel Colombier passed il Melle died of a heart attack the first instrument ever created miniseries like World War III and Maway of cancer at age 65, Gin Malibu, Oct. 28, at the age specifically for a film score. Fatal Vision. His final score was for at his home in Santa Monica, CA. of 72. Melle was born in Jersey Throughout the early ’70s, 1993’s supernatural MOW Night Colombier scored over 100 fea- City, New Jersey, Dec. 31, 1931, and Melle divided his efforts between Owl, and after retiring from film ture, cable and television films. In taught himself both painting and film and television. His scoring he focused his energies his native , he worked with music. From early in his career he background came in handy on his artwork (primarily digital directors that included Claude divided his interests between the for the final film in the Sidney Lelouch, Philippe Labro, Agnes visual and aural arts—he signed Poitier “Virgil Tibbs” trilogy, The 1916-2004 Varda, Vittorio de Sica, Jean- with Blue Note as a saxophonist Organization, and his score for Pierre Melville, at the age of 19 (the first white Larry Cohen’s dark comedy Bone talian film composer Carlo and Jacques Demi. In the States, musician signed by the label), and featured inventive vocal styl- IRustichelli died Nov. 13 after a his credits included How Stella had his art featured on ings. He utilized electronics on long illness. He was 87. Rustichelli Got Her Groove Back, New Jack City, covers for , Thelonious sci-fi MOWs like A Cold Night’s scored over 250 films in his 60- Ruthless People, , White and Sonny Rollins. Death and Killdozer, and wrote the year career, including the Oscar- Nights, Against All Odds, Colossus: The In the ’60s he developed an theme for the TV series version winning 1961 farce Divorce, Italian Forbin Project and ’s interest in , cre- of The Night Stalker. An opening Style. Rain. He was the recipient of two ating his own instruments and credits sequence was designed to He was born in 1916 in Cesar Awards, a Golden Globe performing with an electronic begin with star Darren McGavin Modena, , and studied Nomination, a People’s Choice ensemble called the Electronauts whistling the show’s main theme and composition growing up. After Award and an Ace nomination. at the 10th Annual Monterey Jazz onscreen, so Melle had only 20 years writing for and theater, A jazz musician by trade, he Festival in 1967. He also recorded minutes to provide a melody Rustichelli scored his first film in became influenced by more clas- the first album of electronic jazz, before the scene was filmed. He 1939. But it was his work with sical and avant-garde composers Tome VI, for Verve in 1968. chose a secondary melody previ- director Pietro Germi, on such mov- during his 20s and produced His innovative music led to ously heard in his score for The ies as In Nome Della Legge and Il works that garnered considerable scoring the 1970 made-for-TV Questor Tapes, and whistled it into Cammino Della Speranza, that cat- attention. chose him movie My Sweet Charlie, one of the a tape recorder for McGavin to apulted Rustichelli’s career. Over as her Musical Director and soon most acclaimed and ground- perform. Melle scored the series’ the next 50 years, he worked on introduced him to Herb Alpert breaking TV programs of its time, first four episodes but left when a variety of films, in almost every of A&M Records, who imme- helping to give the Movie-of-the- the producers decided to take the genre, for the likes of Wilder, diately signed him as an artist/ Week form credibility. Producers show in a lighter direction. , Jack Smight, composer/performer. At A&M, Levinson and Link later hired him Perhaps his finest work was Mario Bava and many more. Columbier developed a reputa- to score four episodes of their for NBC’s lavish TV movie His last film score was in 1995 tion as the “Godfather of French classic series Columbo, for which Frankenstein: The True Story, directed for Federico Bruno’s Cash Express. Fusion,” while working with Melle gave the rumpled detective by Jack Smight. Melle’s memora- (continued on page 8)

OCTOBER 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 OCTOBER 2004 RECORD LABEL ROUND-UP Newly Announced Projects and Incoming

Commotion Series release pairs the complete Forthcoming is a compilation al- score and LP tracks from Penelope bum of film and television music (1966, Johnny Williams) with the by Mark Mothersbaugh. score to Bachelor in Paradise (1961, www.arecordcommotion.com ) in a 2-CD set. Next month: We plumb the Decca depths of the Beat Generation Due Jan. 11 is (Howard and fight the “good war“ with the DOGGONE IT: The late, lamented Bow Wow Records in Albuquerque, New Mexico. Shore). Now Generation.

Brigham Young University the British-German ’70s TV sci-fi Film Music Society Due this month is The Fountainhead series Star Maidens (both with score Available now is a limited-edition Available now is National Treasure (). Forthcoming are by Berry Lipman). release of The Jungle Book (1942; (). Johnny Belinda and The Three Muske- www.cinesoundz.com; [email protected] ; 1,000 copies). teers (also Steiner). tel.: 540-635-2575; www.filmmusicsociety.org Intrada www.screenarchives.com Citadel Due imminently are Lawman Due this month is a limited- FSM (Special Collection Vol. 17; Jerry Cinesoundz edition release of Christopher Our 101st CD features two Golden Fielding; 1971; 1,500 copies) and Available now are two, limited- Young’s Pranks (1981; at different Age scores by Miklós Rózsa: Valley Rambo III (Jerry Goldsmith), edition, 3-DVD box sets from times known as The Dorm That of the Kings and Men of the Fighting which will feature the same con- Italian animated TV series La Linea Dripped Blood and Death Dorm; Lady (both 1954), as well as the tents as the label’s 1989 release, and Signor Rossi. Forthcoming are 1,500 copies). surviving trailer music from King but remastered and with new two DVDs and a radio play of Solomon’s Mines. The 102nd Classics packaging. www.intrada.com

NOW PLAYING: Films and scores in current release After the Sunset Atlantic Alexander Sony Classical Bad Education Sony** Bridget Jones: of Reason HARRY GREGSON-WILLIAMS Geffen* Birth New Line With the Kranks Hollywood* Enduring Love n/a Finding Neverland JAN A.P. KACZMAREK Decca Fond Kiss...Ae n/a MICHAEL GIACCHINO Disney Intoxicating MARK DAVID, WILLIAM TABANOU n/a It’s All About Love First Name (import) Kinsey The Body Mind the Gap VEIGAR MARGEIRSSON n/a National Treasure TREVOR RABIN Hollywood Noel n/a The Polar Express Warner Bros.** CRAIG ARMSTRONG Rhino** Saw Koch** Seed of Chucky n/a Straight-Jacket KRISTEN MCCARRON n/a The SpongeBob SquarePants Movie LYNN HOBSON Sire/WEA* Stage Beauty GEORGE FENTON Lions Gate A Very Long Engagement Nonesuch *Song compilation with less than 10% underscore; **Mix of songs and score

OCTOBER 2004 4 FILM SCORE MONTHLY FILM SCORE MONTHLY 5 OCTOBER 2004 RECORD LABEL ROUND-UP UPCOMING ASSIGNMENTS Who’s Scoring What for Whom? Koch (), (Pino Prometheus The Body Inc. Forthcoming is Celebrate Flight, a Donaggio), Shattered (Silvestri), Due imminently is a remas- Carter Burwell’s new label’s compilation featuring themes Blood Simple (Burwell), L.A. tered version of Caboblanco (Jerry premiere release is his score for and suites from air- and flight- Confidential (Goldsmith) and more. Goldsmith). Kinsey, available exclusively from related films, including The Boy amazon.com. Who Could Fly (Bruce Broughton), Pacific Time Entertainment Screen Archives Entertainment Airplane! (Elmer Bernstein), The Due Feb. 15: Fabled (Ari. S. Forthcoming are Foxes of Harrow Varèse Sarabande Last Starfighter (), E.T. Kirschenbaum and Aaron Platt); () and Son of Fury (A. Due Dec. 7: 24 (); Shrek (Williams), The Great Waldo Pepper Mar. 8: Womb Raider (Randolph Newman). www.screenarchives.com 2 (Harry Gregson-Williams); Flight (Mancini) and many more. The Scott); Mar. 29: Carlos Castaneda— of the Phoenix (). London Symphony Orchestra Enigma of a Sorcerer (Ralph Torjan Silva Screen Due Dec. 14: Carnivale (). performs under the baton of and Robert J. Feldman). Available now is Battle of the Planets www.varesesarabande.com Richard Kaufman. www.pactimeco.com (Hoyt Curtin and Bob Sakuma), a 2-CD set of music from the La-La Percepto Americanized anime series de- Available now is : Forthcoming is a remastered Percepto has acquired 200 cop- rived from the 1972 Japanese TV Special Edition (Richard M. Sherman version of Extreme Prejudice (Jerry ies of a rare promotional Bruce show Science Ninja Team Catchaman. and Brobert B. Sherman), a 2- Goldsmith), featuring several Broughton CD entitled Cartoon CD set of music from the classic minutes of previously unreleased , featuring nearly an Sony Disney film. material. www.lalalandrecords.com hour’s worth of Broughton’s mu- Available now are Lemony sic for animation; available while Snicket’s A Series of Unfortunate Events Warner Bros. supplies last. Due in December is () and Bad Available now is The Polar Express Available now is Elmer Bernstein ’s complete score Education (Alberto Iglesias). (Alan Silvestri; songs and three Conducts: Film Music of Bernard for The Little Toaster (1986). score cues). Herrmann (reissue; Royal Forthcoming is a deluxe release Universal France Philharmonic; 1992). Forthcoming of the 1988 cult classic Killer Available now is an expanded Please note: We try to stay up- is Ultra Noir, a compilation of noir Klowns From Outer Space! version of Papillon (Jerry to-date, but sometimes things just cues featuring Farewell My Lovely www.percepto.com Goldsmith). don’t go as announced. FSM

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

A-B F-G David Newman I Married a Witch (dir. (animated). E5. George Fenton The Regulators, Bewitched Danny DeVito), Are We There Yet?, Man Thomas Newman The Cinderella Man (dir. Alejandro Amenabar Mar Adentro (The (dir. Nora Ephron), Valiant (Disney, of the House, Kicking & Screaming, The Ron Howard, w/ ). Sea Inside; dir. Amenabar). animated). Pink Panther. Libertine (w/ Johnny Craig Armstrong Asylum. Layer Cake. Depp). Bond 21, Return to Sender. Vincent Gillioz Frost. Sea of Dreams. Bobbé Gipson The 3rd Crime Interlude, The Hot Sheet O-P Angelo Badalamenti A Very Long Unlawful Gain. Roddy Bottum Adam and Steve Imaginary Heroes (main Engagement, Dark . Partition. (w/ Parker Posey). theme), House of Wax, Kiss Kiss Bang Christophe Without a Paddle, Nick Glennie-Smith Love and Honor. Michael Giacchino Sky High Bang, X-Men 3. Elecktra, The Perfect Man. Claude Foisy Snake King, White Noise. (Disney live action, w/ Kurt Bunyan and Babe. Marco Beltrami Cursed, XXX: State of the Harry Gregson-Williams Madagascar Russell, Bruce Campbell). Because of Winn Dixie. Union. (DreamWorks, animated), The Harry Gregson-Williams Kingdom of John Powell Mr. & Mrs. Smith. Churchill: The Hollywood Chronicles of Narnia: The Lion, the Heaven (dir. ). Zbigniew Preisner Beautiful Country. Years (w/ Neve Campbell). Witch and the Wardrobe (Disney). Henry Manfredini Choker. BT Underclassman, Stealth (w/Randy John Ottman Fantastic Four (dir. R-S-T Edelman). H ). Trevor Rabin The Great Raid. Carter Burwell Serenity (dir. Joss Howl’s Moving Castle (ani- Michael Whalen Slavery and the Lalo Schifrin The Bridge of San Luis Whedon). mated, Disney). Making of America (PBS). Rey, (w/ Robert DeNiro, Kathy Bates), David Holmes Ocean’s Twelve (dir. Steve Mission: Impossible 3. Abominable, Rush Hour 3. C Soderbergh). Aeon Flux (w/ Charlize Sean Callery Nine Lives (w/ Wesley The Da Vinci Code (dir. Ron Theron). Snipes). Howard). Ed Shearmur The Skeleton Key (dir. Iain Teddy Castellucci The Longest Yard (w/ The Interpreter, Softley). Chris Rock, Adam Sandler). Begins (w/ Hans Zimmer). David Shire The Tollbooth. George S. Clinton Mortal Kombat 3: The King Kong (dir. Peter Domination, Eulogy. I-J-K Jackson), (dir. Crash, Racing Stripes, In Her ). D-E Shoes (dir. ). Brian Tyler Sahara, Constantine. Black, Where the Truth Inside I’m Dancing, The Dark. Lies (dir. ). Laura Karpman , Girl Play. V-W John Debney The Pacifier (Disney, w/ Vin Rolfe Kent The Last Shot. James Venable Year of the Yao. Diesel), Chicken Little. David Kitay Elvis Has Left the Building. Proof. Alexandre Desplat Hostage, The Upside Penka Kouneva Chupacabra (Sci-Fi : Episode III— of Anger. Channel). Revenge of the Sith, War of the Worlds Pino Donaggio Toyer (dir. , (dir. Spielberg). w/ ). L Debbie Wiseman The Truth About Love. Nanny McPhee (w/ Emma Chris Lennertz The Deal (w/ Selma Blair), Thompson, Colin Firth), Man to Man, Sledge: The Story of Frank Sledge. Y-Z New France (dir. Jean Beaudin), Harry Joseph Lo Duca Boogeyman, Devour. Hide and Seek, Potter and the Goblet of Fire, Wah-Wah Unfinished Life (dir. Lasse Hallstrom), (w/ Gabriel Byrne). M-N Beauty Shop. Tristan & Isolde, Perfect Mark Mancina (w/ Adrian Lee) The Aaron Zigman Heart of Summer, The Creatures. Reckoning (w/ ). Wendell Baker Story. Stealth (w/ BT), Son of The Fountain (dir. Darren Hans Zimmer Spanglish, Over the Hedge, the Mask, Miss Congeniality 2. Aronofsky). A Good Year, The Weather Man (dir. Charlie and the Chocolate Havoc. Gore Verbinski), Batman Begins (w/ Factory (dir. ), Tim Burton’s Alan Menken Noel (dir. Chazz Palminteri). James Newton Howard). The Corpse Bride (animated, dir. Mike Libertas, Fateless, Johnson). Sportman van de Euw. Get Listed! Mark Mothersbaugh Lords of Dogtown. Composers, send your info to Ira Newborn E-Girl. [email protected] FSM

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

New Colombier Jan. 15, Philharmonic, (continued from page 4) mail bag , cond.; North by such artists as , Northwest, Psycho (both Herrmann), Supertramp, Herb Alpert, Lani Hall, The Heiress (Copland). , Roberta Flack, , Johnny Mathis, Neil Texas Diamond, , Earth Alabama Florida Dec. 3-5, S.O., Richard Wind and Fire, , Jaco Jan. 14-15, Alabama S.O., Rear Jan. 22, West Coast S.O.; Tribute Kaufman, cond.; Holly and the Ivy Pastorius, , Branford Window (Waxman). to Elmer Bernstein, Thoroughly (Arnold), Fantasy on A Christmas Marsalis, Bobby McFerrin, Prince, Modern Millie, . Carol (Waxman). AIR, Mirwais and . California www.fwcs.org As a conductor, Colombier led the Dec. 17, 18, Pacific S.O., Richard Jan 16-23, Naples London Symphony Orchestra, the Kaufman, cond.; Holly and the Ivy Philharmonic; Prince Valiant International Covent Garden Orchestra, the Los (), Fantasy on A (Waxman). Angeles Philharmonic, the Houston Christmas Carol (Waxman). Dec. 18, , Symphony, the Chicago Orchestra, www.pacificsymphony.org London, John Wilson, cond; the Symphony Orchestra, Dec. 31, Santa Barbara S.O., Dec. 31, Duluth Superior S.O.; Rebecca (Waxman). the Opera, and the English Richard Kaufman, cond.; Tribute Perry Mason (Steiner), Lost Weekend Chamber Orchestra, among oth- to Elmer Bernstein: The Great (Rózsa). Concertgoers, please note: ers. He wrote numerous classical Escape, To Kill a Mockingbird, The Jan. 16, Emmaus S.O. and Times and repertoire are subject and symphonic works, in addition Magnificent Seven. Choir, ; to change; contact the venue to over 20 ballets. —obituary courtesy (Goldsmith). before buying your tickets. www.michelcolombier.com FSM

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OpenHouseAd 1 11/19/04, 12:51:42 PM OCTOBER 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 OCTOBER 2004 RECORD LABEL ROUND-UP

Rants, Raves and Responses to Readers

mailLove With the Proper Film Score his arms. One must have bagbeen his by the articles. So I set aside this burden I hen I was around eight daughter Emilie, who is currently Rediscovering my Goldsmith gave myself and reached for Wyears old, I saw From the orchestrating in the tradition of CDs has also reignited my general another CD from the same Terrace (probably at a drive-in with and Jack Hayes. enthusiasm for film music. And shipment: the expanded edition my parents). Though the movie I will always be touched by now, Elmer Bernstein, the guy of The Great Train Robbery, one of didn’t interest me at the time, its the grace and beauty of Elmer who knew what God really my favorite Goldsmith scores. In emotionally charged, melodic Bernstein’s music that came to us sounds like, is gone too. We are my glum state, I started listening soundtrack certainly did. I tried to with love, with the proper film coming to an end of an era. to the opening track. Slowly a duplicate part at home; score. Nevertheless, we should be glad smile appeared on my face, which fortunately the was Larry Gelb for all the music we have and eventually became a wide grin, published, so I could study it. It Engelwood, New Jersey the great works that may still be followed by a sense of elation. was then that I decided that no ahead. What I heard was perhaps the matter what the film was or who Not So Far From Elmer Ole Papra most jubilant, exhilarating, alive was in it, if Elmer Bernstein wrote ast year at the APRA/AGSC [email protected] sound imaginable. The joy of life, the music, I would see it, buy Lawards, we gave Elmer filled with energy, wit and humor, the and pick Bernstein a special award, which washed over me as I listened to up any related sheet music. The he was to receive in person and the score. At that point I truly felt good news was that everything then conduct a concert suite from that Jerry Goldsmith was alive was available at the time. There Far From Heaven with the 50-piece and smiling at me through his was even a complete piano folio orchestra we had live at Fox music, and that it would be that of The Ten Commandments score! I Studios. A week prior he was ill way forever. would play this at Passover Seder and unable to fly over. He asked The gifts that some people to keep the related music current. me to conduct his piece on his leave behind are priceless beyond At 14, my trio was behalf, which was such an honor all imagining. Goldsmith was one the only one in town doing for me. I never really got to know of those rare and amazing people. “Love With the Proper Stranger”; him, but we chatted quite a bit Long live Jerry Goldsmith! “Monica,” a song from The before and after the event. He Mark Ford Carpetbaggers; “Molly,” from The seemed such a great, gentle man. Houston, Texas Man With the Golden Arm; To Kill a He’ll be sadly missed. Mockingbird as a waltz; Art Phillips, To Fall Apart From a Strong and “The Wishing Doll” from President, The Australian Guild of Screen A Gift From Beyond Emotion, Such as Frustration Hawaii. Composers, Balmain, NSW, Australia oday was a day I knew would or Annoyance. When I was in high school, Tone day come. No, not the very much enjoyed Jeff Bond’s Time Magazine published an article The Jerry Tribute Issue other dreaded day when Jerry Icareer overview of Jerry about film music entitled “For an hank you so much for your Goldsmith would no longer be Goldsmith. However, I know of Audience of Cobras—Surprise.” It Trecent issue on the passing of with us, but the one where I at least one person who would featured a picture of Elmer, and Jerry Goldsmith. You guys did a listen to the last new work of disagree with his claim that Jerry although he looked just like my wonderful job. Goldsmith’s music his I will probably ever hear. As could not “do comedy.” My late uncle, I hung it above my desk. has not only helped me survive I stared at the unopened jewel father, a professional musician In the early ’70s, while living puberty and the angst of the box of Timeline, a gift of love from himself, would plotz every time in Santa Barbara, I walked into human experience, it also intro- Varèse Sarabande and Jerry to he heard that crazy 12-note a movie theater to see Woody duced me to other film music, his fans, I was hesitant to remove phone ring from the Flint films. I Allen’s , and there avant garde and classical compo- the plastic wrapper. Eventually I suspect he wasn’t the only one. was Elmer coming out with his sitions and has thus influenced did and opened the case. I was Bruce Marshall wife. I acted like I was seeing my intellectual interests to a great unable to remove the CD how- [email protected] one of . He was quite deal. Thank you, John Walsh and ever, simply because I didn’t want We would just plotz if you’d be so good gracious and invited me to a Lukas Kendall, for addressing to play it. This was a moment as to to drop us a line: concert where he was exactly these matters in your very that would be with me forever, FSM Mail Bag To Kill a Mockingbird with a local personal articles. Though John and I wanted to experience and 8503 Washington Blvd. symphony. Walsh could have done a little feel every second of it in the Culver City, CA 90232 Afterwards, I spoke with him as less praising-Jerry-by-bashing- proper mood. At the same time, I or, [email protected] he was holding two little girls in John-Williams, I was very moved didn’t want it to happen at all.

OCTOBER 2004 8 FILM SCORE MONTHLY FILM SCORE MONTHLY 9 OCTOBER 2004 DOWNBEAT

The Price of Payne Rolfe Kent goes to the wine country, Sideways. • By Jeff Bond

choice for vino connoisseur Miles. To get into the scoring process Kent says he ini- tially focused on the film’s driving sequences. “There’s so much driving—it’s a and the music seems like road music to me; it’s good driving music. This idea that it’s about the two lads on the road is where I started so I wrote music to some of the driv- ing sequences as some of the first things I did, because that was clearly an example of where music could have a lot of life and a lot of fun in it, and that’s sort of the backbone of the film. On a more traditional film, spotting sessions involve the director being fairly clear about what he wants the music to do and where he wants it to go. Spotting sessions are nothing like that with Alexander. They’re very much more open and often he’d give me no UNCORKED: and are under Rolfe Kent’s influence in Sideways. information about what he wanted music to do; he just waited to see what I came up with. olfe Kent has made a career out of scoring smart, The film had a lot of energy without music and I can’t say I ever thought ‘oh, the music sly comedies, particularly in his collaboration with really needs to do this or that for the film.’ The film had a lot of emotion without the score filmmaker : The two have made Citizen and a lot of momentum, but I think the score R provides something of the way Alexander Ruth, Election, and now the wine-country road looks at things, so that the way the audience ends up responding to the film is in some comedy Sideways. Kent also has the brazen we’re shooting the breeze and then suddenly way guided by Alexander’s perspective and upcoming comedy The Wedding Crashers on you have a film to work on. There was a lot my attempt to put that into music.” tap, and he says one of the advantages of of straightforward experimentation of coming these kinds of projects is that they tend to up with very loose, rough ideas and showing Planned Spontaneity get through the editing process unscathed. them to Alexander and talking about them. While he was initially intimidated by the jazz “I’m always happy to work on films like Part of it was that I was very intimidated by aspect of the score Kent did find a way to Sideways and The Wedding Crashers [where] some of the stuff that Alexander played for meld the jazz world of improvisation with there’s no debate about it getting a rating me—he’d been listening to such really cool the precise needs of orchestral film scoring. for the children—it’s so straightforwardly jazz and such amazing recordings, Chet Baker “Almost all of it’s written but there are breaks rude and saucy and real that there’s no way and things, and I was intimidated because in the music occasionally for improvisa- it’s going to have anything—I like working I didn’t know how I was going to provide tion. The difference and experience for on films that don’t get compromised by the him with anything he was going to prefer me was that with an orchestral score when marketing departments.” to the stuff he’d already been listening to. He the orchestra gets it right and matches my Kent says his relationship with Payne has was very clear about what kind of score he expectations, we’re finished and we move evolved to the point that he tends to fall into wanted and I gradually got more comfort- onto a new piece of music. But here we the actual scoring process on their movies able with the process. I wrote a lot of music would keep on playing the piece of music almost without knowing it. “We’re friends that never went anywhere and gradually the and it would change because the musicians so rather than it being all formalized we sit themes started becoming things we were would get into it and come up with their own around chatting about things long before we both happy with.” interpretations of elements of it. It’s not really have the film to work on. He was keen for Sideways takes college pals Miles (Paul a rehearsal period but the music acquired this to be a jazz score and in a way getting Giamatti) and Jack (Thomas Haden Church) more life as we played it and I certainly credit

to work on it sort of creeps up on me—at first on a trip to wine country, a destination of (continued on page 47) artwork © Sideways 2004 Fox . All Rights Reserved.

MARCH 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 OCTOBER 2004 �

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��������������������� ������������������� ����������������������������� artwork © Sideways 2004 Fox Searchlight Pictures. All Rights Reserved.

MARCH 2004 10 FILM SCORE MONTHLY FILM SCORE MONTHLY 11 OCTOBER 2004 Isn’t It Incredible?

ith The Incredibles, Animation Studios popular consumer goods and pop art. moves into slightly more adult-oriented In the animated feature film Iron Giant, director terrain, tapping into the nostalgic world created a world that evoked the innocence of growing up during of the streamlined ’60s superhero—house the Red Menace ’50s, the dawn of Sputnik, and the marvelous roofs angled like jet wings, Jaguar E-Types, fantasies that existed within comic books. Tantamount were open-concept homes, elegantly simple characters and story, and those aspects left a potent impression furniture and wall units, muted colors on composer Michael Giacchino back in 1999. that soothe the —and something that’s been missing in movies for quite The Spice of Life a while: the score. More “I’m about as picky as anybody when it comes to watching specifically, the dynamic, adrenaline- movies—in looking at story structure and all of that—and when goosed, and small combo music I saw [], I thought, ‘Wow, this is someone who came that many kids grew up with during the ’60s—alongside those from the old school…and I remember when I first heard about streamlined and sometimes psychedelic animated backgrounds. The Incredibles, I thought, ‘Oh my God, if I could have any first In the ’50s, the Warner Bros. cartoons used some of the movie to do, that would be the one I would do,’ and I thought distinctive,W minimalist designs of Maurice Noble, a major visualist that there’s just no way they’re ever going to let me do it.” who placed characters against elaborately extended, abstract In a short time span, Giacchino’s career has enjoyed a diversity backgrounds devolving into stylized line drawings. Urban cities, of projects and some high-profile successes. Best known for Ali Baba caves, interstellar space stations and Satan’s Hell were scoring the TV series Alias, Giacchino decided to score the latest gloriously colorful fantasy lands, but during the mid- to late-’60s, high-concept show from co-creator J.J. Abrams, Lost. Disney artwork and ©2004 Pixar. Walt All Rights Reserved. illustrators went for a look that was either psychedelic (as with Lost, one of this year’s network prime time successes, “was a Ralph Bakshi’s Rocket Robin Hood as well as bits of Spiderman) or great departure from Alias. TV is a grueling schedule, and after

reflected the most beautiful shapes, curves and shadings of then- three years with one show, Lost was like ‘Yay!’ It was so great The Incredibles

OCTOBER 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 OCTOBER 2004 MICHAEL GIACCHINO’S SCORE FOR THE INCREDIBLES SWINGS LIKE IT’S 1964 AGAIN • BY MARK HASAN

because it was so different, and in the same way that both Q&A session between both artists. “Our first discussion was of those are different from the games that I did.” Giacchino’s basically me watching the film,” he says, “and then the lights credits also include a successful series of interactive video games, came on…and Brad says to me, ‘So what did you watch when including The Lost World, for which he composed the first original you were a kid?’ We didn’t start talking about the movie, it was: orchestral score for a , and Medal of Honor. Abram’s Lost ‘What did you grow up with?’ is particularly notable for two extreme styles that kicked off the “I loved The Pink Panther, I loved The Flintstones, The Jetsons, I loved episode: a viciously cold, metallic-styled percussion cue that Jonny Quest [and] Star Blazers. I was just rambling off all these adds even more menace to the opening scene of an incendiary things…and he just stopped, and he goes ‘That’s EXACTLY what plane crash, and a deeply saddening theme that reflects the loss I want for this movie!’ And I quickly learned that Brad is an and trauma of the battered survivors. extremely energetic guy and just hammers home exactly what he A contrast in styles is similarly evident in his score for The wants, the feelings that he needs for what he’s doing.” Incredibles, though before he got his dream assignment, Giacchino Like the visual imagery of their childhood, Bird also felt his diversity might scare off the decision makers, who tend wanted the sounds that were tied to those classic cartoons. to hire composers based on their most popular style. “I always The director told the composer, “I want that energy and that wondered if that is a detriment to me or something that will feeling you get from watching those things. I want kids to run help me, because I love writing in all different styles out screaming from this movie, pretending that they’re the and genres and having it sound totally different from a project characters from the film.” that I did before,” he says, adding that the lack of an overtly Fans of Jonny Quest will love Giacchino’s soothing, lush and recognizable sound to some isn’t always seen as an asset, “but it’s rhythmically charged score, which embraces the iconic works of the only way that keeps it interesting for me, and I don’t really his idols. “I would steal all of my dad’s albums know any other way.” and albums and Henry Mancini stuff,” he says, When Brad Bird invited Giacchino to a screening of The “because that’s what I loved listening to. My brothers and sisters Incredibles, the initial spotting session started with a more oblique were all in rock and roll bands, and I had no interest in that. I

OCTOBER 2004 12 FILM SCORE MONTHLY FILM SCORE MONTHLY 13 OCTOBER 2004 just loved that whole kind of vibe-band ensemble playing, and I “One of the interesting things,” continues Giacchino, “when didn’t hear it in any of the current music; I could only find it in we started talking themes for characters and stuff, was [how] stuff that was just from the year I was born and prior to that. That the central character is a guy who starts out as this narrow- all had a huge influence for me, so for me to do that kind of score minded hero…and he gets to a position where he loses his was the greatest gift in the world. It’s a way to show off all the job—something he loves—gets married, starts to raise a family; influences, everything that I loved as a kid”—and, quoting Brad life is complicated but not getting better. So he goes through Bird, “to look at it from the point of view as if we were 10.” some massive changes throughout the story, and we wanted the music to do the same thing, in some respect, so we thought Jazzing It Up about a theme for Bob. “We discussed the ideas…and also the dangers of “At the very beginning it’s kind of a generic superhero thing, doing that kind of a score,” adds Giacchino. Rarely but as he grows through the film…it becomes more complicated. used today, orchestral jazz often functions as the The jazz complexities get layered into it so it transforms with soundtrack to a series of gags, like in the Austin him.” Unlike a serial action film like Raiders of the Lost Ark, where Powers films. Though not a slam against jazz as a the hero’s theme is restated verbatim each time, for The Incredibles means to enhance an already stylized genre parody, director Bird “really wanted the music to change with Bob. I don’t Giacchino says, “That style of music has almost come know if that’s something that’s ultimately noticable to someone to be self-mocking in a way, so our biggest challenge who’s watching it, but maybe it’s something they can feel.” was to make sure people don’t see it that way. For us it was a mission of saying ‘No, that…jazz orchestra What? No Songs? style is as valid today as it was then. It’s just [been A more daring decision was to not include pop songs or music misused].’” video montages. In films like Shrek, it’s a marketing ploy that may INSTEAD OF A The home video market has consistently proven guarantee lots of bland, feel-good moments among the targeted SONG, GIACCHINO the endurance of certain shows, cartoons and films ages within a general audience, but can adversely affect the AND BIRD to specific generations that either grew up with pacing, character development and musical continuity of a film. DECIDED TO STAY them on the big screen, on TV, or enjoyed them From the beginning, the concept of an original, uninterrupted FAITHFUL TO THEIR from endless years in syndication. Home video has score was part of the design, although Giacchino admits “there VISION AND GO given members of this multi-generational audience was a brief moment where we thought about doing some sort WITH a venue to expose their own kids to the stuff that of song, but even the song we thought about doing was going CREDITS AS KIND excited them and to create a worthy tribute to a to be some sort of ’60s-style thing.” Though a song can elevate OF A BIG MUSICAL nostalgic past. a scene’s tone and contribute a little subtext, it can also take the SET-PIECE. From kitchen-sink dramas to stark and unforgiving audience members out from their suspended state of belief and crime sagas, the orchestral jazz score enjoyed a long remind them they’re watching a movie, as well as affect once- run during the ’60s but eventually devolved into a pop lounge engaging characters. sound, which in turn made the original style old and dated. The Incredibles has one overt music montage—of Bob retraining Giacchino knew that would be a —and not just because himself when a mysterious caller lures him out of retirement— of pop’s fusion and dilution of jazz’s more pure assets. that employs an upgraded theme to reflect his partial return from “It’s a strange sound,” notes the composer. “It was kind of the a tattered, overweight “hobo,” but there’s nary a vocal single in norm [during that era], as far as that sensibility of scoring. No one the film meant to “enhance” the soundtrack album and become thought it strange to use [orchestral jazz] against something like a marketing ploy around Oscar time. Giacchino and Bird decided that…Maybe because it was just popular culture at the time, but to stay faithful to their vision and “go with the end credits as how over time it got turned into something that’s kitschy, I’m not kind of a big musical set-piece…and let it showcase how all the quite sure how or why that happened. I don’t know if it’s because themes come together at the end and represent who this guy is we got more cynical overall as a people, in some respects, but I now. Brad was concentrating on telling his story, and he worked was just really psyched that Brad was willing to say, ‘Yeah, let’s out the characters [and] the story progression until it was solid do this. I don’t care what people think.’ ” and was what he called bulletproof. At that point, I think that’s In spite of the film’s mythical streamlined world (oh, to live in the best thing you can do. You have something people want to such stylishly modern splendor), Giacchino describes the efforts watch, something people want to pay attention to. You don’t feel of the entire production team—many of whom grew up during like you’re being forced-fed something, and that’s what I love the ’60s—as “giving praise to the things we loved.” Encompassing about Pixar movies.” the music, art and pop icons of the period, the film’s writer/ Fans of those classic ’60s cartoons will find several subtle director and the composer strove to “wink” at their childhood and a few overt nods to their favorite shows and composers in icons while using them as organic and integral parts of the film. Giacchino’s score. (Even one of ’s Bond themes gets a “Some other animated films seem to lean on some odd idea,” he special wink.) The Incredibles should remind fickle audiences that says, and “every great line in their movie is from some other film. jazz can be exciting, intimate and witty without self-parody, We were hoping to utilize the spirit of all of that stuff without and for genre fans, perhaps Giacchino’s affectionate “winks” leaning on it to the extent that we weren’t serving the story.” may draw attention to the hours of vintage music that still Bird’s script is astonishingly intelligent and witty, largely remains commercially unavailable but, for several generations, focusing on and returning to the social drama of a nuclear-styled remains an inseparable part of their childhood. FSM family (with rambunctious super-kids) when Mr. Incredible (Bob) Special thanks to Robyn Kaiser at Buena Vista (Canada) and Jeff Powers at is downsized to an insurance clerk. Disney Film Publicity (U.S.A.) for their assistance.

OCTOBER 2004 14 FILM SCORE MONTHLY FILM SCORE MONTHLY 15 OCTOBER 2004 GOLDEN AGE CLASSICS • FSMCD VOL. 7, NO. 17 • RELEASED BY SPECIAL WITH TURNER CLASSIC MOVIES MUSIC Composed and conducted by Miklós Rózsa

VALLEY OF THE KINGS (1954) WAS AN Egyptian adventure starring Robert Taylor as an American archeologist in what would eventually become the “Indiana Jones” mold. Taylor and co-star Eleanor Parker defeat Arabian thugs and two-faced Europeans amidst much of the trappings of the Indiana Jones films: desert treks, street chases, ancient ruins and cliffhanging action.

SCORING THE FILM WAS M-G-M’S RELIABLE Miklós Rózsa, who effortlessly tailored his Eastern European style to the Egyptian locale, with harmonic- minor twists both sinister and mysterious. Rózsa’s score includes an enveloping love theme for the burgeoning romance between Taylor and Parker, a lighthearted chase scherzo, and grand statements for the titular valley itself.

THIS CD FEATURES RÓZSA’S COMPLETE underscore to Valley of the Kings, plus bonus tracks of the film’s source music (the cues which Rózsa himself supervised). As a special bonus, FSM has gone treasure hunting and excavated Rózsa’s music to another film of African riches: King Solomon’s Mines (1950) starring Stewart Granger. Although the film itself features only native percussion and source music, Rózsa composed and recorded a traditional piece of exciting underscore for the film’s trailer; the surviving excerpts has been unearthed and included here.

CONTINUING THE PARADE OF RÓZSA rarities, this CD also includes the soundtrack Valley of the Kings to Men of the Fighting Lady (1954), a verité-style 1. Prelude 2:11 2. Statuette 2:19 feature about bomber pilots during the Korean 3. Hamed/Carriage Race 2:46 War. Besides main and end titles (interpolating 4. Pyramids 1:22 “Wings of Glory,” a patriotic song not by Rózsa), 5. Caravan 1:44 6. Scorpion/Camel Ride 3:14 the film is virtually unscored—except for its 7. Valley 2:34 finale, in which a blinded bomber pilot must 8. Camel Compound/Desert 2:10 make an emergency landing with only his 9. Survival/Sand/Tauregs 4:45 10. Sword Dance 1:14 wingman as a guide. This is scored by Rózsa 11. Interlude/Temple/Surprise 7:45 with a special piece entitled “Blind Flight”; 12. Nile 3:00 although written for the film, the length of the 13. Finale 2:57 14. Souk #3 (Charles Wolcott) 1:16 piece (19:47) allowed Rózsa to treat it more as 15. Madame Bovary Waltz 3:00 a self-contained concert work, making it one of Total Time: 42:56 his more unusual film contributions. King Solomon’s Mines 16. Trailer (incomplete) 1:45 THE CD IS ENTIRELY IN STEREO— remixed from the original 35mm masters— Men of the Fighting Lady 17. Main Title (Guy E. Wyatt & Joseph F. Hewitt) 2:11 except for the trailer from King Solomon’s Mines, which is 18. Blind Flight 19:47 in mono. Liner notes are by Jeff Bond and Lukas Kendall. 19. End Title and Cast (Wyatt & Hewitt) 0:49 Total Time: 22:52 $19.95 plus shipping Total Disc Time: 67:39

Celebrating 100 Golden and Silver Age releases by FILM SCORE MONTHLY since 1998! Michael Moore dedicated his last book to the composer. Now for those readers who have gone ballistic at the slightest airing of a political view in FSM and who are now flinging the magazine across the room, it’s was very fortunate to be among those worth noting that a man like Elmer Bernstein was every bit as offended by the idea of censoring political beliefs. able to attend a tribute to composer Elmer While I don’t flatter myself that I had a personal relationship with Elmer, I did know him—part of the man’s personal appeal was his easy Bernstein at Paramount Studios on October ability to make everyone around him feel like a friend. More than I just a composer, Elmer was an advocate for composers and for the 27, 2004, where filmmakers, fellow musicians, field of film composition, which led him into all kinds of activities and crusades—he actually sued the major studios in an attempt to grant family members and friends gathered to reminisce composers at least some ownership of the music they composed for motion pictures (and he lost). He was tireless in his promotion of the about Elmer and hear performances of his music. idea of film composition as an art form worthy of respect, and with Amazing GRACE

& PLUCK BY JEFF BOND

Some of those in attendance included lyricists , , his superb “Film Music Collection” Marilyn and Alan Bergman; composers Barry DeVorzon, Bruce set of re-recordings, he not only Broughton, Christopher Young, Charles Bernstein, James Newton practically invented the entire idea Howard, and John Frizzell; directors , Martha of a “film music label,” he became Coolidge, and ; plus , the first prominent film composer to Winona Ryder, Dan Carlin, John Waxman, Roger Greenaway, Mel Stuart record the works of other major artists in his field. and Jon Burlingame. Bernstein’s longtime assistant Lisa Edmondson and publicist Cathy Mouton were also present and deserve a lot lmer was well aware of Film Score Monthly: He seemed to of the credit for helping organize a beautiful and moving tribute. actually read it, and of all the big name composers, he Director John Landis acted as master of ceremonies, and speakers seemed most comfortable with what FSM was all about. That included Elmer’s sons Peter and Gregory, Don Black, Marilyn Bergman, doesn’t mean he approved of everything in the magazine, James Newton Howard and Todd Haynes; in between their verbal but rather than cut himself off from it, Elmer made himself tributes to Elmer, pianists Mike Lang and Paul Henning and guitarist Eeminently accessible, and he engaged us. He could express himself Christopher Parkening performed musical selections, including the regarding things he didn’t like about the magazine with a laugh, and theme from To Kill a Mockingbird, The Man With the Golden Arm, Far From while he valued the praise he received within its pages, he wasn’t Heaven and Guitar Concerto for Two Christophers Second Movement: Reflections. threatened by criticism. I lost count of the people who referred to Elmer as a “life force”— I was lucky enough to speak on the phone with Elmer a number Marilyn Bergman had a great quote about someone famous dying and of times, mostly about specific projects (usually for FSM liner notes). somebody remarking, “I’m shocked; he wasn’t the type.” Elmer’s energy I was even luckier to be in the man’s presence personally on several and boundless enthusiasm were well-known and obvious to anyone occasions. I think the first time Lukas and I just had lunch with him. who spent more than a few seconds in his . My favorite parts I was in awe, but Elmer was such a bouncing, likable presence, I soon of the evening were the memories of his two sons, Peter and Gregory. got over that. I made some observation, and he said, “Oh, that’s very Gregory Bernstein related being at a posh restaurant with Elmer, perspicacious of you!”—it was a word I’d never heard before, and where a stiff maitre d’ was imperiously standing over each table and one that rolled off Elmer’s tongue in that mesmerizing accent of his meticulously examining them until Elmer realized that the man was particularly well. After lunch I immediately looked the word up, and counting the silverware to make sure it hadn’t been stolen: He evidently found out I’d been flattered—but to me it may as well have been lavished particular attention on the establishment’s two conspicuously something Elmer made up on his own, and thereafter I couldn’t think Jewish guests, Elmer and his son. The minute the man turned his back of the word without thinking of him. A while later, we were invited to a on them, Elmer gathered up all the silverware on the table, took his son Society for the Preservation of Film Music event at which the short film and left. A self-described “ Leftist,” Elmer had felt the bite of Toccata for Toy Trains was shown, and Elmer and held court graylisting during the McCarthy era and had a very particular loathing and rubbed shoulders with nerdy fans. Raksin was a famously prickly for authoritarianism, right-wing politics and bullying—so much so that presence who could cut you off at the knees with a word (although he

OCTOBER 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 OCTOBER 2004 too was always accessible, brilliantly articulate and funny when he was decades in age and started bouncing around the room with his usual in the mood), but Elmer was just a sort of cuddly, easygoing presence infectious energy. I watched him conduct the opening of the film and whom my wife Brooke—a great judge of character—instantly loved immediately knew this was no ordinary project for the composer. and spoke of often afterward. During the SPFM event, Elmer wandered Something unique was happening here: Far From Heaven was some about the small hall and hobnobbed effortlessly, talking with everyone kind of ingenious, twisted throwback, a movie made to look like a and making everyone feel more like a peer than a fan. ’50s soaper from —only tackling subject matter Sirk could The next time I called him for an interview, he invited me to his only hint at in the vaguest terms. And Elmer’s score was with it all the studio in Santa Monica. We sat at a table, and he told me stories about way, evoking all the emotion and lushness of a score from that period Cecil B. DeMille, how DeMille would pose his to resemble without aping some extinct aesthetic. I realized I was watching Elmer famous paintings, and we both got all worked up about how much score From the Terrace, as if I’d been thrown back in time 50 years myself. fun The Ten Commandments still is It was an incredible opportunity, and I started drinking it up. I can tell to watch. I was just getting used you that scoring sessions, while they might seem like a magical secret to the idea that I could have ritual to movie music fans who haven’t attended them, can be boring a conversation with the Elmer after you’ve seen enough of them. Not this one.

In the world of film scoring, Elmer Bernstein was a man for all seasons (and genres).

Bernstein; wrapping my mind around the idea that I was talking odd Haynes sat next to with a man who had worked with DeMille was even stranger. But it me for a few minutes immediately struck me that Elmer was laughing out loud at exactly and introduced the same things about The Ten Commandments that I found gloriously himself, and I started ridiculous, and he seemed as excited as I was about the parts I still jabberingT about how ingenious thought were cool. it was for him to use Elmer on I got to see Elmer at work on two movies, and this still amazes me this movie. Finally Elmer came into the booth to hear the mix. Seeing because they were literally the nadir and the zenith of his later career. me, he immediately bounded over and gave me this affectionate pat The first was on Barry Sonnenfeld’s hapless . It had been on the stomach and treated me like I was one of the family—I was six years since his Oscar nomination for Age of Innocence, and while just happy he recognized me. Far From Heaven became a huge story Elmer was still working regularly and at the same level of quality he for Elmer—I think it even got him a notice in Newsweek—and the always did, the projects didn’t seem to match the level of the Scorsese confluence of artistic and historical factors was hard to ignore. Here picture: Movies like The Good Son, Bulletproof, Buddy, Hoodlum, Twilight and was an 80-year-old composer writing a great score for an impressive The Deep End of the Ocean came and went; Wild Wild West seemed like a young directorial talent—and winning an Oscar nomination in the strange return to the action fantasy of something like , and process. It’s always easy to grouse about the after funking up the place so would fit into the saddle of the old the fact, but for all sorts of reasons, Elmer deserved the Far From Heaven ’60s TV show seemed beneath Elmer’s talents. But he did it as well as Oscar—as a lifetime achievement award, as an honor for being able anyone could have—he was proud of the fact that he snuck in Richard to continually appeal to the best instincts of important filmmakers, Markowitz’s great TV theme music in the middle of the picture when critics and audiences throughout his career, as an amazing example no one would have expected it. of a composer doing a period film who had actually scored similar I had a number of phone conversations with Elmer after Wild Wild films during that period (the only other example I can think of in this West, but I don’t think I saw him until 2002, when vein is Miklós Rósza on Dead Men Don’t Wear Plaid), and just because it’s assigned me to do a piece on Bernstein’s newest score, for Todd Haynes’ a heartbreakingly beautiful, faultlessly humanistic film score. Far From Heaven. I had no idea what I was getting into. It had been a Elmer Bernstein had an amazing knack for staying in contact with while since I’d even spoken to Elmer, and I kind of skulked into the his audience over the course of a half-century’s work in film. He often recording booth at Warner Bros. and did my usual thing of just trying chafed under the shadow of Hollywood typecasting, being called to remain unnoticed. After a while, I saw Elmer enter the recording on to score numerous epics and gritty urban jazz-based works after stage with other members of the orchestra. Immediately I thought he springing into the public consciousness with The Ten Commandments and looked a lot older than he had the last time I’d seen him—there were Man With the Golden Arm. Probably his longest and most tenacious run dark circles under his eyes, and he looked tired, maybe not well. I felt of typecasting was as an expert on westerns from 1960’s The Comancheros sad and sort of braced myself for the worst. through 1976’s . Of course, he did every other possible type Then a couple things happened. Elmer picked up the baton of picture between the mid-’50s and mid-’70s and wrote some of the and started working. Immediately he seemed to drop a couple of greatest classic film scores of all time during that period, from To Kill a

OCTOBER 2004 16 FILM SCORE MONTHLY FILM SCORE MONTHLY 17 OCTOBER 2004 Mockingbird to and The Great Escape, all y the end of the ’80s, Elmer had shrugged off instantly recognizable, vibrant and unforgettable works. the comedy label, particularly after scoring What was most amazing about Bernstein’s career was drama . Serious its final stages, however. He was in his late 50s when he filmmakers began taking note of Bernstein scored John Landis’ , which would become again,B with director Stephen Frears and producer Martin one of the most popular youth comedies of all time. Scorsese working with him on The Grifters and Scorsese Moving into his 60s, at hiring him to adapt ’s music for a an age when most film remake of Cape Fear. Suddenly the man who had once composers would begin tackled prestige pictures like To Kill a Mockingbird and Sweet to ossify and lose their Smell of Success was once again working on potential Best relevance, Elmer Bernstein Picture–nominated films, and in 1993, at the age of 71, brilliantly scored a series Bernstein won another Oscar nomination for his score of comedies—Airplane!, to Scorsese’s The Age of Innocence. His working relationship Stripes, Ghostbusters, Trading with Scorsese always carried with it a certain cognitive Places—that were huge dissonance born of the fact that Scorsese’s films for the hits and on the cutting most part had no use for traditional orchestral scoring. edge of the snarky, youth- Scorsese the film scholar knew whom to pick when he oriented sensibility of did need a film composer: He gave Bernard Herrmann the day. Elmer’s scores his last great assignment on in 1978 and helped were brilliant, rousing bring Elmer Bernstein back into the limelight of prestige works on their own—the filmmaking with Cape Fear and The Age of Innocence. It’s exaggerated dramatic fury deeply ironic that both Herrmann’s relationship with of Airplane!, the incredibly his great collaborator and Bernstein’s infectious, rousing and collaboration with Scorsese ended in the same way: with droll Stripes, the epic and the composers’ scores withdrawn from and eerie Ghostbusters, the , respectively. In both cases, the directors, classically inspired Trading and ultimately the scores, fell victim to studio pressures Places, plus small but and test screening. astute contributions to The Yet on the few films Scorsese and Bernstein finished Brothers and even An together, Bernstein’s contribution was pivotal—and American Werewolf in London—but they also made the films particularly important on The Age of Innocence, in which the immeasurably funnier than any collection of musical inability of characters to say the most crucial things to pratfalls or pop songs could have. It’s arguable that no each other due to societal restraints forms the lynchpin of classically trained composer of his age ever reached as the drama. In that kind of environment, Bernstein’s skill, broad a youth audience as Elmer did with these film natural empathy and attention to detail flourished, and scores, and he didn’t have to adjust one facet of his one of his great achievements is the film’s heartbreaking inimitable style to do so—he just scored straight to the denouement in which Daniel Day Lewis’ character makes picture. But it’s not really surprising that Bernstein could the wordless decision not to reunite with the woman so easily connect with a youthful audience—a brash, he’s loved most of his life. Elmer’s gorgeous, intimate boyish enthusiasm was probably the most notable scoring takes the listener through every phase of this aspect of his personality, and it sprang out of his music in agonizing choice and sends the two lonely characters out every jaunty melody, explosive action riff and distinctive on a moment of sublime, tragic beauty. 6/8 rhythm he ever wrote. Nine years later, he accomplished a similar feat with Of course, after Animal House Bernstein quickly Far From Heaven, again giving voice to emotions the became typecast as a comedy specialist, and he was film’s characters were too innocent and inarticulate soon chafing under the burden again—but it’s telling to express themselves. Bernstein probably wrote the that the “typecast” label is so often negatively applied. In most musically satisfying endings of any motion Elmer’s case he was typecast at being the best there was: picture composer—his music unfailingly resolved It’s impossible to think of an epic score without thinking with a flourish that was inevitable and somehow of The Ten Commandments or Hawaii, impossible to think of deeply uplifting, with, as Bernstein once described a jazz score without thinking of Man With the Golden Arm, his intention, “grace and simplicity.” The arc of Smell of Success or Walk on the Wild Side, and certainly composer’s career was no less graceful; despite his impossible to think of a western score without thinking frustrations with the way he could be perceived by of The Magnificent Seven. Bernstein simply found a way to Hollywood, he managed to coast above the trends define any genre he tackled, and by scoring comedies and avoid the pitfalls that drained so many other perfectly straight (the sensibility of Animal House is hardly composers of his generation of the desire to work and any different from the one employed in an adventure the ability to contribute meaningfully to film. If he had like The Great Escape), Elmer became the first composer a knack for making everyone around him feel like a since Mancini to find a way to consistently get great film close friend, certainly the art of film music itself had scores out of the comedy genre. no greater friend than Elmer Bernstein. FSM

OCTOBER 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 OCTOBER 2004 The Good ARTIST

Tributes from friends, peers and colleagues. COMPILED BY JEFF BOND

HE DID THAT MAJESTIC SCORE FOR THE To Kill a Mockingbird is so extraordinary. IT WAS REALLY ON STRIPES THAT I GOT Ten Commandments and at the same time did Watching Elmer conduct was always a to work with him intimately and from an The Man With the Golden Arm—so he could write pleasure because he was very passionate and early stage. Both Animal House and Meatballs that great epic score at the same time that he theatrical, very much like the other Bernstein— were done back-to-back in a two- or three- was writing one of the great jazz scores. You Leonard. What he did, that’s very hard to month period; were finished sat down with breakfast with Elmer at eight explain now because everything’s to the click before he was involved. Landis knew him and o’clock and you were heartbroken to see him track. In the old days, and by that I mean 10 sort of begged him to do Animal House; we get up from the table at twelve. He loved to years ago, when they would project the work had no budget, and he came in and did this talk; he was so enthusiastic about things, print on a screen behind the orchestra and it wonderful score that really complemented the he was one of the most infectiously loving would be streamed and marked, Elmer would rock-and-roll source pieces in the movie and persons I’ve ever known. To meet Elmer once, be on the podium facing the orchestra and really brought a weight to the picture that it you wanted to be his friend for life. the picture. Most people just conducted to the didn’t have without the score. I showed him Cecilia DeMille Presley click track, but what was amazing about Elmer Meatballs, a movie that was done for under a granddaughter of director Cecil B. DeMille is his understanding of film was so great…[He] million dollars, and I think I gave him a small had this brain that was incredible—he would investment in the picture, a piece of the movie conduct to the picture. I’ve never seen anyone or something. He wrote these beautifully I HAD AN IDEA FOR SCORING ANIMAL else do that. He didn’t listen to the click track, romantic themes for all these young kids, and House, which was radical at the time but which he conducted to the picture. So when you it just enriched the movie extraordinarily. has become the norm, [and that] was to score see the movies where Elmer is conducting, Stripes was the first movie I worked from a comedy seriously. I thought that Elmer was a they’re really different—he had this emotional script stage with him, and I remember him great composer, and I loved his music—and connection to the movie. When playing me a theme on piano. With most that was the old studio, Universal MCA. They won the Oscar for To Kill a Mockingbird, he said contemporary composers, you’d get the score assigned me a composer I did not want, who he had the great good fortune of having Elmer on a as part of the editing process, did a lot of mickey-mousing. I didn’t like that Bernstein behind him, and that’s the best and with Elmer you didn’t hear the score until and said No, and they said “Well, who do you thing I’ve ever heard an say about film you were in that great scoring session and you want?” We had very little money, and I said, music. John Landis, director were seeing the movie screened in 35mm on “I’d like to call Elmer Bernstein.” They literally a loop. I found that the most exciting part of laughed at me because they thought he the filmmaking process—getting to hear the wouldn’t return my call, but of course I knew I REMEMBER HEARING THE SCORE TO Far score for the first time played by an orchestra, he would. I showed Elmer the movie and told From Heaven and thinking I could never have synched to your movie. On Stripes I remember him what I wanted, and he was absolutely done that score—I would have gotten the gist him saying—months earlier—“I’ve been delighted. It’s a very influential score. of it, but I couldn’t have done that score. He thinking about Bill Murray and One of the great ironies of Elmer’s career didn’t just do the gist of it, he did it—the real in this movie,” and playing me this jaunty little is that, like actors and directors, he would get it, and there’s a detailing that goes into that piano theme for them. It was the first “starting typed. He went through these bizarre periods that goes beyond me. I just loved hearing that from scratch, working in all the themes” where he was like Mr. Jazz because of the in this day and age, something so beautifully process, and I just loved working with him. extraordinary scores to Man With the Golden archaic and out of time and place—and yet People remember the more energetic 6/8 Arm, , Walk on the Wild Side, there it was. It was the background score, and stuff—he always did that great syncopated but Elmer was a classically trained pianist, a that really separates the men from the boys. stuff in things like The Magnificent Seven, and child prodigy and a student of . Writing the big theme is one thing, but it’s I remember even asking him for some of So jazz was not his thing at all, but he seized the detailing that goes into the soft cues, the that toward the end of Stripes. I asked him if on it because he though it was appropriate for in-between stuff, the behind moments, that’s we couldn’t just mock The Magnificent Seven a that movie, and then he became Mr. Jazz. He where the real shit comes out. That’s the real little bit—and he did that after the Russian was Mr. Epic with The Ten Commandments and deal. Cape Fear is another example, the way sequence when they’re escaping in this silly The Great Escape, and then, of course, after The he combined two Herrmann scores—I really van. But it wasn’t ironic, it was legitimate for Magnificent Seven he did many movies with John wanted that job, but what he did in that the picture, and it just worked fine. Frankly, he Wayne and became Mr. Western. Each time he movie was really brilliant, and I don’t think I did great work in every decade of his life. In all got typed, he became infuriated. His score for could have done that. Danny Elfman those different genres, he excelled.

OCTOBER 2004 18 FILM SCORE MONTHLY FILM SCORE MONTHLY 19 OCTOBER 2004 I used to look forward to him seeing the Age of Innocence, because of the period. He had ELMER FOUGHT FOR THE RIGHTS OF first cut of a movie because he was the best always admired Elmer’s work immensely, and composers; he was one of the founders of comedy audience there could be. He had when he first heard that he could actually the Young Musicians Foundation, one of the this very generous quality about him, and employ Elmer, I think somebody said to him, founders of the Composers and Lyricists Guild. he was so smart. He would get the nuances “Well, you know, he’s very old,” and Marty He put his money where his mouth was in of the comedy. It was so refreshing to talk to said, “Yes; that probably means he knows Elmer Bernstein vs. Universal, major studios, et al, and him about the film from a musical standpoint something.” They hit it off immediately, and even though he lost, he never regretted that. because we were really talking about things Marty knew everything Elmer had done He was saying to the studios that if they don’t like character and rhythms and the story including Cat-Women of the Moon, which Elmer use music that you write, it should come back themes of the film, which he would focus on was horrified that Marty knew because it was to you, and at some point you the composer first. Then he would go away and say, “Let me from the period in which he was blacklisted, would have the right to do other things think about it for a little bit,” and he would and it was a film he’d rather forget. But Marty with the music. The studio couldn’t prevent analyze what we had talked about and look knew everything he had ever done, and they you from creating concert works or using at the movie on his own, and then work up had so much fun talking about all the films the music in other mediums after a certain some themes. And, like a classical composer, they both loved. Sweet Smell of Success was one period of time. He was out there fighting for he would develop those and underscore and of Marty’s favorite films, and Elmer’s score to composers all his professional life. catch things. I remember so often working that was just brilliant. So it was very fun to Every orchestra he conducted asked him to with composers after I’d worked with him and be around the two of them—Elmer always come back. One evening of Elmer’s music was being frustrated, saying things like, “You’re seemed like the youngest person in the room never enough—not only for the , playing through this moment—you can’t play to me, full of energy and optimism and a very but for the crowds. Elmer’s music was very through that, you’ve got to catch this for me. bouncy personality. They just hit it off very accessible. Even though he was 82 when he You’re actually hurting the humor because well, very much the way Marty hit it off with died, you could almost turn that number you’re right in the middle of this rhythmic Saul Bass—both gentlemen of similar ages, around because he was always a young man thing that’s actually hurting the line—take Elmer and Saul, and they had collaborated intellectually and creatively. When you think a two-bar rest here so it sets the punch line a lot. It was wonderful to be around them of the breadth of Steiner’s output…although of the joke up.” I never had to do that sort because it was really a love fest, and Elmer Elmer didn’t compose 300 scores, he did a far of thing with him. He just knew instinctively understood quite well how to mesh his ideas greater variety than someone like Steiner, who how to do that. with Marty. I remember when we went to the also did everything. Steiner lived to be in his The other great thing is during a session, he recording for Cape Fear, it was the first time I’d 70s, but he wasn’t writing. Elmer had all his would often work without a click track. Even if ever been to a recording of a full-on orchestral capacities until the end. He wrote a fanfare he used a click track, there’d be large sections score with 92 pieces, and there were 15 double for the opening of the , and where he would conduct freely. He’d watch basses. What a sight that was, and what a he was starting to work on this piece for with the warm-up of the orchestra and the sound, because that’s how Herrmann scored an album of works for cello and orchestra, first couple of takes and notice that stuff was the original. , Editor and he was working on that when he died. being missed; the stuff wasn’t hitting when it He was the only composer/conductor that was meant to be hitting. He would just make has done complete albums of the works of this mental adjustment, and suddenly on the I OBVIOUSLY KNEW WHO ELMER WAS Rózsa, Herrmann and Waxman—he felt it was third take it was like magic and everything lay and was delighted that he was doing it [My important to do those albums. He really was where it was meant to be laid—and he wouldn’t Left Foot]. He was really easy to get on with. the conscience of the composer. get there by following a strict click beat; he got He gave the film a certain credibility by John Waxman, film historian there because he could conduct the orchestra having his name on it, and then emotionally and son of and will them to those spots so the natural he created a kind of buoyancy in a film that breathing of good playing would occur. Heavy could have been bogged down—he gave it I’VE USUALLY DONE MY OWN SOUND- Metal’s like that—one of the reasons it’s such a kind of symphonic sweep. He was easy tracks over the years by compiling music that a great score is it’s played like a symphony; to work with; if you didn’t like a cue, he’d I knew, so it was hard for me to suggest what it’s not being played to a mechanical beat. I change it very easily. He was charming, really kind of music it should be. At one point I said think a lot of the big symphonic playing gets interesting—I went to Santa Barbara to meet I thought it should be something lush and hurt because it’s being forced to be conducted him a few times, and I asked him to do The romantic, and Elmer said, “No, I see it more too rigidly—they set a beat that’s so many Field, my second film, and he was great on that. as a game.” He mentioned Kurt Weill, and I beats per [minute], and you’re just hitting He was a gentle man; he had a wide range of said absolutely. Stephen [Frears, director of The that, as opposed to normal symphonic [music] interests, and he liked England a lot. For us it Grifters] agreed, and it turned out to be one of that has all kinds of very subtle retardation was great to have so well-known a composer his best scores. and speeding up…the stuff breathes the on the film. He was very sensitive to the I was able to work with him for the first way we do in real life. The music starts to subject matter. When he came in on the film time on Cape Fear. His name came up, and I live that way. Ivan Reitman, director there were some questions over the cut, and I remember asking the producer if he thought it was trying to hold onto the cut I wanted, and would be okay to ask him to adapt Herrmann’s IT WAS A WONDERFUL RELATIONSHIP. he backed me up. To have him say that it was original score. We got through to his agent, Marty’s [Scorsese’s] gut instinct is to score the great and that we shouldn’t cut a frame really and he said it would be safe to ask—I didn’t film himself when he can, but there are certain helped me to get the freedom to finish it. want to insult anybody. But he wanted to do films where he couldn’t do that—for example, Jim Sheridan, director it. He was open for anything, and I didn’t

OCTOBER 2004 20 FILM SCORE MONTHLY FILM SCORE MONTHLY 21 OCTOBER 2004 have to feel guarded, because it was His biggest contribution was the working on because it was hard different for me to deal with new theme, and the very nature of the to clear the canvas, but in this case scores on pictures. He understood way the music hangs through the he saw what I was talking about. I that and was very complimentary film, the way it sustains the images. consider him someone who had a about it, so we could say anything It’s not ornamental in any way; it career that had spanned so much we wanted to say about the work. deals with—and this is something time and so many different genres What was interesting to me was that I was having a difficult time he was sort of the bridge between with in terms of editing the film the classical Hollywood style and and shooting it, the emotions the new style. I think he was the that were under the surface first to use jazz in The Man With the of the faces of the actors—the Golden Arm, and then there was the characters. He expressed that sense of jazz in Some Came Running, without overdoing it, keeping which had fantastic opening credits, the sense of longing, which is and Walk on the Wild Side. He seemed what I really liked. to straddle the two worlds of the The thing about Elmer is, I Golden Age of Hollywood and the was able to ask him and he cognizance of the older composers— could help me; on Bringing out knowing what they did, where they the Dead he wrote a kind of got it from and how they created a music that represents the soul film score language that gave signals of the picture. There’s a blues to an audience about certain kinds song that goes throughout, of traditional filmmaking, whether it and it’s really the theme—Van was Erich Korngold or Max Steiner, Morrison singing TB Sheets. I said, that he would know what we were going up to , and “How do we get from that key doing. And it didn’t have to be too crossing over into something new [element] to a score that underlies placed in a particular period, but it and modern. So he had access to all the very nature of the emotional could have a larger breadth to it, a kinds of things, all different kinds and spiritual conflict—how do we real maturity and sophistication that of music. get that without [sounding] like Elmer really embodied. It was an a score as opposed to a piece of amazing contribution to that film; HE DID A TEMP SCORE [FOR blues?” Because the blues is the key it was a jelling element that gave The Age of Innocence], and it was throughout, and the score has to it the emotional depth and breadth based, I think, on Brahms. We come out of that—and he did very the film required, but his experience pulled some themes and ideas, and well on that for me. His knowledge and his own worldview brought it there was one particular quartet and experience reached way back to a contemporary audience. that I liked, but it was so overly into not just film scores but also Elmer and I became amazingly romantic that he warned me against , so I was able to close, as sometimes happens with it. I tried to sneak it in there, but he draw on his knowledge. people you work with, but I would said no, it’s going to get laughs. , director say this is a really rare, amazing After overcoming the temptation a experience—to have a score like that few times, he was very frank with in a film of mine was one thing and me and said, “Marty, it’s hilarious.” I WAS DEFINITELY AWARE OF exceeded all my expectations, but That wasn’t on the film, it was on his work—his work with Scorsese I think the fact that he recognized a promo reel. But it was a way of more recently—and I thought [the me at some level as a kind of peer beginning to speak the language of idea of having him score Far From and really took me into his life and the music that I thought I wanted. Heaven] was incredibly wishful on shared this experience with such It’s very hard for me because it was my part, but we went ahead and enthusiasm and openness—he only the second full score I did on a gave it a shot. Apparently he was literally got on a plane and flew picture; I had worked with Howard on a break and read the script, and with me to London to do press Shore on After Hours, but that was a he called, we talked, and he just there. They didn’t necessarily need very different kind of picture than responded to it immediately. He him to come to do press, but we Age of Innocence, which was, like Taxi watched my films that weekend just loved hanging out. I’m still Driver, a full-out scored film. The film in , and I sent him a completely speechless and shocked had to look like a film that could little clip reel; oddly enough I was that he isn’t here, because he had a have been made in the ’40s or early using a lot of music from To Kill a kind of energy, a kind of force as a ’50s; it was in that tradition. So we Mockingbird as the temp score on our person that I’ve never seen before had to find a language that worked cut, and it worked so beautifully. He and certainly not in someone who for it—I wasn’t that well-versed in heard that, although he always had just turned 80 when I first met classical music; I had just listened to said he hated hearing temp music him. It’s such a loss. Brahms over the years. on cuts that he was considering Todd Haynes, director FSM

OCTOBER 2004 20 FILM SCORE MONTHLY FILM SCORE MONTHLY 21 OCTOBER 2004 FOR PEOPLE WHO DID NOT LIVE THROUGH new or prestigious composers (Georges Auric, , , Jerry Goldsmith) and ones that launched a series of distinctive the decade it may now be difficult to understand soundtrack LPs with great Saul Bass cover art. Like many Preminger films, Golden Arm also introduced previously taboo subject matter, in this the radical changes that transformed Hollywood case drug addiction, to a more permissive Hollywood, where decades of censorship were crumbling along with the old studio system. films and film music in the 1950s. For the movie Notes for the Decca album describe Bernstein’s score: “The music By FILM Possessed

Elmer Bernstein's First Decade of BY ROSS CARE Film Scoring: 1951-1961 industry as a whole the period marked the gradual demise and eventual collapse of the studio system, an interlocking pyramid of film production, distribution and exhibition that had been in place for nearly two decades. But ironically, along with this corporate decline went a progressive shift in Hollywood scoring, as a new school of film music evolved from the entrenched Germanic symphonic style of the ’30s and ’40s to a more American, less-is-more, vividly reflects the tightness of the picture and expresses its tension in and often jazz-influenced sound launched by ’s A Streetcar palpitating and sometime sinister jazz. Interpreted by an orchestra of Named Desire in 1951. the best jazz and symphonic instrumentalists of the country, Bernstein’s Primary among this new breed of composers (though his break- score is a unique mixture of gentle woodwinds and screaming brass. through score came later than North’s) was Elmer Bernstein, who The Hollywood Reporter paid this remarkable tribute to the composer: would also have a major impact on the scoring of the ’50s and beyond. “Elmer Bernstein’s historic contribution to the development of screen Bernstein would undergo various “periods” (as well as alternating ups music should be emphasized. Until now jazz has been used as a spe- and downs) in a prolific career, moving from serious, often ground- cialty or as the culmination of a plot point. It remained for Bernstein to breaking ’50s dramas and literary adaptations, through westerns, com- prove that it can be used as a sustaining and continuous story-telling edies and documentaries, before being “rediscovered” by some of the element in underscoring the mood elements of an entire picture.” best contemporary filmmakers. But it is the period from the mid-’50s to the early ’60s that marked his emergence as an innovative pioneer Sex, Lit and Mental Turmoil within the shifting film scene of the era. Unlike North, Bernstein began Aside from the Decca album Bernstein’s theme became a million- his Hollywood career with little-known films, Saturday’s Hero in 1951, seller in a Coral (a Decca subsidiary) recording by Dick Jacobs, Boots Malone, and a Rosalind Russell comedy, Never Wave at a WAC, in 1952. remaining on the U.S. bestseller charts for 14 weeks. Lyrics (which The composer continued to pay dues with some grade-C science-fic- had nothing to do with the film) were even grafted onto the theme, tion programmers which, ironically, are now among his best-known relating the sordid saga of “ Jones,” a gal so popular she early titles, (1953), and Cat-Women of the Moon, (1954), both of “needed seventeen phones” and met a tragic end when “she let the which were revived at the recent World 3-D Film Expo in Hollywood. wrong guy beguile her.” While the main title commences with an intimate jazz sound, the main theme’s various reprises also reflect The Man With the Golden Baton the more extreme big band trends of the era. “Frankie Machine” Thus after several years of mostly obscure work, Bernstein’s break- and ensuing statements introduce massed brass that escalates to through came in 1955 with The Man With the Golden Arm, the first of a levels of volume and intensity worthy of the most far out Stan

series of late films that featured scores by innovative Kenton tracks, causing one critic to complain that “the cacophonous Special to thanks Mark Richard Hasan and The Roger Nash for Collection vintage Elmer Bernstein portraits.

OCTOBER 2004 22 FILM SCORE MONTHLY FILM SCORE MONTHLY 23 OCTOBER 2004 climactic development of Frankie’s theme is overdoing mental posers such as Bernstein and North was their ability to effortlessly turmoil.” shift between “concert” (orchestral) and pop/jazz styles, often within Man With the Golden Arm was based on a novel by Nelson Algren, the same cue, with no sense of disruption or incongruity. Tension and and was the first of several prestigious, sometimes steamy adapta- “mental turmoil” are often evoked by a characteristic use of jagged, low tions of best-selling novels that Bernstein would score over the next register solo piano lines. years: Some Came Running (1958), From the Terrace (1960), By Love Possessed When subject matter justified it Bernstein would continue to (1961), The Carpetbaggers (1964), Hawaii (1966). In 1962 he scored the film pioneer the use of jazz scoring in film, though it was immediately

THE FABULOUS FIFTIES: Bernstein at work on Drango (1957, opposite); Charleton Heston on the Mount in The Ten Commandments (1956, left); is The Man With the Golden Arm (1955, right).

obvious that this was by no means his exclusive mode. For 1957’s The Sweet Smell of Success, a gritty study of corruption and psychosis on the New York jazz/journalism scene, Bernstein collaborated with the Chico Quintet. The quintet, including composer/cellist , who co-wrote some of the music, played themselves in the film, and the score inspired another distinctive Decca soundtrack. In 1960 Bernstein created one of his most dynamic big band titles for . There was no original soundtrack released, but of Algren’s raunchy Walk on the Wild Side (in which, in another coup for Bernstein who, like other Hollywood composers of the era, had an the collapse of the censorship code, Barbara Stanwyck played a lesbian adjunct career as a recording artist, recorded the theme on Ava Records. madame in a New Orleans whorehouse where Jane Fonda worked as He also released several movie-theme albums on the Dot label. a hooker named Kitty Twist). The score produced another popular One of Bernstein’s finest fusion scores is for God’s Little Acre, a “lewd (and dramatically appropriate) title tune that was recorded as a vocal and immoral“ saga of poor whites obsessed with sex and buried by Brook Benton, and a dynamic double-sided single by jazz organist treasure in rural Georgia. For Anthony Mann’s 1958 film version of Jimmy Smith. In the film the song instrumentally supports Saul Bass’ ’s controversial novel, Bernstein produced one of his celebrated stalking black cat title sequence, and is only briefly sung. most varied and appealing scores, fusing an upbeat Southern gospel But the Golden Arm theme, with its driving, obsessive vamp and sound (heard immediately in the rousing vocal main title with lyrics brassy, blues-based theme, was unlike anything previously heard in a by Caldwell himself), with driving jazz, folk-like waltzes, and earnest Hollywood film, and was a popular success to boot. As one writer put orchestral cues. Caldwell also wrote the notes for the excellent (and it: “Bernstein thus acquired a trademark.” While it would have been now rare) LP noting that “...I found the contrasting easy for Bernstein to capitalize on his potential as a trendy pop hit colors of the Georgia countryside, the mill towns, the bawdy streets, maker, instead he continued to develop his unique mode of serious the mad divining rod hunt, the soughing sighs of the winds and film scoring. Indeed all the elements of his personal style were in place the hapless factory people all captured by an extraordinary musical with Golden Arm, for along with the jazz and a hit theme Bernstein also imagination.“ Bernstein has noted that the prominent jazz piano in introduced his distinctive “concert” orchestral sound that would con- this score was played by John (then Johnny) Williams, a busy studio tinue to evolve throughout the late ’50s and early ’60s. On the Golden player during this era. Arm jacket orchestral soloists are listed alongside the jazz players. During this period Bernstein was scoring many of the independent The second track on the album, “Zosh” and several ensuing cues are films now being produced by the “new” Hollywood. God’s Little Acre was intimately and intensely orchestral and seamlessly alternate between produced by Security Productions, and released by United Artists, and poignantly lyrical solos for cello, clarinet and , all sometimes in 1957 Bernstein had also scored , a fatalistic Korean War sheathed in Bernstein’s instantly recognizable string sound, and moody, drama, for Security. The main title is a nervously heroic prelude for jazz-tinged interludes. One of the most amazing characteristics of com- brass and percussion with the militant snare drums used in most war

OCTOBER 2004 22 FILM SCORE MONTHLY FILM SCORE MONTHLY 23 OCTOBER 2004 films, augmented by bongo drums. character. The music is used to convey mood, atmo- But the composer was also quite active at the major sphere and emotion.” His comments could be applied studios during their last heyday. For Paramount Bernstein to Summer and Smoke as well. In the score, traditional had already created his first big period score for The Ten musical elements are given a distinctly modern edge Commandments in 1956, when he replaced through the subtle application of 20th-century compo- who died before the film was completed. The composer sitional techniques. The major theme is an expansively has noted that, curiously, Cecil B. De Mille hired him romantic melody that in the main title is framed by a for the huge Biblical epic (for which he created a fairly brief mystical motif representing the spiritual elements traditional symphonic score) on the strength of his work working alongside of (and against) the human emotions on Golden Arm. De Mille would use Bernstein for another explored in the plot. As noted, Bernstein first used this period epic, The Buccaneer, in 1958. That same year he also dualistic approach in Desire Under the Elm, and also later scored MGM’s Some Came Running, which featured one of in Hawaii, to again etch the contrast between rigid New his most distinctive action cues for Vincente Minnelli’s England missionary zeal and Polynesian innocence and climactic carnival chase sequence, one of the best fusions sensuality. of film and music in ’50s cinema. This was a truly amaz- Several subsidiary musical motifs seem to have been ing period for the composer, who scored at least 14 suggested by one of the play’s lines, Alma’s comment major films and TV projects between ’58 and ’59. that the “merciful white tablets,” the sedative given to For Paramount, Bernstein also created another her by Dr. John, make her feel “like a water lily on a excellent dramatic score for the studio’s adaptation Chinese lagoon.” The first of the “Chinese lagoon” motifs of American playwright, Eugene O’Neill’s Desire Under is a rocking motif, a simple rising/falling sequence of six the Elms (1958). Set in the mid-1800s, the play relates notes in 6/8 time. With the feel of a barcarolle, the motif the tragedy that ensues when the son of a stern New is sometimes heard as a unison melody line, sometimes England farmer falls in love with his father’s young mail- with rhythmic and harmonic variations, but always order bride, and inspired one of Bernstein’s most intense evoking the kind of yearning, breathless romanticism orchestral scores. Desire was also the first of several scores that permeates most of the score. The second “lagoon” that would develop a sacred/profane mode that musi- motif is even simpler, a wavering motif of Asian-sound- cally evokes conflict between passion and puritanical ing fourth and fifth intervals that aptly suggest Alma’s repression, a duality immediately established in the main languorous, if reluctant surrender to sensuality. Both title of Desire Under the Elms. of these motifs reach their apogee in the pivotal cue, “Summer Thoughts,” heard during John and Alma’s eve- An Era of Masterpieces ning at Moon Lake Casino. Of the many superb scores that Bernstein produced Summer and Smoke is scored for a moderate-sized orches- during his first decade in Hollywood, his masterpiece is tra with an emphasis on strings, harp and an imaginative probably 1961’s Summer and Smoke, the only score for a use of woodwinds, especially low-register flutes and solo Tennessee Williams’ film to rival North’s classic Streetcar oboe. Orchestral effects also create much of the score’s Named Desire. Director Peter Glenville commented about atmosphere, the more sensual elements suggested by the work of the 1950s’ greatest playwright: “A Tennessee florid Bartokian arpeggios for reeds swirling through the Williams play is really a piece of chamber music, with music at its most ecstatic points, but which, when heard a very lyrical vocabulary.” Bearing this in mind, it’s as in some of the Hispanic sequences, are both erotic and interesting to note that two of the most successful films subtly threatening. An authentic period sound is also of Williams’ works, A Streetcar Named Desire and Summer evoked by Bernstein’s wonderful “Glorious Hill Waltz,” and Smoke, both pioneered a mode of scoring new to the third track on the RCA LP and CD, a cue scored solely mainstream Hollywood productions. The musical style for small and heard in the one of the open- of both eschews the excesses of 1940s scores for a scaled- ing sequences in the town square. Period waltzes are down, intimate style more suggestive of 20th-century also evoked in the fragmented motifs for Alma and her chamber works than of the late 19th century symphonics eccentric mother, but here transformed into erratic 3/4 of composers such as Erich Korngold, Max Steiner and vamps accompanying expressionistic snatches of melody Miklós Rózsa. in solo (“Two Lonely Women”). Summer and Smoke is set in a small Mississippi delta Another important element of the score is the Hispanic town, yet deals with the timeless issue of sensual versus music, which, like the Hispanic characters and culture in spiritual love. The ambiance of the play is seeped in anti- the script, exists in a universe apart from the repressed, thetic elements rife for contrasting musical approaches: yet ethereal yearnings of Alma’s scoring. Indeed the the pre-WWI period of the action itself versus the play’s “reality” of this earthy alternate world is further signified modern sensibility, and of course the spiritual/sexual by the fact that its music is often heard as diegetic source conflict at the core of the play’s central relationship, (an cues (for solo Spanish guitar, accordion, and sometimes ironically ill-fated romance between Alma Winemiller, a solo tom-tom drum) in the scenes at Moon Lake Casino, repressed-minister’s daughter, and John Buchanan, the and in the party/orgy scenes at John’s home when Dr. fast-living son of a neighboring doctor). In the notes Buchanan is away (“Rosa’s Dance,” “Degeneration”). for the Dot Desire Under the Elms LP, Bernstein comments: In his liner notes for the original RCA soundtrack of “There is no attempt made here to create themes for each Summer and Smoke, Bernstein writes:

OCTOBER 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 OCTOBER 2004 “The problem that concerned me most in writing the music for this motion “....You refer to the difference in quality picture was to help maintain the delicate, of print between the score of Summer sensitive, sometimes mystic atmosphere and Smoke and God’s Little Acre. Summer the picture creates. This is the music of and Smoke was the product of the end heartbeats, of sighs, the gentle stirring of of the so-called ‘Big Studio’ set-up. God’s the innermost soul. Most of all we hear Little Acre was a product of the emerging the music of loneliness, the sounds of our independent system with much fewer secret thoughts, whisperings, of our hidden facilities and less money. desires and unspoken hopes. All of this is “The period in which you are set in a musical mystique, suggesting at interested, 1950 to 1965, actually covers times foreverness and eternity.” my first fifteen years in Hollywood. Looking back I am very tempted to Seldom has a composer been so percep- conclude that the conditions at that time tive about his own work. Summer and Smoke were more favorable to good work than is both accessible and yet innovative enough they are now. In the major studio system to vividly evoke the rarified poetic world of the composer was primarily responsible Tennessee Williams with a unique and highly to the head of the music department. personal musical idiom. Williams’ play is At the time they were at one of his most restrained and lyrical, and Warner Brothers; at Bernstein captures its essence in both his Fox; John Green at Metro; major theme and in the evocative orchestral at Columbia; and Louis Lipstone at totality of one of his most stylistically cohesive Paramount. The first four of these were scores. Particularly moving throughout are the themselves excellent musicians and as a sensitive cues underscoring Alma’s extended composer you found yourself talking to a colleague rather than speeches. Bernstein obviously responded as deeply to these poetic a producer or a director who are usually fairly ignorant when spoken “arias” as North did to Blanche’s speeches in Streetcar. it comes to music. The head of the music department was also A Time for Change your protector if trouble should start. I had personal experience with all four of them and found them all to be supportive rather The mid-1960s marked another turning point for American film than invasive. scoring. The increasing influence of , and eventually the pop “The major studios also had a staff of orchestrators available song score (notably in 1967), as well as the final death rattle who were generally first rate, copying facilities…and music of the studio system, all tended to erode the strides made in original editors to help you prepare the film for recording. Each of film scoring during the ’50s and early ’60s. By the late ’60s Bernstein the studios maintained orchestras of high quality, which were and almost every serious composer in Hollywood was lamenting the available to provide the time in which to achieve excellent predominance of the pop score. In an article in a Feb. 15, 1967 Variety results. Quite simply, the composer had only to concern himself Bernstein noted that it had become “virtually impossible for the film with writing the score. scoring fraternity to escape the subtle corruption involved in keeping “When this system evaporated rather quickly, by the 1970s one eye on the Top 40 lists,” and that his fellow composers were working the composer found himself in a position with no backup, less because producers demanded scores built around pop songs. The responsible directly to the director usually. It is a rather rare shift was particularly painful to composers such as Bernstein and North director who is qualified to discuss music with a professional who had brought a more serious and psychologically astute sensibility musician, and as a result the composer is at the whims of people to post-’40s scoring. Ironically though, Bernstein himself had partially rarely qualified to make music judgments. In addition to these instigated the trend toward aggressively pop scoring, and when Variety problems the composer usually winds up with the responsibility cited the impact of The Man With the Golden Arm he accurately pointed of assembling a mini music department for each project, out that this score had been an integral part of the film action and had involving time-consuming administrative responsibilities.” not been pasted on as a commercial afterthought. But there were other creative/technical ramifications for the end of In spite of the disintegration of a working system that provided film the studio system as well. When working on an overview of 1950s composers with more amenities and certainly more opportunities for film music for the I was able to study the actual scoring quality projects than the present, Bernstein lived and worked scores to both Summer and Smoke and God’s Little Acre, among the many long enough to see the pendulum swing back, however intermittently, from the period in the Library’s collections. The former was a piano as directors who revered both the cinematic and musical style of Golden conductor’s score meticulously prepared by the Paramount Studio Age Hollywood, revived both in their films: Bernstein’s “rediscovery” music department. It was beautifully notated, copied and printed, resulted in a series of late period scores that hark back to his classic and extremely easy to read and follow. The latter appeared to be early work: his off-beat, partially electronic score for Stephen Frears’ handwritten and sketchy, and was as difficult to decipher as most nasty noir homage, The Grifters (1990), the brilliant elegance of his period composers’ original manuscripts. I questioned Mr. Bernstein about the symphonics for Martin Scorcese’s superb The Age of Innocence (1993), and differences between these two original scores, and also about working his classic action cues for Wild Wild West (1999). But perhaps most mov- within the last days of the often-maligned studio system in general. ing of all is his haunting, autumnal score for Far From Heaven (2002), Todd In a previously unpublished letter (dated Feb. 11, 1993) the com- Haynes’ homage to ’50s that brought Bernstein’s career to poser replied: a sad conclusion, but a brilliant and poignant full circle. FSM

OCTOBER 2004 24 FILM SCORE MONTHLY FILM SCORE MONTHLY 25 OCTOBER 2004 Elmer’s Magnificent 7

Essential Elmer Bernstein Scores BY ROGER HALL From the 1960s

“I think it would be safe to say that the primary value of music in film is that it provides the filmmaker with a remarkable subtle tool with which he can manipulate the viewer’s emotions virtually unnoticed if he so desires. There are many other uses of music in film, but I would think that its intelligent use depends upon the understanding of all concerned that music is primarily addressed to

the emotions.” —Elmer Bernstein, Film Music Notebook, 1978

MY FIRST AWARENESS OF THIS MASTERFUL The Magnificent Seven (United Artists, 1960) film composer came in the early 1950s with a Academy Award Nomination for Best Scoring of a Dramatic or Comedy Picture. Western Heritage Award. cheaply made sci-fi film by the name of Robot STARTING OFF THE DECADE WITH THIS MILESTONE western score was most fortunate for Elmer Bernstein. As the Monster, now considered one of the worst films respected film historian Tony Thomas summed up in his book, Film Score: The Art & Craft of Movie Music: “Its tuneful, rhythmic main ever made. Even so, I still enjoy watching it mainly because theme has become one of the most popular pieces written for of the terrific score by Elmer Bernstein. films, and being aware of it while watching the picture adds to Even though he began with the low-budget flicks like the enjoyment.” This theme has been used in countless ways Robot Monster, he quickly moved up to bigger films like The for decades after its release, from a legendary TV commercial Ten Commandments, a film he told me was one of his favorites. for Marlboro cigarettes to a more recent use in the Michael By the 1960s, he had reached his full prominence as one Moore political satire, Fahrenheit 9/11. The theme itself has several of Hollywood’s top film composers. It seems a shame that functions. Bernstein described it this way: Bernstein received his only Oscar in 1967 for an original score “The purpose of the music of The Magnificent Seven was (what there was of it) for the musical . largely to accent excitement, but it also served in a quite He should have received several more during his 50-year specific way to provide pacing to a film which would career. have been much slower without the score. When next Rather than try to discuss all the Bernstein film scores of you see the film, observe that the music is often faster in the 1960s, I’ve selected seven that are important landmarks tempo than anything that is actually happening on the of his film scoring and therefore may be considered essential. screen. The film needed music to help give it drive. In that All of the scores also accompany worthy films. The ones sense, it is a quite physical score, as much foreground as I’ve selected include two popular westerns, two Southern background.” locale dramas, one exciting war film, one delightful comedy, and a sprawling epic. I believe that each of these scores The music in this western has much in common with Aaron demonstrates his skill in composing to fit a film’s mood or Copland’s music, such as Rodeo and El Salon Mexico. That’s not locale. Rather than give an analysis of each film score, I’ve meant as a criticism but rather as a compliment to Bernstein’s mostly let the composer speak for himself through quotes classical music and what he could do with his musical from interviews and his writings. training. This is confirmed in his description of the score in a Film

OCTOBER 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 OCTOBER 2004 turning in on itself aimlessly, meandering like someone’s quietly Music Notebook article. He explains the purpose of his opening music: disordered thoughts…The music is, in a way, letting the viewer “The first music heard in the main title starts with a series of have a hint of the unspoken dialogue…Very quietly the viewer chords in a bright tempo played loudly by the whole orchestra. is helped to understand what the lady is feeling…Here the music Then comes an introductory section which consists basically of serves the purpose of deepening the experience by introducing rapidly repeated notes culminating in a vigorous rhythmic pattern another dimension.” of chords which become the underpinning of a simple but broad This is an excellent score and as good as any classical work of its melodic theme. The purpose of the music here is quite literally to era. It deserves to be better known and is highly recommended for catapult the viewer into the picture with enough energy to keep those who enjoy a subtler type of score. him going through the expository sections of the film.”

In an interview on Turner Classic Movies several years ago, he told Recommended Recording: Original soundtrack on RCA LP LSO 1067, 1961, host Robert Osborne that his main theme is made up of seven beats conducted by Elmer Bernstein; re-issued by Entr’acte LP ERS 6519-ST; CD import that echo the film’s title. Bernstein said he hadn’t realized it until after on RCA . he had completed the score. [Let us know if you figure it out.] This is truly one of the greatest of all western scores. To Kill a Mockingbird (Universal, 1962) Academy Award Nomination for Best Music Score—Substantially Original. Recommended Recording: Original MGM soundtrack on Ryko CD, 1998. Notes by Golden Globe Award for Best Score. Jeff Bond, with comments by the composer’s daughter, Emilie A. Bernstein. BERNSTEIN SAID ON NUMEROUS OCCASIONS THAT THIS WAS his favorite film score. It’s mine as well and on my “Top Ten” list of best (Paramount, 1961) Summer and Smoke film scores of the 20th century. Not only is the film one of the great Academy Award Nomination for Best Scoring. classics, starring Gregory Peck in his Oscar-winning role, the same THE SCORE COMPOSED FOR THIS SUBDUED TENNESSEE applies to Elmer’s simple and touching score. In my interview with him, Williams play made into a film may not be as well-known as others I asked how the opening music came to be written, and he told me: on this list. I think this score is slighter better than another film released “The main theme was a long process. It took about six weeks that same year, Walk on the Wild Side. That too has a marvelous score with before I was able to arrive at it, as I was having difficulty a memorable title theme. But it hearkens back to other jazz-flavored determining what the function of the music was to be in the scores of the 1950s like Sweet Smell of Success. That’s not the case with film. It was only when I realized that it was about an adult world Summer and Smoke, which is a darker and more psychological score than seen through the eyes of children that I began to think of the Bernstein’s previous efforts. It also positively glows with shimmering theme as it is played on the piano and the flute.” themes, many of which are highly impressionistic. The film is about a Southern spinster lady (played by Geraldine Page) and her love That theme is one of his simplest and most heartfelt, and beautifully for a virile young doctor (Laurence Harvey) who has more interest expansive in the way it begins. First the theme is played softly by one in gambling and loose women. In his article “The Aesthetics of Film hand on the piano. Then the flute, harp and clarinet are added, and Scoring” in the recently published Film Music Notebook, Bernstein writes they join the solo piano until the full orchestra comes in to enhance about the score for this film: the theme. All of this happens in a matter of only about three minutes. This entire score, so full of childlike wonder and fears, fully deserves the “The music begins with a soft chord in woodwinds and strings. fame it has achieved as one of the greatest of its era. The glockenspiel sounds three notes as if to raise our awareness and attention a little notch. Harp plays a measured arpeggio. Recommended Recording: Royal Scottish Orchestra, conducted by Elmer Soon the clarinets begin to play a running figure which keeps Bernstein. Varèse Sarabande VSD-5754, 1997.

OCTOBER 2004 26 FILM SCORE MONTHLY FILM SCORE MONTHLY 27 OCTOBER 2004 The story concerns two teenage girls who (United Artists, 1963) The Great Escape become infatuated with a woman-chaser and THIS SCORE IS A BIG FAN FAVORITE. THE bad pianist, Henry Orient (perfectly played by sprawling action film concerns English, Canadian Peter Sellers). The main title is a delightful mix of and American prisoners who plan an elaborate offbeat rhythms, madcap melodies and a section escape from a Nazi camp during World War II. that might have been used in any of his western With an all-star cast including Steve McQueen, scores during the 1960s. In the notes to the CD , and others, soundtrack, Bernstein is quoted: this film was a natural fit for Elmer’s robust “I’ve been told I have a special way of writing music. Once again, he worked for John Sturges, for children. The truth is I never grew up; I still the same director of The Magnificent Seven. As with have a child’s mind.” that western, it’s the main theme that stays with the viewer in the war film. Jeff Bond described it This soundtrack makes a great companion piece very succinctly in his excellent notes for the Ryko to his other major child-centered film score for To soundtrack CD: “Bernstein’s march from the film, Kill a Mockingbird, which has a more delicate subject a quirky tune taken up by flutes and woodwinds matter but also provides a look into a child’s world. over a low rhythm of tuba and basses, is one of The main differences in Henry Orient are the comic the most instantly recognizable in a long tradition elements, such as an overly ponderous Romantic of military marches from war films, and in fact has piano theme. There is also the clever parody of outlived many of its contemporaries.” a modernistic piano concerto, composed for the A good deal of the score is based on the main film by Kenneth Lauber. Bernstein composed title march. Yet it fits the locale so well, with a softer cues like the charming “Coffee with Henry” combination of pathos and humor, that it’s a and “Father/Plans” using accordion and guitar to welcome companion during the long but never sublime effect. The FSM notes point out that The boring film. There are other themes that are equally World of Henry Orient “stands out as a shining gem, memorable, such as the highly rhythmic “Road’s a melodic, masterfully scaled work with inimitable End” and “The Chase.” Even though it didn’t receive —and not a phony note.” any major awards or nominations, this is another Recommended Recording: Music from the soundtrack con superior film score to a hugely entertaining film. ducted by Elmer Bernstein, FSM CD, Vol 4, No 16, 2001. Recommended Recording: While the original MGM LP soundtrack, conducted by Elmer Bernstein, Ryko CD 10711, 1997, remains one of the best re-recordings Hawaii (United Artists, 1966) ever made, go for the gold: The recently rescued Deluxe Academy Award nominations for Best Original Music Score Edition releases the entire, original underscore on a and Best Song (“My Wishing Doll”—lyrics by ) 2-CD set (VCL 0804 1029, 2004). Golden Globe Award for Best Score.

IN AN INTERVIEW, TONY THOMAS ASKED Elmer Bernstein how he solved the problem of The World of Henry Orient writing for a specific locale like the film Hawaii. (United Artists, 1964) Bernstein explained: FOR THOSE WHO THINK THAT ELMER’S “I knew that part of the problem was to comedy scores began with Animal House or Airplane, create something of the euphoric feeling we this score proves that’s not the case. This is the first associate with the South Seas, although the real important Bernstein comedy score. It was also one problem was that the music we associate with of Bernstein’s happiest associations with a director. Hawaii is strictly 20th-century. What we now As he explained to Tony Thomas about this film: know as Hawaiian music isn’t really Hawaiian “One of the directors with whom I have most music at all, and it certainly had nothing to enjoyed working is , and the do with Hawaii of the 19th century…in doing reason for this is that he is a good amateur my research, I found that the Hawaiians of musician. We had discussed the music on many the period had no melodic instruments at all, occasions, and all went well until one point except for a little nose flute that would produce during the recording session when we got to a about three notes. They had a lot of percussion sequence that didn’t jell with what he had in mind. He stopped instruments like gourds and small drums, and they had chants, the session, went over to the piano, and started to play, saying, basic two- or three-note chants rocking back and forth between “No, I wanted something more like this.” Since he hadn’t told me those notes. I used that characteristic in the score; in fact, the about his ability in music, it left me with my mouth hanging overture starts that way on the bass marimba. Well, from those open. But after that I knew we were on a different footing, the meager resources I had to create a whole cloth, and it was kind of footing that makes a composer’s job much more practical almost pure invention.” and comfortable.” (continued on page 47)

OCTOBER 2004 28 FILM SCORE MONTHLY FILM SCORE MONTHLY 29 OCTOBER 2004 SILVER AGE CLASSICS • FSMCD VOL. 7, NO.16 • RELEASED BY SPECIAL ARRANGEMENT WITH TURNER CLASSIC MOVIES MUSIC Scores composed and conducted by Johnny Williams and Henry Mancini

PREPARE TO SWING WITH TWO ‘60S COMEDY SCORES by a pair of composers who are more connected than one might think: Besides being his friend, John Williams was at one time the piano player for Henry Mancini on soundtracks as famous as Peter Gunn. In the ‘60s, Williams cut his composing teeth on a parade of often silly comedies and farces—exactly the type of film that, in its classiest form, was Mancini’s (Pink Panther) stock-in-trade.

PENELOPE (1966) WAS A NATALIE WOOD VEHICLE combining romantic comedy, psychological mystery, and utter farce. Wood stars as Penelope Elcott, a devil-may-care society woman who takes to bank robbery out of frustration with her workaholic husband; the sprawling cast included Dick Shawn and Peter Falk. Shot on location in , the film provided the kind of grand tapestry on which “Johnny” Williams could lay the groundwork for his future composing styles, both madcap and serious: swinging jazz tracks, Lost in Space-style wackiness and genuine drama, foreshadowing his “blockbuster” styles for films like and E.T. The Extra-Terrestrial.

PENELOPE WAS RELEASED ON LP AT THE TIME OF the film, but except for the title song, the album was entirely re-recorded, emphasizing the film’s source music. Disc one of this 2-CD set features the never-before-released underscore to Penelope followed by the complete LP program. Additional original soundtrack cues (outtakes and alternates) are located at the end of disc two, making this the complete Penelope presentation. 13. Anonymous Friends 2:28 9. Oh Jacques 1:04 14. Mildred’s Mission 2:59 10. The Navel Sisters/Rosemary’s 15. Penny’s Party 1:11 Hula/Why Red 2:50 MOST OF DISC TWO FEATURES A COMPLETE 16. Penny Runs Away/ 11. Pickles and Peanut Butter 1:15 Penny’s Substitute 1:37 12. A Splendid Piece 2:15 Henry Mancini soundtrack: Bachelor in Paradise 17.James’s Vision/Patient Cured 5:41 13. A Real Heel/A Sad Piece 2:06 18.End Title 1:57 14. Welcome Home/On the Couch 3:11 (1961), a romantic comedy starring Bob Hope as a Total Time: 46:39 15. Wolf in Paradise 2:44 “sex-pert” author covertly assigned to a suburban 16. Ideas 1:18 PENELOPE Album Recording 17. Ancient Ritual 1:22 California community. There he coaches the local 19. Penelope 2:00 Total Time: 38:31 wives to spice up their marriages, runs afoul of the 20. Poolside 3:11 21. Penny’s Arcade 2:28 BACHELOR IN PARADISE Bonus Tracks timid tract-house ways, and falls for a bachelorette 22. La Bostella 2:12 18. Bachelor in Paradise (demo) 2:13 23. The Girl in the Yellow Dress 2:39 19. The Riviera 1:25 played by Lana Turner. 24. Penelope () 3:23 20. How About You 2:17 25. Penelope (Love Theme) 3:16 21. Easy to Love 2:03 26. Girl Chase 3:25 22. Alone 2:03 MANCINI’S SCORE FOR BACHELOR IN PARADISE 27. The Sun Is Gray 2:20 23. Invitation 2:17 DISC ONE Penelope emphasizes a title song (lyrics by Mack David) that was 28. Sadaba 2:27 24. Green Dolphin Street 1:20 29. At the Art Museum 3:14 25. 3:37 1. Penelope/Building Pan 2:25 nominated for an Academy Award—but lost to Mancini’s own 30. The Mad Professor 1:53 26. Belly Buttons and Booze 2:50 2. To Bergdorf’s/Shoe Fly 2:17 Total Time: 33:10 27. Doorbell Effect 0:14 3. Anthropology 2:06 “” from Breakfast at Tiffany’s. The balance of the Total Disc Time: 79:54 Total Time: 20:08 4. Wedding Reception/Don’t Be score features the kind of colorful Mancini jazz and mood cues Jealous/Stolen Earrings 2:44 DISC TWO PENELOPE Bonus Tracks 5. Sabada and Ducky/ that would make him a household name in the ‘60s—shimmering Bachelor in Paradise 28. Penelope (original ending) 2:20 Forgotten Shoes 3:06 29. Onward Christian Soldiers/ with color, charm and melody—a lost gem from Mancini’s most 6. Penny’s Arcade 1:30 1. Main Title 2:16 Happy Days 1:04 7. Lenses and Contacts 1:54 creative period. A bonus section includes the film’s source music. 2. Home Again/Entering Paradise 1:51 30. James Breaks Even 1:00 8. Shopping Around/The Thrift 3. Welcome 4:08 31. Village Party 2:14 Shop/Vintage Pastrami/ 4. Drum Effects/ 32. The Sun Is Gray (film version) 1:53 Sabada’s Salon 3:50 Bachelor in Paradise 3:18 33. The Sun Is Gray (alternate) 1:42 THIS 2-CD SET IS ENTIRELY IN STEREO, WITH ORIGINAL 9. Muzak 3:00 5. Wake Up/Throughout the Day/ Total Time: 10:26 10. At the Art Museum 3:02 soundtrack selections remixed from the 35mm three-track Wet Thumb 2:22 Total Disc Time: 69:15 11. Penny’s Hobbies/Poolside/ 6. Top Shelf 2:14 recordings. Liner notes are by Jeff Eldridge and Lukas Kendall. La Bostella/Penny’s Loot 2:27 7. Try It 1:10 12. Mannix Follows Penny/ $24.95 plus shipping 8. Quite Civilized/Nosey 2:34 Mannix Complicity 1:47 Celebrating 100 Golden and Silver Age releases by FILM SCORE MONTHLY since 1998! DURING THE 1950s, ELMER Saving the Day During his more than 50 years as a film Bernstein was part of a wave composer, Bernstein made several efforts Musings to preserve the music and thoughts of of new talent emerging his peers and contemporaries, largely through recordings of unreleased music within the still youthful film or through a series of newsletters called The Notebooks. Before a collection of scoring profession. This wave these writings and interviews by top of a Maestro pros were recently published in book followed the likes of pioneers form by (which Bernstein chaired between 1996-2001), Max Steiner and Alfred Newman, who these rare materials were pretty much were still active in their fields (and, in out of circulation, and their origins—plus some cases, had graduated to more the “ad-hoc” FMC LPs that trickled out executive levels within their studios’ during the ’70s—were rendered even production hierarchies). more special due to frequent referencing To its supporters, the studio by film music historians. system fostered and nurtured talent, What were these Notebooks? How sometimes giving solo scoring breaks did Bernstein manage to record 13 to in-house orchestrators, arrangers LPs of superb music, largely out of his and , and it maintained own pocket? And were these venues a balance of multi-generational deliberate attempts to preserve chunks of talent. Studio commissaries had their Hollywood’s own classical heritage? own tables where writers, directors, Those questions marshaled my desire composers and thespians dined, to contact the composer, and I was whined and commiserated about studio more than delighted when an interview politics, executive idiocies and generic was granted. (I think it took about a shop talk. Surviving testimonies—found week to stop smiling over my good in bios, oral histories and transcribed fortune.) During our conversation, it was anecdotes—describe the mix of talent challenging to stay focused on the list that sometimes put the New Turks in of questions; besides being an absolute humble proximity to these esteemed gentleman with an often-brash wit, and colorful pioneers. Bernstein’s career included working with The whole scene sounds rather some of Hollywood’s greatest names. utopian, but under the studio’s Referencing people like trumpet player controlling roof, there existed a training , drummer , From Broadway ground for composers to learn their craft conductor/composer through sometimes brutal scheduling (who sold him a car), and director to the big screen, and painfully mundane assignments; if , one’s natural instinct to you showed true talent, you might get a indulge in a few lengthy tangents had to from toy trains recommendation from Alfred Newman be curtailed, as 20 minutes with such an to score a little drama or B+ actioner, experienced pro was a rare and valuable to poetry, while at Universal, composers like window into film history. Henry Mancini were given film reels (Of Wyler’s final film, The Liberation of Mr. Bernstein from bug-eyed monster movies and L.B. Jones, Bernstein offered the following told to enhance the drama as a giant anecdote: “The main title in the movie did it all… spider terrorizes a leggy brunette (or was a really big, heavy sort of anything with Julia Adams). blues, and while this blues is playing, and, Bernstein’s emergence in 1951 was we’re going through a Southern town, no different. Alongside B movies for and there comes an obligatory statue fortunately for us, Republic Pictures, the composer also of the Confederate soldier in the town honed his craft by scoring taut drama square and all of that, and I’m playing talked about it, too. (like 1951’s Sudden Fear) and rent-paying this big, steamy blues, because the nonsense (such as Cat Women on the Moon picture was about a pretty steamy subject and Robot Monster, both in 1953). Four [], and Willie listened to the years later he earned his first Oscar main title and he gets me aside and says Nomination for Man With the Golden to me, ‘You know, the camera is panning BY MARK HASAN Arm, and with that noble shoulder tap around the town. When we go by the from his peers, his career was set. Confederate soldier, do you think we

OCTOBER 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 OCTOBER 2004 ought to play Dixie?’ And I thought he was kidding. I mix of theme variations, largely performed by a small thought it was joke—but no, he was absolutely serious! orchestra with several woodwinds. “There was this And I was so embarrassed, I didn’t know what to say. one really nice piece in there—a waltz,” he recalled; I mean, it was such a ridiculous idea. Anyways, in the this waltz forms the basis of the score, alongside short event, he never changed it.”) cues that often end on an unresolved plateau. Most of the albums we discussed were subsequently The play’s music is also unique because of a short profiled in various articles (FSM’s jazz two-parter being the cue, “Pantomime,” which presages a more final biggie; Vol. 7, Nos. 2 and 6), but there remain a few nuggets version of the piano phrase that bridges the lullaby that never had their own place, although collectively they segments of Bernstein’s To Kill a Mockingbird theme. It’s represent proof of Bernstein’s remarkable versatility and an unmistakable early draft, here similarly functioning self-awareness of his strong and weak points. as a bridge between the harder chords that hammer out the waltz tempo. (The next cue, “Hartley’s Death,” “As a matter of fact, I prefer the sensitive things, offers another beautiful variation, with an angelic which come more naturally to me,” he said in chord shift.) October of 2000, “and I don’t go very well in between There’s a rare souvenir LP of Laurette, which because I think most of my best things are either unfortunately has yet to find a home on CD. As very sensitive or very grand—grand in the sense of Bernstein stated, “I have the original [recording], but I The Ten Commandments or The Magnificent Seven.” never did anything with it.” Another oddity in Bernstein’s diverse career included Beyond the Blockbusters a poetry album, titled There Are Men Too Gentle to Live More than most film composers, Bernstein made it Among Wolves, released in 1973, but like many of my a point to delve into other areas of his art. Though questions (and those of other writers in search he had brief flings on Broadway (like his Tony- of arcane facts and musical apocrypha), the expectation nominated How Now, Dow Jones in 1968), the composer for an immediate anecdote is often hampered by the also enjoyed scoring a diversity of shorts for Charles sheer volume of elapsed years. “I have zero memory of and Ray Eames. You probably sat on one of the that!” replied a befuddled Bernstein, but inevitably the Eames-designed fiberglass chairs in school at one mystery of a career curio was subsequently cleared up time, but the designers also created a marvelous after a short, reflective pause. collection of short experimental, educational and “Those were a bunch of poems written by James industrial films—many scored by Bernstein with a Kavanaugh,” he explained, “who’s a very interesting great deal of freedom. The composer recognized guy. He’s a former priest…[and] a lovely man, and these films as rare challenges to create thematic, or he approached me with these poems.…We conceived non-melodic narratives for subjects on mathematics, and set up an evening in which all of this stuff was Polaroid cameras, IBM protocol and spinning toys. performed at the Mark Taper Forum in . His Toccata for Toy Trains (released on CD on the It was a one-shot thing.” Recorded live, the program composer’s own Amber Label and re-recorded in consists of 17 passages that mix poetry with a totally the 1970s as an FMC LP) is a delightful tribute to the eclectic mix of musical styles. Enveloping some of emotions of a child at play; Bernstein’s music manages Kavanaugh’s words are jazz, chamber, pop, and soft to encapsulate the joy of a child’s imagination, string material, and even as a one-shot gig, the short transporting even adults to memories of favorite toys segments recall the familiar styles and sensitivity so now sealed in worn boxes in the closet or garage. evident in Bernstein’s film scores. Bernstein also wrote 14 cues for Stanley Young’s My queries about long-forgotten concept albums 1960 play, Laurette. Starring Judy Holiday, Patrick often created tonal shifts in Bernstein’s voice; but it O’Neal, Joan Hackett and Nancy Marchand, the Alan admittedly felt rewarding to drag a mnemonic topic Pakula-produced play was directed by Jose Quintero, or work up from a deep memory well, and hear and opened a pre-Broadway tryout in New Haven some fond reflections on music that was sometimes before closing in after a very short run. ephemeral or experimental, but written with a level of Described by Bernstein as “an unhappy experience,” professionalism that certainly kept him working for so Laurette “was a show about Laurette Taylor. She had many decades. been an alcoholic and then recovered. At the end of The passing of such a legend within the film her life she did [Tennesee Williams’] Glass Menagerie community is indeed sad, but the sheer volume of and became a Broadway darling. The play itself was music and recorded history this gentleman left behind a disaster. There were a lot of good people in it…but will guarantee one man’s influence has its place in Judy Holiday was sick, weird, and uncooperative [and] film and film scoring history. And perhaps more she spoke everything in a whisper…That was the play important to Bernstein himself, through his own music on which Judy Holiday found out she had cancer, and and those historical interviews and recordings, Elmer Jose Quintero was drunk all the time.” Bernstein represents a step to the past glories of his In spite of the play’s problems—including an own peers and a standard of tempered, good-natured elaborate set “that dwarfed the actors”—Bernstein’s professionalism that new talents can admire—and music, totaling about 17 minutes, is an enchanting perhaps one day themselves emulate. FSM

OCTOBER 2004 30 FILM SCORE MONTHLY FILM SCORE MONTHLY 31 OCTOBER 2004 REVIEWS OF CDS SCORE

CLASSIC ★★★★★ GREAT ★★★★ GOOD ★★★ BELOW AVERAGE ★★ score WEAK ★ Timeline (2003) ★★★★ strings and an appropriate will be convinced. In is propelling itself toward its JERRY GOLDSMITH “ticking clock” effect. its film context it also serves to climax. Timeline is certainly one Varèse Sarabande 302 066 600 2 Medieval adventure was not remind the viewer that the only of Goldsmith’s most enjoyable 14 tracks - 48:06 a new genre for Goldsmith—he reason they’re seeing knights in adventure scores of the past t’s fitting that Jerry Goldsmith already had Lionheart, First Knight armor running around is because decade, and for a composer Iwent out on projects with two and The 13th Warrior under his of a technological time-travel whose reputation was as a master of his most ardent and impor- belt. But the sci-fi and action contrivance, an idea that gets lost of action music, it’s probably tant collaborators: and aspects of Timeline allowed in the film’s capture-the-castle more than we deserve to get such Michael Crichton. Between the Goldsmith to de-emphasize the histrionics. a rousing piece of work as one of two of them they’ve inspired showy splendor of those earlier The Varèse release fuses some his final scores. —Jeff Bond some of Goldsmith’s best scores, aspects for a more muscular, cues together so that great pieces even if the films themselves no-nonsense approach. His like “After Him” (the score’s first Great Train Robbery (1979) 1 haven’t always been Oscar caliber. eyebrow-raising action motif action cue) and “Quick Action” ★★★★ /2 Timeline the movie is arguably the (first heard midway through “No are hidden inside larger tracks. JERRY GOLDSMITH least interesting cinematic film of Pain”) is a synthesized clarion call But fortunately, all of the score’s Varèse Sarabande 302 066 500 2 a Michael Crichton novel, and it that sounds like a cross between highlights are here except for the 16 tracks - 35:50 stars perhaps the most forgettable a ram’s horn and a medieval throbbing “Underground” cue he Great Train Robbery has long cast of actors ever assembled for a serpent, played out with the that introduces the time-travel Tbeen one of Jerry Goldsmith’s motion picture. Had Goldsmith’s familiar open-fifth riff that’s complex. Three of the tracks most unusual projects, both score not been dropped it would been a trademark of Goldsmith’s appear to be either mislabeled in terms of his overall output have been the only effective ele- since Papillon and The Wind and or mis-ordered, however: Track 9 and in particular as one of ment in the movie, but because the Lion. It’s confounding on first (labeled “Be Careful”) is actually his collaborations with film- so radically recut hearing, but by the time it bursts the action cue “Ambushed”; Track maker Michael Crichton. With the film after test screenings, out of the score’s 11-minute 10 (labeled “Ambushed”) is the the exception of The Great Train Goldsmith left the project, which final action cue (after getting heraldic “Setting Up” and Track Robbery and The 13th Warrior, all of was then rescored by Brian Tyler. some powerful horn treatments 11 (labeled “Setting Up”) is the the Goldsmith/Crichton collabo- It’s been a long wait for throughout the score), most sweeping “Be Careful.” rations (Pursuit, Coma, Runaway, Varèse’s release of Goldsmith’s The simplicity of Goldsmith’s Congo and Timeline) have fallen score, and when collectors, who approach to some of the score’s into the techno-thriller genre, were aware of the Goldsmith melodies is deceptive; his John and, stylistically, the buoyant effort’s 70-minute-plus running Barry–influenced love theme comic energy of The Great Train time, saw the 47-minute length expands to heroic scale in Robbery lies far afield of the of the Varèse CD, teeth started to “Move On,” “Setting Up,” “Light darker-edged work that in gen- be gnashed—but not to worry. the Arrows” and “Prepare for eral defined Goldsmith’s career. Producer Robert Townson has Battle/Victory for Us,” which For this 1979 film, Crichton done a superb job of whittling serves as the final, glorious volley adapted his own historical down some of the score’s of Goldsmith’s masterful linear novel and cast redundancies to make the album action scoring. “To Castlegard” as dashing Victorian criminal experience a good one. While shows off some full-blooded horn Edward Pierce. Goldsmith’s Tyler’s score emphasized action, writing reminiscent of Jerome score establishes the movie Goldsmith took his accustomed Moross’ work on The War Lord. as a lighthearted romp from route of scoring the science In a score so dominated by its opening downbeat and fiction aspect of the movie, action material, Goldsmith’s sense thereafter cheerfully varies demonstrating for the last time of architecture was immaculate between churning, his skill at blending acoustic right up to the end—when a locomotive drive and breezy instruments and electronics—his bright, keyboard-driven arpeggio elegance; the jaunty main sleek main title may be the most starts playing against massive title tune is unpredictable and seamless blend of low brass chords around three boasts one of the best bridges and orchestra of his career, with minutes into the final action cue, Goldsmith ever wrote. long, deep synthesizer stabs, there’s no question the score The original United Artists LP

OCTOBER 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 OCTOBER 2004 REVIEWS OF CDS SCORE release was one of Goldsmith’s Banderas, —and CLASSIC ★★★★★ more enjoyable albums; even John Travolta—have been GREAT ★★★★ Varèse’s long-awaited deluxe bandied around. But in the end, GOOD ★★★ edition expands the original Schumacher decided to go the BELOW AVERAGE ★★ by 10 minutes, yet still displays unknown route. WEAK ★ a remarkably economical 35 On this highlights CD (there’s minutes of total music (making a full, double CD available as the original one of the shorter well, which should have more of score albums on record). The Webber’s underscore) are all the score newly added cues primarily big hit that everyone round out the score’s atmosphere knows from the musical. From and show a work that’s strongly masterpiece The Great Escape. All must, and few other collectors the wonderful Phantom theme akin to : The Motion Picture previous LP and CD incarnations out there would be well served (sung in the title number) to in its ethereal approach to the had been of a studio re-record- by finding it a spot in their col- the haunting love , “All I foggy, suspenseful evenings of ing with an orchestra half the size lection. It’s a fine lasting tribute Ask of You,” Webber’s music Victorian London; also added are as the one heard here. This is a to the late maestro. And when it’s is magnificently cinematic and Goldsmith’s witty, thematic tags revelation, in its entirety, as it was all done, be sure to stay tuned totally appropriate for the novel. to underscore the obtainment meant to be heard. after “The Cast” for a patriotic Many have noticed the similarity of the four keys that are vital to Sound quality on the album is bonus. —Darren MacDonald to Puccini’s , but I think the robbery plot. The original fantastic, as is evident right from it’s more Webber’s homage to LP featured the showpiece “The the start, when Bernstein’s clas- The Phantom of the Opera the composer than outright 1 Gold Arrives” at the end of side sic march kicks things off in the (Highlights) ★★★ /2 larceny. The problem with the one—Goldsmith often placed “Main Title.” The score is surpris- music, however, is the pedestrian what he thought was the most ingly varied—it’s not just a bunch CHARLES HART lyric writing by Charles Hart exciting cue in this slot during of variations on the march. and RICHARD STILGOE and Richard Stilgoe. But this is the LP era to entice the listener to Naturally, Bernstein provided Sony Classical ASK 93521 Webber’s all the way, and flip the album over to side two. a fair deal of suspense for the 14 tracks - 63:37 the show and movie’s success is On the expanded CD this cue allied P.O.W.’s plans for escape, t took the success of the movie all because of his musical savvy. is correctly placed as the climax but tracks like “The Scrounger/ Iversion of Chicago to make it For a musical of this magnitude, of the score and is preceded Blythe” feature warm music for happen, but it’s finally here: The the producers have wisely picked by the brash “Departure,” with the bonding between the pris- second-longest–running show in actors who are first right for the Goldsmith’s blaring, dissonant oners; it’s not all just triumph Broadway history has made it to part and then have the voice to horns underscoring the launch and heroics. These surprisingly the big screen courtesy of direc- match. Chicago succeeded with half of the pivotal locomotive at the tender moments offer a brief and tor . Composer a cast of non-singers. Soundtracks beginning of the film’s climax. welcome reprieve from the overt Andrew Lloyd Webber had a are a little less forgiving in this For some listeners, The Great testosterone and masculinity of modest success with the movie respect, and thus, while all the Train Robbery is just too out the score. version of his show Evita, but it’s voices are adequate, there’s little of character for what they Disc One ends delicately with The Phantom of the Opera, based on variation. Scottish actor Gerald expect from Goldsmith, but the mysterious flute and harp solos. the novel by Gaston Leroux, that Butler is menacing when he expanded album’s additions There is also a recurring theme has all the elements of a lavish needs to be, but his voice strains help place the work in better throughout, for mysterioso and opulent movie musical. a bit during his more seductive perspective, and for those already strings, that signifies the ever- The interesting thing about songs, especially in the Phantom’s sold on its appeal, the added cues present Nazi guards and the the Phantom movie concept is signature “The Music of the Night.” should be a huge treat. —J.B. threat of discovery. High anxi- that it always had big names Emmy Rossum, who made such a ety figures prominently in cues attached to it from the minute fine impression in the indie film, The Great Escape leading up to the actual escape, the show became a hit in 1988. Songcatcher, is lovely and innocent The Deluxe Edition (1963) ★★★★★ as in “20 Feet Short” and “Foul As the years passed, it became as Christine, but she’s no opera ELMER BERNSTEIN Up.” Finally, the last third of the more and more obvious that the diva. Thankfully, with a little re- Varèse Sarabande CD Club album concentrates on the great original cast would not be able orchestration for the movie, she VCL 0804 1029 escape itself, with Steve McQueen to recreate their roles in a film doesn’t have to reach for those Disc One: 22 tracks - 42:03 at the vanguard of the action. version. Michael Crawford fans high notes quite as often. Disc Two: 20 tracks - 48:14 Most of his material is based on still hoped for their phantom to Patrick Wilson, the object hanks to the dedication of a thrilling scherzo, which acceler- recreate his career-making role, of Christine’s love, is the one TRobert Townson, we have yet ates to climax to aid McQueen in and of course Sarah Brightman seasoned of the cast, having another gem uncovered, once his daring motorcycle escape, and as the ingénue Christine Daae been the lead in Broadway’s thought lost to the ravages of time surely provided inspiration for was already too old to play her at Oklahoma and The Fully Monty, so and apathetic studio administra- Williams’ “Scherzo for Motorcycle the time of her Broadway debut it’s disappointing that he only tions of yore. In this case it is the and Orchestra” from The Last (it was lucky she was married to really has one big number, and complete original soundtrack, Crusade. the composer at the time). Since that’s a duet. Minnie Driver is the in stereo, of Elmer Bernstein’s For Bernstein fans, this is a then, names such as Antonio biggest name in the cast, and she

OCTOBER 2004 32 FILM SCORE MONTHLY FILM SCORE MONTHLY 33 OCTOBER 2004 SCORE plays the vengeful opera diva movies in general—rare in cin- who gets upstaged by Christine. ema these days. The film’s score Driver gets to sing the only new is also unexpected. Instead of song of the movie, “Learn to Be vigorous orchestrations like in Lonely.” Played during the end Psycho or , we hear a hodge- titles, it’s a rather faceless ballad in podge of old Caribbean blues, the form of a child’s lullaby that spiritual hymns, chain gang has little to do with the themes of songs and ’s dark, the movie, but Driver does a nice otherworldly sound collages. The job with it. opening “Isa Lei” is a chorus sung Of course, the 2-CD set will by Fijian girls, which translates be more complete, but this “Oh forget not when we’re far highlights disc is all a casual fan away.” This is a very real situation will likely want or need. Missing for the film’s two victims, who are are the connective tissues between left behind in the middle of the the songs, including more of ocean while scuba diving. And the singing dialogue, and the the gospel songs “ Promised wonderful Miranda Richardson Me a Home Over There” and “I as ballet mistress Madame Ain’t Got Long” are surely going Giry. There will also be more of through the characters minds Ciarán Hinds and Simon Callow as sharks circle them while they as the opera house proprietors, pray for some kind of end to this represented here only in the horrible reality. The songs and wry “Prima Donna.” One of the South American classical guitar composer himself, is exquisite. choruses are very relaxing—but most anticipated movies of the sound that trades off with briefly There are moments of almost are of little help to the charac- holiday season, The Phantom of the atmospheric textures or sparse sublime beauty in “Jardín” that ters as they come to terms with Opera may not be perfect, but it ensemble writing. The disc plays approximate Japanese music—this their fate. The soundtrack has an shouldn’t disappoint. —C.W. at its best when it features a is one of the pieces appropriated imaginary, almost spiritual, feel, more feel with hints of from one of Santaolalla’s other because of its location and overall The Motorcycle Diaries ★★★ world jazz. Santaolalla manages recordings for Nonesuch. situations. And one can’t help to update that sound with funky In addition to the score but wonder: What songs would Edge Music/Universal B0003294-02 bass lines and contemporary pop material, there are a few fun pop be going through your head if 23 tracks - 47:42 drum patterns in “Sendero.” The pieces, including a performance you were left in the middle of the irected by other side of his musical voice of Gabriel Rodriguez’s song “Chipi ocean? —Jason Verhagen D(1998’s Central Station and is heard in places like the brief Chipi,” delightfully sung by Maria 2002’s Behind the Sun), The Motorcycle “Montana” or “Procession,” where Esther Rodriguez. Also here is a Fahrenheit 9/11 ★★ Diaries was well received at this he comes close to sounding like mambo performed by Perez Prado JEFF GIBBS year’s Cannes Festival and also Mark Isham’s new age scores— and an original piece written and Warner Bros./Rhino R2 78434 at Sundance. The film covers an these are the atmospheric sides of performed by . There 22 tracks - 60:53 8,000-mile, eight-month bicycle Santaolalla that filled out . are also two additional pieces by ichael Moore’s latest con- trek across South America from Overall, the variety of the Santaolalla, perhaps licensed from Mtroversial documentary to Venezuela. But disc is a plus, while the brevity a solo album. has now appeared on DVD, and in the end it’s basically a South of many of the cues may prove The accompanying CD booklet this CD release coincides with American buddy picture based on frustrating to some listeners. Each is filled with excerpts from that. The album primarily con- the diaries of its two main char- track basically takes on one of two Guevara’s diaries, along with sists of songs by the Go-Gos, acters, one of whom is Ernesto different characteristics. Some are many wonderful pictures. Eric Burdon, J.J. Cale, R.E.M., “Ché” Guevara. The movie features miniature pieces with a uniquely —Steven A. Kennedy Bloodhound Gang, Jethro Tull an interesting score by newcomer crafted solo guitar or ensemble and Neil Young. Thrown in for Gustavo Santaolalla, a prominent feel. The others are there to create Open Water ★★★ good measure is Elmer Bernstein’s performer nomi- mood or sound without paying GRAEME REVELL, VARIOUS theme from The Magnificent Seven nated for two Latin Grammys this a lot of attention to a particular TVT 6710-2 • 15 Tracks - 35:00 and Joey Scarbury’s theme from year. His next project is slated to melody. This “musical postcard” pen Water, an indie film the TV series The Greatest American be , directed by idea can be interesting on one Odirected by Chris Kentis, Hero. Arvo Pärt’s moving Cantus in . hand but is frustrating when the has been a surprise to all who Memory of Benjamin Britten makes Having seen 21 Grams and ideas get so little time to flow. have seen it. With no budget, no an odd counterpart to the sur- , I’m familiar with It’s in those moments when they movie stars, no special effects or rounding material, but a little Santaolalla’s other film scores. come across more as effect than as mechanical fish, Kentis achieves 20th-century orchestral music is Motorcycle Diaries (18 score tracks, any real musical idea. Regardless, great suspense and tension good for everyone. totaling 32:09) melds those two the guitar work throughout without the falsehoods associ- Jeff Gibbs’ score (6 tracks: together, creating a kind of the score, performed by the ated with gore genres and scary 18:58) got some notice by film

OCTOBER 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 OCTOBER 2004 SCORE reviewers—though one wonders of each of the women, providing two demo tracks, are followed if they may have been confused the link for their connection that by the original LP arrangement and were actually responding is revealed at the climax of the of the score, which was not a to Pärt’s music. This is Gibbs’ movie. That scene, in Clarissa’s re-recording, but the same takes second score for Moore, and the () apartment, is as heard in the film and during meager material here somehow presented without score—the the first 15 tracks of this CD. Of manages to hold its own. The right decision. Glass had laid the course, the original album was opening track, “The Un-President,” groundwork in the rest of the not complete or chronological, is a string synthesizer piece that movie, and music there would and had a sound mix inferior unfolds in a manner similar to have been superfluous. to the remastered material here. the “Cantus” but adds a guitar That said, a lot of filmgoers felt Its inclusion is redundant, and overlay as the piece flows along. the whole score was superfluous you can hear the difference It is unfortunate the budget could and intrusive. These people for yourself. In the remastered not have allowed for real string didn’t really understand Glass tracks, you hear a rich array of players, because it would have and Daldry’s choices throughout castanets, wood blocks, marimba, been able to achieve an even the movie. Meanwhile, an equal harmonica and other colorful greater emotional depth. amount of viewers (including instruments; the original album The piano track, “Bush myself), embraced the music’s mix is drier and sub-standard Waits…and Waits,” reminded effect on the film and believe it is sounding, almost like a non-Jerry me a bit of Mychael Danna’s one Glass’ best scores. western score, with the traditional superb score for The Guys (based Pianist Michael Riesman orchestra overpowering the solo on the 9/11 tragedy). “Weapons of frequently collaborates with instruments in the mix. Deceit” has a kind of Philip Glass Philip Glass and seems to have All 1,500 copies of Bandolero! feel (à la Naqoyqatsi) with a nicely a lot of affection for this score composer and will continue to have already sold out, so you’re reproduced synthetic oboe sound. in particular. Not only does he grow in stature as one of the best going to have to pay upwards “Deserter” comes a bit more play the piano solos on the of this young century. —C.W. of $60-$70 on eBay to get it. from popular electronic dance first CD soundtrack, he also Given these circumstances and 1 music. “Afghan Victory Dance” arranged “The Suite from The Bandolero! (1968) ★★★ /2 the fact that this is an average takes a page from the synthesizer Hours,” a piano concerto with JERRY GOLDSMITH Goldsmith score, it’s really only mixes common in Sci-Fi Channel an orchestra of strings, harp Intrada Special Collection Volume 16 for Goldsmith completists or fans movie-of-the-week fare. “All They and celeste. Now, Riesman has 27 tracks - 75:48 of his westerns. —D.M. Ask,” the final score cue on the arranged and recorded the entire fter an opening source music disc, features a variety of motivic album of The Hours for solo piano. Atrack, the Bandolero! “Main Shark Tale ★★ loops repeated incessantly à The result may appeal to those Title” kicks things off in tradi- HANS ZIMMER la Glass. It’s competent music- aforementioned critics who felt tional Jerry Goldsmith western Geffen B0003468-12 • 13 tracks - 50:38 making, but similar stuff can the score could have been more fashion, prominently featuring hark Tale is the latest be heard in more fleshed-out subtle. the main theme. By contrast to Smovie from DreamWorks ensemble recordings. This is Because the writing is mostly other Goldsmith westerns, it’s a Animation’s universe low-budget music with greater piano-based anyway, this new CD lighter tune, featuring a whistler to Pixar’s. A year after Pixar’s aspirations. Too bad some of the is not a jarring re-interpretation. and instrumentation similar to , we get this hugely licensing fees could not have gone The new do strip that used by Morricone in his successful but artistically inferior toward the score itself. the score down to its emotional westerns. The theme, and much of tale of mob sharks and hustler The eclectic mix of original essence, as in the harrowing “I’m the score, is a close cousin to Take fish. Where Nemo’s characters score and other source materials Going to Make a Cake,” which a Hard Ride in both melody and were recognizable fish and other may be annoying to some, but it’s never seemed so rare. My favorite overall style. sea creatures, Shark’s characters the selling point for the general cue, “Morning Passages,” retains For the most part the score are more identifiable by their audience. Score fans might as well its musicality and rhythms. The is low-key, focusing on tender, resemblance to the stars who avoid this, but it’s not intended cues toward the end of the movie intimate moments, with only voice them. The movie is scored for them anyway. —S.A.K. don’t fare as well, as in the cue occasional interruptions of action by Hans Zimmer, who may entitled “The Hours,” which sorely and suspense. But every now and seem an odd choice for a film Music From The Hours ★★★★ needs the orchestral intensity again, explosive, multi-layered so loaded with pop music. Then PHILIP GLASS of the original. But it’s not for syncopated action music breaks again, Zimmer is still the head of Orange Mountain Music 0012 Riesman’s lack of trying; there’s up the reflective nature of the DreamWorks film music division, 14 tracks - 57:27 only so much you can do with score, just to keep listeners on and he likely saw a success ripe hilip Glass’ score to Stephen solo piano. their toes. And unsurprisingly, for the taking. PDaldry’s 2002 Oscar-winning This CD is a labor of love for a few tracks, like the short but Strangely, if Shark Tale is any The Hours functions as a character Riesman, and it shows in his savory “Across the River,” show a indication, Zimmer doesn’t seem in the movie. The music not only performance, which is intense but strong Mexican influence. to have much control over what binds the three stories together, never overwhelming. The score The complete chronological makes it on the CD. Only one cue it also represents the loneliness is a landmark for Glass as a film score (about 45 minutes), plus (continued on page 42)

OCTOBER 2004 34 FILM SCORE MONTHLY FILM SCORE MONTHLY 35 OCTOBER 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. FSMmarketplace

 Vol. 7, No. 18  Vol. 7, No.17 Penelope/Bachelor In Paradise Valley of the Kings/Men of the Fighting Lady JOHNNY WILLIAMS/HENRY MANCINI MIKLÓS RÓZSA Films released: 1966/1961 Films released: 1954 Studio: M-G-M • Genre: Comedy Studio: M-G-M Silver Age Classics • CD released: December 2004 Genre: Action-Adventure/Wartime Drama • Golden Age Classics Stereo • Disc One: 79:54 • Disc Two: 69:15 CD released: December 2004 Two swinging ‘60s comedies on a 2-CD set. Penelope is a madcap Stereo • 67:39 romp starring Natalie Wood, scored by Williams. The complete Two-fisted archeological action in the Indiana Jones mold, composed underscore, plus bonus tracks and the original LP re-recording as only Rózsa could! This CD also includes the underscore from Men are included. Bachelor in Paradise, is a jazzy outing extrapolated of the Fighting Lady (22:52), a Korean War pilot saga. Both scores are from the popular title tune by Mancini and Mack David. Both remixed from the 35mm masters. Included as a bonus: the surviving scores are in stereo from the original 35mm masters. $24.95 trailer music from King Solomon’s Mines (in mono, 1:45). $19.95

JOIN US FOR OUR SECOND 100 RELEASES Film Score Monthly offers the  Vol. 7, No. 16  Vol. 7, No.15  Vol. 7, No. 14  Vol. 7, No.13  Vol. 7, No. 12 Classics Charter Club. Mutiny on the Bounty Saddle the Wind The Man From U.N.C.L.E. I’ll Cry Tomorrow Ride the High Country/ BRONISLAU KAPER ELMER BERNSTEIN/ Vol. 3 ALEX NORTH Mail Order Bride Join now and Film released: 1962 JEFF ALEXANDER JERRY GOLDSMITH, Film released: 1955 GEORGE BASSMAN receive every new release— Studio: M-G-M • Genre: Film released: 1958 , ET AL. Studio: M-G-M • Genre: Films released: 1962/1964 Historical Epic Studio: M-G-M Series Broadcast: 1964-68 Biography Studio: M-G-M automatically. Silver Age Classics • CD Genre: Western • Golden Age Studio: M-G-M Golden Age Classics Genre: Western Or choose between released: November 2004 Classics Genre: Secret Agent CD released: October 2004 Silver Age Classics Stereo • Disc One: 79:15 • Disc CD released: November 2004 Silver Age Classics Stereo • 75:53 CD released: August 2004 all Golden or all Silver Age titles. Two: 79:01 • Disc Three: 79:53 Mono • 75:53 CD released: September 2004 A first-rate biopic based upon Stereo • 76:54 Be among the first to hear FSM’s 100th Classic Series This dark tale of gunslinging Mono • Disc One: 77:21 • Mono/ the life of Lilian Roth, starring Bassman contributed a warm, Release. This legendary pro- brothers (scripted by Rod Stereo Disc Two: 77:03 Susan Hayward in a power- wistful and melodic score our premiere releases duction features a remarkable Serling) features an early score FSM completes its trilogy of house performance. Equally to Sam Peckinpah’s first of Hollywood’s best film scores, epic score—now presented by Elmer Bernstein and a title albums with music from the strong is North’s jazz-infused masterpiece, Ride the High in its entirety for the first time, song performed by Julie London. original series and its 1966 spi- score featuring a memorable Country (32:35). Two years monthly! plus a virtual “alternate score” The CD also includes an earlier noff, The Girl From U.N.C.L.E. main theme. The CD includes all later, he reworked the same (well, every five weeks...) of unreleased takes and revi- score by Jeff Alexander which Eight composers are repre- of the dramatic underscore, plus material into his score to sions, plus most of the source went unused. A rare, unex- sented, including 37 minutes source cues and three vocals Mail Order Bride (44:28). This See order form for details. cues—nearly 4 hours in all! pected pairing, heard here for of Goldsmith music (by Hayward) presented in CD premieres both scores in $34.95—and worth it. the first time! $19.95 in stereo. $24.95 chronological order. $19.95 stereo. $19.95

 Vol. 7, No.11  Vol. 7, No. 10  Vol. 7, No. 9  Vol. 7, No. 8  Vol. 7, No.7  Vol. 7, No. 6  Vol. 7, No.5 Cimarron Julius Caesar Big Wednesday The Fastest Gun Alive/ The Shoes of the The Swan FRANZ WAXMAN JOHN BARRY MIKLÓS RÓZSA BASIL POLEDOURIS House of Numbers Fisherman BRONISLAU KAPER Film released: 1960 Lyrics by Don Black; Film released: 1953 Film released: 1978 ALEX NORTH Film released: 1956 Studio: M-G-M Vocal by Matt Munro Studio: M-G-M Studio: Warners Film released: 1956 Film released: 1968 Studio: M-G-M Genre: Western Epic Film released: 1966 Genre: Shakespeare/Epic Genre: Surf Epic Studio: M-G-M Studio: M-G-M Genre: Romantic Drama Golden Age Classics • CD Studio: Columbia Golden Age Classics CD Silver Age Classics Genre: Romantic Drama Genre: Political Thriller Golden Age Classics • CD released: August 2004 Genre: Wildlife Adventure released: July 2004 CD released: June 2004 • Golden Age Classics • CD Silver Age Classics released: April 2004 Stereo • 79:37 Silver Age Classics Mono & Stereo • 68:05 Stereo • 78:29 released: June 2004 CD released: April 2004 Stereo • 49:54 This remake of Edna Ferber’s CD released: July 2004 Mono • 76:10 Stereo • Disc One: 77:09 novel was one of the last Stereo • 39:55 One of Ròzsa’s most powerful One of the great orchestral Two potent scores penned for Disc Two: 74:50 The Swan was Grace Kelly’s attempts to present a big, scores: dark and dramatic yet scores of the 1970s, available for director Russel Rouse. Fastest penultimate film, eerily fore- sprawling epic of the old West. This score and song became pop full of melody. This premiere CD the first time anywhere. Ranging Gun (37:36) is a psychological FSM’s premiere 2-CD set shadowing her own destiny as The sumptuous score includes sensations; Barry and Black won features the complete score, in in scope from simple folk tunes western with classic American features the complete, mas- Princess Grace of Monaco. This the stirring title song, European Academy Awards for both song mono, with a wealth of outtakes, to magnificent orchestral swells, string writing; House of sive underscore on disc one; premiere features the complete, folk song and a spiritiual—not and score. Now, the original LP and pre-recordings, including Poledouris’ feature debut is Numbers (38:34) is a psychotic Disc two collects source and original soundtrack remixed to mention the thunderous Land recording has been remastered several tracks in stereo. $19.95 epic in every sense. Includes crime thriller with appropriately alternate cues, plus demos from from three-track masters, as Rush cue. This is the definitive and released on CD for the first aternate takes and source cues over-the-top music. Presented (9:47) and LP well as brief passages recorded presentation! $19.95 time! Special price: $16.95 (21:24), all in stereo. $19.95 in the best-possible monaural recording of for the ’50s LP. $19.95 sound (as recorded). $19.95 (40:39), all in stereo. $24.95

TO ORDER CALL: (540) 635-2575 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • GO ONLINE AT: www.filmscoremonthly.com  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/ The Prisoner of Zenda Where Eagles Dare/ Moonfleet McQ , et al. MIKLÓS RÓZSA ALFRED NEWMAN Operation Crossbow MIKLÓS RÓZSA ELMER BERNSTEIN Telecast: 1977 • Studio: M-G-M Film released: 1956 FRANK CORDELL Film released: 1952 Film released: 1955 Film released: 1974 Genre: Science Fiction Studio: M-G-M Films released: 1965/1969 Studio: M-G-M Films released: 1968/1965 Studio: M-G-M Studio: Warner Bros. Silver Age Classics Genre: Historical Drama Studio: United Artists Genre: Swashbuckler Studio: M-G-M Genre: Swashbuckler Genre: Police Thriller CD released: March 2004 Golden Age Classics • CD Genre: Epic/WWII Espionage Golden Age Classics Genre: WWII Espionage Golden Age Classics Silver Age Classics Stereo • 79:55 released: March 2004 Silver Age Classics CD released: February 2004 Silver Age Classics CD released: January 2004 CD released: November 2003 Suites from all scored episodes Stereo Disc One: 71:36 CD released: February 2004 Mono • 58:21 CD released: January 2004 Stereo • 77:11 Stereo • 49:24 by Rosenthal, Bruce Broughton, Stereo & Mono Disc Two: 77:43 Stereo • 78:55 A robust adaptation of Stereo • Disc One: 74:04 A moody tale with a richly Combines a traditional sympho- Jerrold Immel (Dallas) and Jeff Plus cues from Plymouth Adventure Two military-themed scores Newman’s original score (by Disc Two: 78:37 melodic score and a lovely main nis with ’70s for a unique, Alexander. $19.95 (7:48) & Moonfleet (12:10). $24.95 from stereo LP masters. $19.95 ). $19.95 Two entire film underscores. $24.95 theme—plus alternates. $19.95 swaggering sound. $19.95

 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 Film released: 1952 JERRY GOLDSMITH, et al. Film released: 1957 Film released: 1971 JERRY GOLDSMITH Film released: 1962 Studio: RKO • Genre: Series Broadcast: 1964-68 Studio: M-G-M Studio: M-G-M Films released: 1956, 1957 Films broadcast: 1973, ’74, ’75 Studio: United Artists Golden Age Classics Studio: M-G-M • Genre: Spies Genre: Literary Adaptation Genre: Western Studio: M-G-M • Genres: Drama Studio: M-G-M Genre: Southern Family Drama CD released: November 2003 Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genres: Crime, Biography Golden Age Classics Mono • 48:24 CD released: Oct. 2003 CD released: Oct. 2003 CD released: Sept. 2003 CD released: Sept. 2003 Silver Age Classics CD released: July 2003 Herrmann’s only film noir runs Mono • Disc One: 77:54 Mono • 79:10 Stereo • 79:14 Stereo • 51:54 CD released: July 2003 Stereo • 70: 27 the gamut from furious chases Mono/Stereo Disc Two: 76:29 A rich and varied score for one A favorite score gets the defini- Two early scores by one of Stereo • 77:24 One of Duning’s greatest scores to heartfelt warmth.. Produced With music by Fried, Shores, of the greatest works in litera- tive treatment including film cinema’s most distictive voices, Three complete TV movie is sensitive, rich and melancholy. from acetate recordings. $19.95 Riddle and more. $24.95 ture. $19.95 tracks & LP recording. $19.95 from film and LP. $19.95 scores plus bonus tracks. $19.95 $19.95

 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 / Knights of the Round Table/ All Fall Down/The Outrage Green Fire/ , JOHN The 25th Hour Huckleberry Finn Demon Seed The King’s Thief ALEX NORTH Bhowani Junction BARRY & DON WALKER, JEROME MOROSS FRED MYROW/ MIKLÓS RÓZSA Film released: 1962/1964 MIKLÓS RÓZSA Films released: 1967 Film released: 1960 JERRY FIELDING Film released: 1953/1955 Studio: M-G-M Film released: 1954/1956 Film released: 1969 Studio: M-G-M Studio: M-G-M Film released: 1973/77 Studio: M-G-M Genre: Drama/Western Studio: M-G-M Studio: M-G-M Genre: Gothic/WWII Comedy Genre: Satirical Adventure Studio: M-G-M • Genre: Sci-Fi Genre: Costume Adventure Silver Age Classics Genre: Adventure/Drama Genre: Drama Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics CD released: Apr. 2003 Golden Age Classics Silver Age Classics CD released: June 2003 CD released: June 2003 CD released: May 2003 CD released: May 2003 Stereo • 52:54 CD released: Apr. 2003 CD released: June 2003 Stereo • 58:49 Stereo and Mono • 59:58 Stereo • 79:49 Stereo • Disc One 70:31 Two complete scores: a hushed, Stereo/Mono • 79:20 Stereo • 77:06 Both delicate, melodic scores A giant of Americana writes a Two ’70s sci-fi scores on one Disc Two 78:21 sweet, family drama and a west- A symphonic score coupled with Three scores on one CD. $16.95 are remastered in stereo. $19.95 bouncy, rich score.$19.95 disc:. $19.95 Two complete OSTs. $24.95 ern remake of Rashomon. $19.95 “world-music”cues. $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 /7 Women Tribute to a Bad Man The Man From U.N.C.L.E. LALO SCHIFRIN BRONISLAU KAPER MICHEL LEGRAND MIKLÓS RÓZSA / MIKLÓS RÓZSA Vol. 1 Film released: 1970 Film released: 1960 Film released: 1968 Film released: 1952 ELMER BERNSTEIN Film released: 1956 JERRY GOLDSMITH, et al Studio: Warner Bros, Studio: M-G-M Studio: M-G-M Studio: M-G-M Film released: 1959/1966 Studio: M-G-M Series Broadcast: 1964-68 Genre: Science Fiction Genre: Drama Genre: Military/Espionage Genre: Historical Epic Studio: M-G-M Genre: Western Studio: M-G-M Silver Age Classics Golden Age Classics Silver Age Classics Golden Age Classics Genre: WWII/Drama Golden Age Classics Genre: Secret Agent CD released: Mar 2003 CD released: Mar. 2003 CD released: Feb. 2003 CD released: Feb. 2003 Silver Age Classics CD released: Jan .2003 Silver Age Classics Stereo • 55:45 Stereo/Mono • 79:26 Stereo • 79:20 Mono • 79:35 CD released: Jan. 2003 Stereo • 50:30 CD released: Dec. 2002 Includes many unused pas- All of the music from the film is Offbeat, epic scoring for orches- Rózsa’s magnificent historical Stereo • 73:46 Rózsa’s rare western is sweep- Mono • Disc One: 77:05 sages from an avant garde present, plus bonus tracks and tra, with over twice the music on music for the voyage of the Two Asian-flavored classics. ing, full of melody, and flecked Mono/Stereo Disc Two: 76:08 masterpiece. $19.95 alternates. $19.95 the original LP—in stereo. $19.95 . $19.95 $19.95 with brooding melancholy. $19.95 Seven composers! $24.95

TO ORDER CALL: (540) 635-2575 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • GO ONLINE AT: www.filmscoremonthly.com  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 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 This reworking of The Painted An early Jerry Goldsmith action- Stereo • 52:53 A stirring symphonic score, The last of the Golden-Age A sweeping Americana score This stirring, progressive score, Veil combines film noir, exotic suspense gem for a Hitchcock- A rare Rózsa’s sci-fi score set in (plus “The Ballad of the Green swashbucklers with alternate, plus nightclub and marching includes one of Friedhofer’s and epic film scoring. $19.95 styled thriller.. $19.95 post-apocalyptic NYC. $19.95 Berets”). $19.95 unused and source cues. $19.95 band source cues. $19.95 greatest main titles. $19.95

 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 Point Blank/The Outfit On the Beach/ The Traveling Executioner 36 Hours The Man Who Loved Cat BRONISLAU KAPER / The Secret of Santa Vittoria JERRY GOLDSMITH DIMITRI TIOMKIN Dancing TV Produced: 1965-67 Film released: 1955 JERRY FIELDING Film released: 1970 Film released: 1964 JOHN WILLIAMS Network: NBC Studio: M-G-M Film released: 1967, 1973 Film released: 1959, 1969 Studio: M-G-M Studio: M-G-M • Genre: MICHEL LEGRAND Genre: Secret Agent Genre: Biblical Epic Studio: M-G-M Studio: United Artists Genre: Black Comedy WWII/Spy Film released: 1973 Silver Age Classics Golden Age Classics Genre: Film Noir Genre: Drama, Comedy Silver Age Classics Golden Age Classics Studio: M-G-M CD released: July 2002 CD released: July 2002 Silver Age Classics Golden Age Classics CD released: May 2002 CD released: May 2002 Genre: Western Stereo/Mono • 77:57 Stereo • 75:11 CD released: June 2002 CD released: June 2002 Stereo • 39:39 Stereo • 66:41 Silver Age Classics Five episode scores for ground- Epic features choruses, solos, Stereo • 77:54 Stereo • 70:59 This score touches all the bases, A taut, piano-dominated score CD released: Mar. 2002 breaking series—all OST, not LP source cues and thundering Two tough films based on D.E. Two LP scores reissued on one from bluegrass to avant-garde with an accent on stealth—and Stereo • 65:37 recordings. $19.95 symphonic glory. $19.95 Westlake’s crime novels. $19.95 CD, with one bonus cue. $19.95 to full-scale action. $19.95 double the length of the LP. $19.95 A rare two for one! $19.95

 Vol. 5, No. 3  Vol. 5, No 2  Vol. 5, No. 1 n 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 Please Come Home! Film released: 1965 Film released: 1976 Film released: 1956 DAVID SHIRE FRANZ WAXMAN Film released: 1954 JOHNNY WILLIAMS 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 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/Suspense Genre: Biblical Epic Golden Age Classics Genre: Comedy CD released: Mar. 2002 Stereo • 74:18 CD released: Feb. 2002 Silver Age Classics Golden Age Classics CD released: Dec. 2001 Silver Age Classics Stereo • 46:33 This classic story of a dystopian Stereo • 61:51 CD released: Jan. 2002 CD released: Jan. 2002 Stereo • 38:41 CD released: Dec. 2001 The complete score: romantic, future gets the royal treatment A favorite score of the compos- Stereo • 73:48 Stereo • 61:51 Disney’s workhorse composer Stereo • 71:32 surging with passion and haunt- in this restored, remixed, rese- er, remixed, with bonus alternate Jazzy Noir & rhythmic thrills. $19.95 Spectacular Biblical epic. $19.95 from the ‘30s goes West. $19.95 Wacky Arab go-go music! $19.95 ing in its use of melody.. $19.95 quenced release! $19.95 cues and more. $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 Henry Orient The View From Pompey’s The Illustrated Man Morituri/Raid on Entebbe The Best of Everything Voyage to the Bottom ELMER BERNSTEIN Head/ Blue Denim JERRY GOLDSMITH ALFRED NEWMAN & JERRY GOLDSMITH/ ALFRED NEWMAN of the Sea Piano Concerto by K. Lauber ELMER BERNSTEIN/ Film released: 1969 HUGO FRIEDHOFER DAVID SHIRE Song by Newman & PAUL SAWTELL Film released: 1964 BERNARD HERRMANN Studio: Warner Bros. Film released: 1958 Films released: 1965/77 . & BERT SHEFTER Studio: United Artists Films released: 1955/1959 Genre: Sci-fi/Anthology Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1959 Song by Russell Faith, Genre: Comedy/Drama Studio: 20th Century Fox Silver Age Classics Genre: Western Genre: WWII/Docudrama,TV Studio: 20th Century Fox Film released: 1961 Silver Age Classics Genre: Drama CD released: Sept. 2001 Golden Age Classics Silver Age Classics Genre: Drama/Romance Studio: 20th Century Fox CD released: Nov. 2001 Golden Age Stereo • 42:02 CD released: Sept. 2001 CD released: Aug. 2001 Golden Age Classics Genre: Sci-fi/Irwin Allen Stereo • 40:32 CD released: Nov. 2001 One of Jerry Goldsmith’s most Stereo (w/ some mono) • 69:34 Stereo (Morituri)/ CD released: Aug. 2001 Silver Age Classics Bernstein’s “second-best” score Stereo • 75:15 haunting sci-fi creations. $19.95 Two scoring legends collaborate Mono (Entebbe) • 57:50 Stereo • 71:14 CD released: July 2001 for children, sounds great! $19.95 Two films by Philip Dunne. $19.95 for a rich western score. $19.95 Suspense! Action! ! $19.95 Newman’s last Fox score. $19.95 Stereo • 55:55 $19.95

TO ORDER CALL: (540) 635-2575 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • GO ONLINE AT: www.filmscoremonthly.com SOLD OUT! Sorry, all gone...

 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 Hell/ Room 222/Ace Eli and The French Connection/ The Egyptian Untamed The Towering Inferno Soldier of Fortune Rodger of the Skies ALFRED NEWMAN French Connection II ALFRED NEWMAN & FRANZ WAXMAN JOHN WILLIAMS HUGO FRIEDHOFER JERRY GOLDSMITH Film released: 1955 DON ELLIS BERNARD HERRMANN Film released: 1955 Film released: 1974 Films released: 1956/55 Films released: 1969/73 Studio: 20th Century Fox Films released: 1971/75 Film released: 1954 Studio: 20th Century Fox Studio: Warner Bros./20th Studio: 20th Century Fox Studio: 20th Century Fox Genre: Religious/ Biography Studio: 20th Century Fox Studio: 20th Century Fox Genre: Historical Adventure Century Fox Genre: WWII/Adventure Genre: Sitcom / Americana Golden Age Classics Genre: Police Thriller Genre: Historical Epic Golden Age Classics Genre: Disaster/Irwin Allen Golden Age Classics Silver Age Classics CD released: June 2001 Silver Age Classics Golden Age Classics CD released: April 2001 Silver Age Classics CD released: July 2001 CD released: June 2001 Stereo • 58:14 CD released: May 2001 CD released: May 2001 Stereo • 65:43 CD released: Apr. 2001 Stereo • 73:00 Mono (Room 222)/Stereo & Biopic receives rich, reverent, Stereo & Mono (I)/ Stereo • 72:06 A thrilling adventure score in Stereo • 75:31 A moody war thriller, and an Mono (Ace Eli) • 71:37 melodic score; complete. Stereo (II) • 75:01 The original stereo tracks first-rate sound. $19.95 Premiere CD release, doubled in exotic, melodic jewel. $19.95 Two light and lyrical scores. $19.95 including source music. $19.95 Two classic cop thrillers. $19.95 resurrected! $19.95 length from the LP. $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 Millionaire Conquest of.../Battle for Beneath the 12-Mile Reef The Stripper/Nick Quarry From the Terrace Batman The Undefeated/ Hombre ALFRED NEWMAN & the BERNARD HERRMANN JERRY GOLDSMITH ELMER BERNSTEIN HUGO MONTENEGRO/ CYRIL MOCKRIDGE TOM SCOTT/LEONARD Film released: 1953 Film released: 1963/68 Film released: 1960 Theme by Neal Hefti Film released: 1953 ROSENMAN/LALO SCHIFRIN Studio: 20th Century Fox Studio: 20th Century Fox Studio: 20th Century Fox Film released: 1966 Films released: 1969/67 Studio: 20th Century Fox Film released: 1972/73 Genre: Adventure Genre: Drama /Action,TV Genre: Drama Studio: 20th Century Fox Studio: 20th Century Fox Genre: Comedy/ Romance Studio: 20th Century Fox Golden Age Classics Silver Age Classics Golden Age Classics Genre: Adventure/Camp Genre: Western Golden Age Classics Genre: Sci-fi/Fantasy CD released: Feb. 2001 CD released: Jan. 2001 CD released: Dec. 2000 Silver Age Classics Silver Age Classics CD released: Mar. 2001 Silver Age Classics Stereo • 55:06 Stereo (Stripper)/ Stereo • 71:27 CD released: Nov. 2000 CD released: Sept. 2000 Stereo • 70:03 CD released: Feb. 2001 Premiere release of original Mono (Quarry) 73:35 Soaper features tuneful, roman- Mono • 65:23 Stereo • 72:33 Period songs adapted as Stereo & Mono (Conquest)/ stereo tracks, albeit with minor Early Goldsmith feature w/bonus tic score; Rich Americana, sen- Holy Bat-tracks! 1966 feature A Western two-fer: one brash, instrumental underscore. 19.95 Stereo (Battle) • 74:44 $19.95 deterioration. $19.95 tracks)— plus a TV rarity. $19.95 sitive romantic themes. $19.95 expands TV themes. $19.95 one quiet—both gems. $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 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 Film released: 1970 LEONARD ROSENMAN Film released: 1971 Film released: 1975 JERRY GOLDSMITH Film released: 1964 Title Song Perf. by The Turtles 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 Score balances aggressive Stereo • 72:37 Sci-fi classic features one-of-a- Strange “blaxploitation,” west- Stereo (Flim-Flam)/ Presented complete (55:43) in Stereo • 73:10 action with avant-garde Complete film score plus LP re- kind symphonic/pop fusion, and ern gets wonderful symphonic Mono (Sooner) • 65:20 mono, with some cues repeated “Johnny”’s best comedy! $19.95 effects. $19.95 recording and FX tracks. $19.95 unforgettable themes. 19.95 score, great main theme. $19.95 An Americana duo. $19.95 in stereo. $19.95

 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 / The Comancheros Prince of Foxes Monte Walsh Prince Valiant Patton/ 100 Rifles ELMER BERNSTEIN ALFRED NEWMAN JOHN BARRY FRANZ WAXMAN The Flight 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 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 score “Lost” historical adventure gets Revisionist western gets vintage Colorful 1954 adaptation of the CD released: April 1999 Full of Mexican colors and gut- Eve is a true classic: Heaven is for John Wayne is a western exciting, robust score, mixed in Barry score 20 years before epic comic strip features stirring Stereo • 76:24 tural action. CD presents two brooding film noir. $19.95 gem. $19.95 stereo. $19.95 . $19.95 score a là Star Wars. $19.95 Two OSTs on one CD. $19.95 versions of score. $19.95

TO ORDER CALL: (540) 635-2575 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • GO ONLINE AT: www.filmscoremonthly.com SOLD OUT! Sorry, all gone...

 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/ The Paper Chase/ Stagecoach/The Loner Mad Monster Party Deadfall The Taking of Pelham 1-2-3 I Bury the Living/ LEONARD ROSENMAN The Poseidon Adventure JERRY GOLDSMITH MAURY LAWS JOHN BARRY DAVID SHIRE The Cabinet of Caligari/ Film released: 1966 JOHN WILLIAMS Film released: 1966/1965 Film released: 1998 Film released: 1968 Film released: 1974 Mark of the Vampire Studio: 20th Century Fox Film released: 1973/72 Studio: 20th Century Fox Studio: Rankin/Bass Studio: 20th Century-Fox Studio: M-G-M Genre: Sci-fi Studio: 20th Century Fox Genre: Western (film/TV) Genre: Animagic Genre: Heist caper Genre: Thriller Films released: 1958/58/62/57 Silver Age Classics Genre: Drama/Disaster Silver Age Classics Percepto/Retrograde Records Retrograde Records Retrograde Records Studio: UA/ 20th Century Fox CD released: Sept. 1998 Silver Age Classics CD released: May 1998 CD released: 1997 CD released: 1997 CD released: 1996 Genre: Horror • Silver Age Stereo • 47:28 CD released: July 1998 Stereo (Stagecoach)/ Stereo 36:48 Stereo 40:23 Stereo & Mono • 30:55 CD released: Jan. 1999 • Mono Sci-fi classic gets imaginative, Stereo/Mono (combo) • 75:53 Mono (Loner) • 45:25 30th Anniversary edition score Features “Romance for Guitar Unparalleled ’70s 12-tone jazz/ Disc One: 61:06 Disc Two: 73:20 avant garde score; a signature Two scores plus the Main Title Film score plus TV theme and features vocals by Boris Karloff and Orchestra,” vocals by funk fandango on FSM’s first 2-CDs of creepy music. $29.95 work. $19.95 to Conrack (1974). $19.95 two episode scores. $19.95 & Phyllis Diller. $16.95 alternates. $16.95 album release. $16.95

A Heart at Fire’s Center: The Life and Music of BOOKS FOR MUSIC LOVERS Stu Who? Forty Years of Navigating the Minefields Bernard Herrmann by Steven C. Smith of the Music Business by Stu Phillips The most influential film composer of all time, GOING...GOING...GOT YOURS? Stu Phillips’s career encompasses groovy cult films Herrmann (1911-1975) was as famous for his musical and virtually every Glen Larson TV show ever pro- passion as his bad temper. This hard-to-find 1991 book Film Score Monthly is liquidating its stock of film score books. duced. Stu Who? is his candid, breezily told memoirs is his definitive biography, covering his film, television, While they aren’t necessarily going out of print, they soon won’t full of exciting stories from the worlds of arranging, radio and concert work as well as his personal life. It’s be available here. So what are you waiting for? It’s time for music directing, record producing, and film and TV a brilliant illumination and probably the best film com- holiday gift-giving, to a friend or to yourself. scoring. Published Cisum Press, 304 pp., hardcover, poser biography ever written. University of California illustrated. $29.95 Press. 416 pp., hardcover. $39.95

The Music of Star Trek: The Score: Interviews with Film Composers Profiles in Style by Jeff Bond Memoirs of a Famous Composer— Nobody Ever Heard Of by Earle Hagen by Michael Schelle The history of Star Trek scores, from 1966 thru Composer Hagen (b. 1919) played trombone with Q&As with Barry, Bernstein, Blanchard, Broughton, 2000. With interviews of composers Goldsmith, Benny Goodman; worked under Alfred Newman at Chihara, Corigliano, Howard, Isham, Licht, McNeely, Courage, Fred Steiner, Fried, Ron Jones, 20th Century Fox; and composed for thousands of T. Newman, Shaiman, Shore, Walker and C. Young. McCarthy, Chattaway and others; music written hours of television (including I Spy, The Mod Squad Silman-James Press, 432 pp., softcover. $19.95 for four TV series; a guide to score tracking; and The Andy Griffith Show) and authored two manuscript excerpts; and several cue sheets. books on film composing. This is Hagen’s own story. Lone Eagle Publishing. 224 pages, softcover, Xlibris Corporation. 336 pages, hardcover. $34.95 illustrated. $17.95

U.S. Soundtracks on CD: EXCLUSIVE VIDEO! Scores for Motion Pictures and TV 1985-1999 Basil Poledouris: His Life and Music Price Guide by Robert L. Smith FSM’s 2nd market-standard price guide contains 2,400+ album titles Visit with the composer of Conan the Barbarian, Big Wednesday and Lonesome Dove. Tour his personal and professional with stats, collectibilty data and estimated values—and annotated worlds, from composing to sailing. The 50 minute video includes footage of Basil conducting and at work on Starship to differentiate originals, reissues, commercial albums and promos. Troopers, as well as dozens of behind-the-scenes and family photos, and appearances by wife Bobbie and daughter Zoë. Smith surveys the market and provides a checklist for collectors . Discover the man behind the music, in a way you’ll never see on TV, or experience in print. Specify NTSC (U.S.) or PAL Vineyard Haven LLC, 154 pp., softcover. $17.95 (European) $19.95

New Ordering Infor mation For CDs Only—Please Read! FSM: The Complete Collection—Going Out of Stock! Buy FSM CDs directly from Screen Archives Entertainment (use for m at right). This is your last chance to buy every single issue of

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TO ORDER CALL: (540) 635-2575 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • GO ONLINE AT: www.filmscoremonthly.com *#68, Apr. ’96 The Taking of Pelham One *Vol. 3, No. 7, Aug. ’98 SOUTH PARK (A. Vol. 5, No. 9, Nov./Dec. ’00 64 pg. 101 Vol. 7, No.10, Dec. ’02 BACK ISSUES OF FSM Two Three; C. Burwell; gag obituaries. Berry, B.Howell), I. Newborn; Taxi Driver, GREAT FILM SCORES; (Crouching Tiger, TOWERING ACHIEVEMENTS: H. Shore; *#69, May ’96 Plan 9 from Outer Space; BMI & ASCAP, Broughton Guide 2. Hidden Dragon); Shore; . Ray Ellis (Filmation); The Alloy Orchestra, VOLUME ONE 1993-96 Movie music glossary; Herrmann & Rózsa *Vol. 3, No. 8, Sept. ’98 LALOSCHIFRIN; Spy Notes (secret agent discs). 24 pp. unless noted. on radio; Irwin Allen; “Into the Dark Pool.” B.Tyler; T. Jones; Williams premiere. Asterisk (*) indicates photocopies. *#70, Jun. ’96 Mancina, desert isl& lists, *Vol. 3, No. 9, Oct./Nov. ’98 KORNGOLD: VOL. SIX, 2001 *#30/31, Mar. ’93 64 pp. M. Jarre,, summer movies; TV’s Biggest Hits review. Williams at Tanglewood; Citadel Records. 48 pp.each VOL. EIGHT, 2003 Morricone albums,1992 in review. *#71, Jul. ’96 D. Arnold; M. Colombier; Vol. 3, No. 10, Dec. ’98 THE PRINCE OF Vol. 6, No. 1, Jan. ’01 THE BEST OF THE 48 pp.each *#32, Apr. ’93 16 pp. Matinee temp-track, Recordman/Congress; summer round-up. EGYPT ; E. Cmiral (Ronin); 50+ CDs. WORST: 2000; Our Town; Hollow Man DVD; Vol. 8, No. 1, Jan. ’03 JOHN WILLIAMS; SPFM ’93 Conf., Star Trek editorial. *#72, Aug. ’96 10 Best Scores of ’90s; Total Recall ; C. Martinez (Traffic). Best & Worst 2002; Star Trek film scores. *#33, May ’93 12 pp. Book reviews, Escape from L.A.; cond. J. Maucerii. Vol. 6, No. 2, Feb. ’01 MUSICAL WORLD Vol. 8, No. 2, Feb. ’03 HOW THE AWARDS classical/film connection. *#73, Sept. ’96 Recordman on War ; THE END IS NEAR... OF IRWIN ALLEN; A.Copland (cond. J. WERE WON; J. Williams & L. Slatkin; Jan *#34, Jun. ’93 16 pp. SPFM: Goldsmith; Monstrous Movie Music; Miles Goodman. Stocks of printed backissues Sheffer); G.Clinton; Douglass Fake of Hammer, C. Martinez, C. Pope, S. Walker. Orchestrators; Lost in Space; . *#74, Oct. ’96 ’90s Action Scores; Cine Intrada; How to Marry a Millionaire. Vol. 8, No. 3, Mar. ’03 MAGNIFICENT *#35, Jul. ’93 16 pp. David Kraft; John Music ’96 (Barry, Zhou Jiping); Vic Mizzy. are running low. Order Vol. 6, No. 3, Mar. ’01 BIGGER, BETTER MOVIE MUSIC MOMENTS; Brian Tyler; Beal Pt. 1; scores vs. songs; Herrmann *#75, Nov. ’96 Barry Interview; J.Bond’s copies of FSM with the form SCORES: New RMA agreements; D. J.Ottman; D. Davis (Matrix Reloaded). Christmas; Film Composers Dictionary. reviews; Recordman on War 2. between pages 8-9. Ellis; Irwin Allen discs; R. Kent (Town & Vol. 8, No. 4, Apr-May ’03 MEET THE *#36/37, Nov. ’93 40 pp. Bob Townson ; *#76, Dec. ’96 R. Edelman, J. Barry 2, R. Country); Italian Imports/BEAT. FOLKS: (A Mighty Wind); M. Hamlisch; G. R.Kraft & N.Redman; ; CAM CDs; Cooder; Laserphile, Lukas’s reviews. Vol. 6, No. 4, Apr./May ’01 J. Horner Fenton (The Blue Planet); Bond reissues. E. Bernstein fantasy scores. Buyer’s Guide; The Mummy Returns, Vol. 8, No. 5, June ’03 *#38, Oct. ’93 16 pp. J.Debney; Kraft/ VOL. FOUR, 1999 Swordfish; Hoyt Curtin; Epics on DVD; BOOM TIMES: SUMMER; Bond reissues 2; Redman 2. VOL.TWO, 1997 48 pp.each Atlantis The Lost Empire. Jan Hammer 2; Korngold DVD. *#39, Nov. ’93 16 pp. Kraft/Redman 3; Fox 32-48 pp. *Vol. 4, No. 1, Jan. ’99 NFL FILMS, Vol. 6, No. 5, June ’01 SERGEI PROKOFIEV; Vol. 8, No. 6, July ’03 THE PIRATE ISSUE: CDs; Nightmare Before Christmas. *Vol. 2, No. 1, Jan./Feb. ’97 Star Wars: Goldsmith/, Elfman, Wing Friedhofer & Fox; Ghostbusters; J. Danna. K.Badelt, H. Gregson-Williams; R. *#40, Dec. ’93 16 pp. Kraft/Redman 4; Re- Williams interview; Special Edition CDs. Commander game; Indian funk. Vol. 6, No. 6, July ’01 PLANET OF THE Portman’s opera, The Sherman Bros.. recording The Magnificent Seven. *Vol. 2, No. 2, Mar./Apr. ’97 A. Clausen; *Vol. 4, No. 2, Feb. ’99 GOLDSMITH GUIDE: APES; H. Zimmer; Horner Guide 2; Shore. Vol. 8, No. 7, August ’03 SEX, LIONS & *#41/42/43, Mar. ’94 48 pp. E. Goldenthal; promo CDs; Congress in Valencia; Readers The ’90s; The Exorcist ( D. Shire; promos. Vol. 6, No 7, August ’01 QUINCY JONES AUDIOTAPE: P. Doyle; M. Kamen; Betty sexy LP covers; ’93 in review. Poll ’96; “Into the Dark Pool” 2. *Vol. 4, No. 3, Mar. ’99 BEST OF ’98; W. PT. 1; ; J. Morgan on Golden Comden, C. Lennerz; audio formats. *#44, Apr. ’94 J.McNeely; B. Poledouris; *Vol. 2, No. 3, May ’97 Michael Fine: Carlos; Goldsmith Guide 2:; Hammer. Age; Score Internationale; Random Play. Vol. 8, No. 8, Sept. ’03 LOVE THAT BOOB SPFM: Morricone. Re-recording Rózsa; Poltergeist, Mars Vol. 4, No. 4, Apr./May ’99 PRINCE Vol. 6, No 8, September ’01 ANGELO TUBE; Staff picks; Indiana Jones and the *#45, May ’94 R. Newman; G. Revell (The Attacks!, Rosewood; Lukas/Bond reviews. WAXMAN; ’98 Readers Poll; Goldsmith BADELAMENTI; N. Carolina School of the Temple of Doom; M. Barwood. Crow); Schindler’s List; Instant Liner Notes. *Vol. 2, No. 4, Jun. ’97 D. Elfman, Promos 2, Guide 3; Barry bios; C.Gerhardt obit. Arts; Earle Hagen; DVDs; more. Vol. 8, No. 9, Oct.-Nov. ’03 MATRIX *#46/47, Jul. ’94 P. Doyle, J.N.Howard; M. Denny & Exotica, Lady in White; Brian *Vol. 4, No. 5, Jun. ’99 THE PHANTOM Vol. 6, No. 9, Oct./Nov. ’01 LORD OF THE CONCLUSIONS; “Dumped”: 50+ cut & J.Morgan (on H. Salter); Mancini tribute. May obit, The Fifth Element. MENACE; Halloween H20; Affliction. RINGS; Ronald Stein; T.Jones; Davis Meets altered scores; The Gospel of . *#48, Aug. ’94 M. Mancina (Speed); aspir- *Vol. 2, No. 5, Jul. ’97 E. Goldenthal, M. Vol. 4, No. 6, Jul. ’99 E. BERNSTEIN; Austin Williams; M. Danna; Pukas comix debut. Vol. 8, No. 10, Dec. ’03 SHORE RETURNS: ing composers advice; CAM CDs. Mancina, G.S.Clinton, ASCAP & BMI nites; Powers 2; Goldsmith Guide 4; USC. Vol. 6, No. 10, Dec. ’01 SCORES OF SCORES; At the Return of the King sessions; Kamen *#49, Sept. ’94 H. H. Zimmer; S. Walker; Crash, Lost World. Vol. 4, No. 7, Aug. ’99 WARNER Alejandro Aménabar; G. Yared; Hobbit Tribute; G. Yared; Holiday DVD roundup. H.Salter; J. Williams; record flea market. Vol. 2, No. 6, Aug. ’97 L. Schifrin, J. Powell, ANIMATION; Phantom Menace; Battlestar music; H. Gregson-Williams, R. Kent. #50, Oct. ’94 A. Silvestri; M. Isham; sex & Shaiman; Tony Thomas; Summer movies, Galactica); ; ASCAP. soundtracks; Schifrin concert; Morricone/ TV sweeps. *Vol. 4, No. 8, Sept./Oct. ’99 STANLEY VOL. NINE, 2004 48 pp.each Beat; the Internet; Recordman/liner notes. *Vol. 2, No. 7, Sept. ’97 ZIMMER VS. FSM, KUBRICK.; Poledouris; Goldsmith Guide 5. VOL.SEVEN, 2002 Vol. 9, No. 1, Jan. ’04 BEST OF THE *#51, Nov. ’94 H. Shore; T. Newman; J. P. M. Beltrami, Curtis Hanson; Film Music as Vol. 4, No. 9, Nov. ’99 COMPOSER 48 pp. each WORST, 2003; Thomas Newman; A. Robinson; Lukas’s Mom; music of Heimat, Fine Art, Recordman. STAMPS; Papillion; Peter Thomas. Vol. 7, No. 1, Jan. ’02 THE BEST & THE Desplat; Williams’ in Chicago; The Shining. Star Trek. *Vol. 2, No. 8, Oct. ’97 STARSHIP BASIL, Vol. 4, No. 10, Dec. ’99 SCORES OF WORST: 2001; Horner Guide Pt 3: Zimmer; Vol. 9, No. 2, Feb. ’04 JAMES HORNER *#52, Dec. ’94 E. Serra; M. Shaiman; Shore, Alloy Orchestra; Golden Age CDs. SCORES: review compilation issue. Logan’s Overrun; Enterprise; Yann Tiersen. THEN AND NOW; J. Debney; B.T.; Sandy De Crescent; Valencia Film Music Vol. 2, No. 9, Nov./ Dec. ’97 BOND/ Vol. 7, No. 2, Feb. ’02 HAPPY BIRTHDAY, Composers of South Park. Conference; Shostakoholics Anonymous. ARNOLD; J. Frizzell; Neal Hefti; U-Turn & ELMER BERNSTEIN; Rózsa speaks!; Vol. 9, No. 3, Mar. ’04 JON BRIO/AN TYLER *#53/54, Feb. ’95 M. Shaiman Pt. 2; The Mephisto Waltz, Razor & Tie CDs. VOL. FIVE, 2000 ; John Q, Frailty. BATES; The ; (Robin Petit & Trovajoli; Academy Awards Pt. 1; 48-64 pp.each Vol. 7, No. 3, Mar/Apr. ’02 THE SCORPION Hood x 2); The Music of the Christ; TheRza. rumored & quad LPs. Vol. 5, No. 1, Jan. ‘00 SUPERMAN:THE KING; Hook (Williams); Edda Dell’Orso; Vol. 9, No. 4, Apr.-May ’04 THE FALL OF *#55/56, Apr. ’95 B. Poledouris; A. Silvestri; VOL.THREE, 1998 MOVIE H. Shore; Goldenthal, Barber, Tyler, Craig Armstrong (Moulin Rouge); Oscars. TROY; ; B. Poledouris; Oscar & Music 2; Recordman’s Diary. 48 pp. each Debney, Robbins; Pocket Reviews debut. Vol. 7, No. 4, May/Jun. ’02 SUMMER David Shire; Goldsmith on Apes. *#57, May ’95 Broughton; M. Goodman; ’94 *Vol. 3, No. 1, Jan. ’98 WILLIAMS BUYER’S *Vol. 5, No. 2, Feb. ’00 JERRY FIELDING; BLOCKBUSTERS; M. Mothersbaugh; Vol. 9, No. 5, Jun.’04 THE SOUNDS OF SUMMER: Stephen King TV; Dirty Harry on Readers Poll; Goldsmith concert. GUIDE 1, M. Danna, ‘s music super- Top picks for ’99; George Duning obit. Legend on DVD; (ASCAP winners). CD; Mr. Songtrack, Gary LeMel. *#58, Jun. ’95 M. Kamen; Royal S. Brown; visor, Silvestri lecture, Rykodisc CDs. Vol. 5, No. 3, Mar. ’00 PHANTOM MENACE *Vol. 7, No. 5, Jul. ’02 MURDER Vol. 9, No. 6, Jul.’04 KEEPING IT REAL: History of Soundtrack Collecting. *Vol. 3, No. 2, Feb. ’98 PHILIP GLASS, CD; Reader pix ’99; C.H. Levenson’s “last”. MUSIC: Film Noir; Williams; Goldsmith; M. Reality TV scores; John Morgan Re:Re- *#59/60, Aug. ’95 48 pp. Sex Sells; Williams Buyers Guide 2, D. Amram, Vol. 5, No. 4, Apr./May ’00 Kamen; P. Schickele (Silent Running). recordings; George Bassman profiled. Soundtrack Collecting 2; concert debate. Goldsmith/Varèse, Pendulum CDs. BERNARD HERRMANN; R. Marvin (U-571); Vol. 7, No.6, Aug. ’02 , S. Vol. 9, No. 7, Aug.’04 JERRY GOLDSMITH *#61, Sept. ’95 E. Goldenthal, Kamen 2, C. Vol. 3, No. 3, Mar./Apr. ’98 TITANIC; Best of Tora! Tora! Tora!; Film score agents, pt.1. Clarke & T. Blanchard; K. Badelt; Louise 1929-2004: Tributes, retrospectives, Lennertz; classical music for score fans. 1997, Cinerama, Greig McRitchie, Oscars. Vol. 5, No. 5, Jun. ’00 TENTH Steiner memoir; . imaginary chats and an unwritten letter. *#62, Oct. ’95 D. Elfman; R. Townson; J. Vol. 3, No. 4, May ’98 SCI-FI; B. Broughton, ANNIVERSARY! Jaws 25th Ann. CD; J. N. Vol. 7, No.7, Sept. ’02 FSM’S TOP 40 COM- Vol. 9, No. 8, Sept.’04 SCORE CAPTAIN Ed Ottman; 10 Influential Scores; Jerry video. D. Arnold; CE3K restoration; Williams Howard (Dinosaur); Goldsmith Guide Pt 6. POSERS; ; L. Schifrin; Shearmur; Last Goldsmith Buyer’s Guide; *#63, Nov. ’95 Special! Guide 3; Ed Shearmur; Fox Classics CDs. Vol. 5, No. 6, Jul. ’00 SUMMER SCORE J. Klimek; The Kid Stays in the Picture. Arthur Morton; Raksin remembered, more! J. Barry; E. Serra; Davy Crockett LPs. *Vol. 3, No. 5, Jun. ’98 X-FILES ; Godzilla; J. ROUND-UP; D. Newman; Session Notes. Vol. 7, No.8, Oct. ’02 FALL FILM ROUND- *#64, Dec. ’95 D.Elfman Pt. 2, Recordman/ Chattaway; Broughton Guide; D. Reynolds, Vol. 5, No. 7, Aug ’00 B. BROUGHTON; UP: E. Bernstein; E. Goldenthal; D. Elfman; Index What exactly have we printed in Blaxploitation; House of Frankenstein. D. McCarthy, Anne Dudley), SCL Conf.. Shaiman gives hell; Elfman & mom. S. Bramson (JAG); Michael Hennagin. FSM? Here’s a handy index of all content *#65/66/67 Mar. ’96, 48 pp. T. Newman; *Vol. 3, No. 6, Jul. ’98 LOVE ISSUE; Barry Vol. 5, No. 8, Sept./Oct ’00 R. NEWMAN Vol. 7, No.9, Nov. ’02 BOND TURNS 40; through 2003, compiled by Dennis Schmidt. Takemitsu; Robotech; Star Trek; best of ’95; Concert; Aussies: B. Dallwitz, C. Gordon; Things To Come; ; NPR W. Ross (Harry Potter, Tuck Everlasting); Cost: same as one back issue. film score documentary reviews. D.Wiseman; ‘70s soul soundtracks. honors. George Feltenstein (TCM); CD Wishlist.

TO ORDER CALL: (540) 635-2575 Mon.-Fri. 10:30 a.m. - 5 p.m. EST / FAX: (540) 635-1154 • GO ONLINE AT: www.filmscoremonthly.com SCORE (continued from page 35) Steiner or Tiomkin. A particularly (lasting a little over three strong demonstration of this less- minutes) made it to the is-more approach to film music soundtrack release, an album appears on a track titled “Francis boasting such pop singers as Chisholm’s Journal,” in which , Missy Elliott the softly droning rhythms of a and star Will Smith. While this single cello are counterpoint to treatment is commonplace in the the soaring flourishes of several soundtrack world, one would , creating a sound that is hope DreamWorks would give both simple and gorgeous. the head of their film division a Newman also enriches little more respect. cues, themes and underscore that with Japanese folk motifs and his material by introducing Zimmer’s lone cue, “Some of make up this collection sound avant-garde dissonance. traditional Asian instruments, My Best Friends Are Sharks,” harsh and abrasive. On tracks —Stephen B. Armstrong punctuating the lushness of starts as a loopy like “Godzilla Comes to the orchestra with the staccato homage before it segues into Bay” and “Desperate Broadcast,” The Keys of the Kingdom (1944) tones of Chinese gongs, Japanese the generic pop style made for instance, hammering brass ★★★★ bells and other exotic-sounding famous by Dave Grusin’s early and percussion figures mimic ALFRED NEWMAN devices, which the studio ’80s light comedy scoring. the slow, relentless march of the Screen Archives Entertainment chartered especially for the Unfortunately, what’s missing is monster as he stomps through the SAE-CRS-011 • 30 tracks - 93:13 score. On a track like “Arrival the action music that Zimmer capital city; similarly, “Godzilla’s n 1944, 20th Century Fox in Pai Tan,” for example, the is famous for in his other Rampage” features cymbals that Ireleased The Keys of the Kingdom, composer combines a bamboo animated scores like The Lion shudder and tremble as a grim a big-budget adaptation of A.J. percussion section with shrill King and Spirit: Stallion of the piano thuds along. The most Cronin’s novel about a Scottish horns and strings to produce a Cimarron. This makes the CD impressive example of these priest who heads off to China jumpy noise that approximates a disappointment all the way “scary” compositions, however, to spread the word of God and the young priest’s state of around for film score fans. may be “Main Title (Film Version),” convert the heathen masses to excitement as his boat carries —Cary Wong which combines the unsettling . Starring Gregory him into China for the first sounds of the monster’s footsteps Peck, Vincent Price and Roddy time. “Unwanted Missionary,” 1 Godzilla (1954/2004) ★★★ /2 and screams with the score’s McDowall, the movie enjoyed in contrast, is quite melancholy, AKIRA IFUKUBE major theme, a brisk march good reviews, but only moder- thanks to the languid, liquid La-La Land LLCD1022 • 26 tracks - 46:28 played on strings and horns. ate sales at the box office. Alfred notes that flow from a wooden odzilla premiered in Japan in This entertaining CD also Newman, whose other “religious” flute. And the spray of metallic G1954, nine years after the U.S. includes several pieces that scores include The Song of Bernadette beats that materializes in the bombed Hiroshima and Nagasaki. sound kinder and gentler than (1943) and The Robe (1953), was middle of “Monsignor Angus Chronicling the adventures of a we might expect. Godzilla, after picked by Darryl F. Zanuck to Departs/Mother Maria’s Apology” radioactive dinosaur who emerges all, is a tragedy, and elegiac tracks compose the film’s music. augments the sadness of the from the sea and levels Tokyo, like “Godzilla at the Ocean Floor” In his liner notes for this 2- violins that rise and fall around it this science fiction/monster movie and “Tragic Sight of the Imperial CD collection, Jon Burlingame in this elegiac piece. appealed directly to the island Capital” use larghetto strings to explains, “Keys was considered Burlingame tells us in his nation’s lingering anxieties about evoke and convey the sadness Fox’s prestige end-of-the- comprehensive notes that the atomic bomb, and on its first that hovers over Tokyo after its year picture and therefore an Screen Archives Entertainment’s run it did extremely well at the devastation. With some frequency, automatic assignment for studio release of this score is the first box office. So well, in fact, that soft, dulcet voices seep through general music director Alfred of its sort, that listeners have Hollywood became interested, the score as well, imbuing Newman.” Written, orchestrated never had the chance until now and in 1956 a significantly altered the music with an intense, and recorded over a two-month to listen to this music on their copy of the film was released in occasionally operatic sweetness. period, the score is both somber stereos. No doubt Newman the States, where it also enjoyed “Ending,” for example, is a and graceful, a rich assembly of aficionados will be grateful for great popularity. Last spring, gorgeous choral that combines atmospheric works that make the the music’s crisp sound, as well however, the Toho Company airy vocalizations and quivering most of the 66-piece orchestra the as the producers’ decision to re-released the original version strings to great effect, and the composer had at his disposal. include tracks which were not of the picture to mark Godzilla’s girls’ choir that performs “Prayer Characteristic of Newman and used in the original movie’s 50th birthday, and now American for Peace” creates a sweeping the studio-era sound in general, final cut. Some might argue, as I audiences can watch this charis- sound that recalls, with its simple much of the music here is do, that Newman is the greatest matic “message movie” in all its solemnity, the vocal arrangements dominated by slow-moving string of the Golden Age’s composers. unfettered glory for the first time. of Shostakovich. arrangements. Fortunately, though, This is a contentious claim, As a tie-in, Toho has also reis- By turns violent and somber, Newman, for the most part, avoids certainly, but listening to scores sued a remastered edition of Akira Ifukube’s score offers a litany the sentimentality and melodrama like this one may lead many of Ifukube’s score. of sounds and musical styles, that sometimes overwhelmed the us, sooner or later, to the same Unsurprisingly, many of the blending European orchestrations work of his contemporaries—like conclusion. —S.B.A.

OCTOBER 2004 42 FILM SCORE MONTHLY FILM SCORE MONTHLY 43 OCTOBER 2004 SCORE 1 Salem’s Lot ★★★ /2 the track “Barlow.” ing. As it is, a variety of classical CHRISTOPHER GORDON, Gordon’s score continues themes have been re-orches- LISA GERRARD the eerie tone with some truly trated by Bruce Broughton and Varèse Sarabande 302 066 586 2 scary and virtuosic modernist Bill Elliott to lyrics by Chris 17 tracks - 63:26 writing that employs aleatoric- Otsuki—which used to be a was always a big fan of Harry styled woodwind utterances common tactic in animated ISukman’s original score for and harsh brass outbursts, as shorts. Complaints aside, it’s at ’s 1979 production heard in “Thanksgiving Fest.” least marginally interesting to of Salem’s Lot. Those piano pedal The most impressive attribute hear Goofy performing “new” notes and the cleverly dressed-up about Gordon’s scoring lyrics to Bizet’s “Habanera” from Dies Irae, underscoring the scary sensibilities is that he eschews Carmen in a song now titled makeup effects and genuinely the common Goldenthal-type “Chains of Love.” violent moments managed to modernist techniques that have All the musical arrangements keep me away from windows at been proliferated throughout are top-notch and impeccably night for months when I was a Hollywood since that composer performed under Broughton’s kid. However, for King purists, came onto the scene in the baton. The meager time can Hooper’s version had altered one early ’90s. It’s refreshing to hear perhaps be forgiven as the disc major character, that of the pri- that Gordon can write (and is is supposed to list for $6.98. mary antagonist Kurt Barlow. In credited with orchestrating, too) Still, this is really one for the King’s original conception, Barlow a full range of music styles and children’s collection. It is a spoke and carried himself with come off as original as he has. positive mark that Disney is an almost dark majesty. Hooper’s His choral work brings to mind marketing these well-produced Salem’s Lot changed Barlow’s char- the mad genius of Penderecki albums for kids—at least it’s acter into a mute Nosferatu-like and especially Ligeti’s terrifying a better alternative to the incarnation, while his sideman, Requiem. majority of stuff that’s out Straker (played convincingly by Thankfully, not everything is there. The disc concludes with a James Mason), was the one with terrifying. There is a piano-driven performance of the song “Three all of the exposition. theme presented in variations Is a Magic Number” sung by The newest television version of throughout the soundtrack. Stevie Brock, Greg Raposo and Salem’s Lot features Rutger Hauer One of the nicest versions can Matthew Ballinger…yuck, but in the role of the ageless vampire. be heard on “Dud and Barlow.” the kids will like it. —S.A.K. And while Rob Lowe doesn’t Beginning with a theme based exude the same presence that on minor thirds, the piece Selections from Line of Fire 1 David Soul had, there are some introduces parallel fourths and ★★★ /2 comparable elements in the new fifths in the low strings, another LARRY GROUPÉ version, the most obvious being evocation of Barlow’s age, and PROMO • 36 tracks - 54:05 the music score by Chris Gordon ultimately develops into a grim arry Groupé provided the and Lisa Gerrard. choral benediction. Another Lmain title and additional The opening track, “Salem’s plus in the score is Gordon’s score material for this flailing Lot,” opens up the generous use of antiphonal techniques, 2003 ABC drama that tried to hour-long disc with Gerrard’s as in “Eva’s Story,” where he bring the harder edge of cable to black mass prelude. Gerrard does moves between the full string mainstream network television. an admirable job of evoking the section and quartet. This is a Groupé’s main title sets the gritty centuries-old character of Barlow great way to change the texture tone well and, surprising for TV, by choosing a style that wouldn’t without calling attention to the the main thematic material recurs be out of place in the Middle orchestration by introducing Mickey, Donald, Goofy: as a unifying feature throughout Ages. The Gregorian chant- another timbre (i.e., winds or The Three Musketeers ★★ the rest of this disc’s playing time. styled feel of the first track is so brass). VARIOUS The disc plays well despite the effective in its sonorities and the As a longtime listener to avant Walt Disney 61160-7 • 8 tracks - 17:06 brevity of many cues. Groupé alteration in vocal articulations garde music, it’s hard for me to be t’s been 75 years since provides various stylistic tensions that it sucks the listener right into genuinely creeped out by horror IDisney’s Mickey Mouse first that blend a kind of Burwell- the mood of the film. Gerrard scores of late, mostly because appeared. To commemorate the esque lyricisim with jazz harmo- is credited on four other tracks, what passes for scary these days anniversary, Disney is releas- nies and rhythms. Tense where it and one can hear the variety in isn’t much at all. Gordon’s Salem’s ing a musical direct-to-DVD needs to be, and in places utterly vocal techniques in the mixed Lot, however, is like a tone poem video uniting their three favor- poetic (especially in “Edge of chorus throughout. Sometimes it’s of dread that retains its humanity ite characters in a version of Man”) this scoring is more filmic quarter-tone clusters, sometimes by balancing the horror with Dumas’ The Three Musketeers. If all than most TV writing. There is demonic whispering, sometimes more emotive passages, often of the songs written for this film also the current Hollywood feel- full-out screaming or moaning. It within the same track. were truly “original,” it would good patriotic writing style heard even reaches an operatic tone on —David Coscina have been a lot more interest- in the brief “Must Try.” Groupé’s

OCTOBER 2004 42 FILM SCORE MONTHLY FILM SCORE MONTHLY 43 OCTOBER 2004 SCORE ability to provide a first-class spent the last few years piecing score garnered him a 2004 Emmy together his absentee father’s life nomination. —S.A.K. and filming this amazing docu- This disc and other music by the composer mentary. The film was released are available at www.LarryGroupe.com. late last year and is still showing around the country. Oscar fans Assassins (1991) ★★★ will recall that it was nominated in the Best Documentary cat- and JOHN WEIDMAN egory this year. PS Classics PS 421 • 15 tracks - 62:00 Joseph Vitarelli, son of the he 13 year-old release of late mobster-portrayer Joe TStephen Sondheim’s off- of Your Love,” with its ’70s folk sound akin to Pat Metheny in Viterelli, has worked a great Broadway production of his feel, as well as the powerful his Secret Story album—well, at deal in television with the musical Assassins was chock full “The Ballad of Booth” with least “Dolphins” comes close occasional film score. His of anger, irreverence, unpatri- Tony-winner Michael Cerveris to sounding like a Metheny more familiar projects include otic-ness and audacity. A as Lincoln’s killer. There’s also number. “Kangaroos” is a cute Kissing a Fool (1998) and The Last of presidential assassins and the somewhat obvious “The little number showing off Bruce Seduction (1994). My Architect (15 would-be assassins, the show Gun Song,” a morbid take Fowler’s trombone work in an score tracks: 28:55) is perhaps was planning a Broadway trans- on most assassins’ weapon extended jazz improvisational the highest profile film he has fer, but because of bad reviews of choice. A few dialogue number. “Tigers” finds us back worked on, and it’s one that it never made the leap. Thirteen interludes are important the in that kind of Metheny mode, has deep emotional ties for its years later, the show was a hit first time you hear them but with Mark Isham’s lyrical trumpet director. These are immediately with the critics and won many can be skipped in future playing over the synthetic evoked by the opening titles , but it never really hearings. There’s also a new soundscape. The cello piece music, a gorgeously heartfelt found an audience with the song called “Something Just featuring Stefanie Fife has a kind adagio for chamber orchestra post-9/11 tourists and closed Broke” for the non-assassins of Jazzantiqua feel from Frederic with rich harmonies and a after a relatively short run. in the cast on their reaction Hand’s unusual ensemble. bittersweet melodic line. Subtle The musical is one of the to Kennedy’s assassination. “Alligators” leans more on the piano lines drift throughout the strangest in Sondheim’s canon. It brings a humanity to the rock/fusion side of jazz. score, flavored by a variety of It has some of his strongest performance that is absent in Macchia builds each number ambient sounds that recall new songs, yet it is hindered by a the rest of the show. gradually, layering different age music, especially in “Penn bad premise: it doesn’t have Despite reservations, it is still ideas before the primary solo Station”—and even more so in one. One by one, we see the a daring piece of theater, and improvisation begins. Each “The Mystery of Louis Kahn.” story of these misfits, some PS Classics’ presentation of the piece is structured in basically What makes the CD work narrated by a balladeer (Neil show on CD is exemplary and the same way, usually starting best is the cohesion between Patrick Harris), some seen in destined for Grammy glory. with an ostinato or a very the source music and original skits. At certain times the whole The booklet is especially well- specific sound. score. Everything makes musical gang is in some kind of bar that produced with well–laid-out If you think of a combination sense as you experience an seems to be an afterworld—odd pictures and lyrics and essays. of Jazzantiqua and Pat Metheny, aural version of this artistic since a few of them are still The performances are slightly you’ll have an idea of what life journey. Vitarelli manages alive. And speaking of really warmer than in the earlier Macchia is trying to convey here, to communicate the deepest strange, at the end of the show, recording. This CD should be albeit with his own musical voice. of feelings in such brief all the assassins rally around of interest to anyone following Once again, the disc provides a brushstrokes that you wish there Lee Harvey Oswald (also Harris) the continuing evolution of variety of examples of Macchia’s had been a place for something to goad him to shoot President Sondheim’s works. —C.W. abilities. The disc is well-recorded even more substantial. As a way Kennedy—even the ones whose and worth seeking out for any to prove how the score works, 1 attempts at murders came after Animals ★★★ /2 jazz fan. —S.A.K. “The Brick” includes a brief Oswald. Yet, each vignette is FRANK MACCHIA Available at www.frankmacchia.net. snippet of Kahn actually talking strong on its own, especially Cacophony, Inc. FMC506 about brick. The piano line when they have a Sondheim 12 tracks - 68:11 My Architect: A Son’s Journey carefully weaves in and around song to sing (some do not). nimals is a collection of 12 ★★★ his comments. The newest recording of the Ajazz impressions based on JOSEPH VITARELLI There is more to admire Broadway revival is equal to various animals. Frank Macchia Commotion CR003/Koch 5756 as Vitarelli conjures up the excellent off-Broadway follows up his CD on the 20 tracks - 40:59 different stylistic pieces. With recording, and it includes Galapagos with another impres- ouis Kahn is considered one the increasing visibility of enough different material to not sive set of pieces that each con- Lof the great architects of the documentary film, the Academy be redundant. I have always jure effective little pictures in 20th century, and yet the man might need to consider adding been a fan of the strange duet their own way. died completely bankrupt in a a music category for composers between “Squeaky” Fromme Once again, this is a kind men’s room in New York’s Penn in this genre. — S . A . K . and John Hinkley, “Unworthy of world jazz coupled with a Station. His son, Nathan, has FSM

OCTOBER 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 OCTOBER 2004 FESTIVAL REPORT

Get the Gist From Ghent The 2004 and Concert in Belgium • By Arndt Holzmeier

ow in its fourth year, the World Soundtrack NAwards, presented annually during the Flanders International Film Festival, has become both well-established and widely respected in the film music world. The WSAs are

no Oscar-style beauty contest— AFTER THE CONCERT: Luminaries including Sir , Alan & Marilyn Bergman and big winner Gabriel Yared gather.

nominees are chosen and voted for exclusively premiere of Howard Shore’s Lord of the Rings World Soundtrack Public Choice Award by film professionals. Beyond Symphony in Antwerp in front of an audience presented by Nancy Knutsen (ASCAP) these awards with their built-in high of 8,000, and Shore’s subsequent use of the John Williams visibility, the Flanders International Film orchestra to record his music for the upcoming (Harry Potter and the Prisoner of Azkaban) Festival deserves the highest praise for the Martin Scorsese film The Aviator, are among this celebration of the role of music in film for orchestra’s latest achievements. A surprise? Williams beat several other third many years now. installments of franchises here. (Am I allowed What better proof than the impressive The 2004 World Soundtrack Awards to officially call LOTR a “franchise?”) number of composers who attend, perform at Once again presented at the beautiful and contribute to panel discussions, seminars, historical Bijloke concert hall, this year’s WSA Discovery of the Year award ceremonies and concerts each year. awards featured a number of surprises. One presented by Antonio Pinto Some of the industry dignitaries present at this was the actual ceremony, which has now, • (Eternal Sunshine of the Spotless Mind) year’s Oct. 9 WSA ceremony were: Dirk Brossé, after some bumpy first years, reached the • Iva Davies, Christopher Gordon and Frédéric De Vreese, , David degree of professionalism the awards deserve. Richard Tognetti (Master and Commander: The Arnold, Antonio Pinto, Cyril Morin, Daniel The reason behind the distinction between Far Side of the World) Tarrab, Andres Goldstein, Tuomas Kantelinen, “Best Original Soundtrack” and “Soundtrack • (Les Fils du Vent, Chasing , Don Black, Gabriel Composer” of the year will probably remain a Liberty) Yared, Alberto Iglesias, Sir George Martin, mystery forever, as a glance at the lists of the • Daniel Tarrab/Andres Goldstein (La Puta y Christian Henson, Wim Mertens, Sioen and nominees will confirm, which are traditionally la Ballena) . almost identical. How last year’s most revered and the winner: It’s been a sad year for film music, with the film music achievement (: • Gustavo Santaollalla (21 Grams) passing away of many beloved composers. The Return of the King) could end up with only The WSA concert was therefore split into one nomination, for Best Song, while one of The Discovery award remains in South two parts and turned into a tribute to David the most reviled ones (Klaus Badelt’s Pirates America. As did Gustavo Santaollalla, who was Raksin, and Elmer Bernstein. of the Caribbean) was running for Best Original busy working in Venezuela but greeted the A separate Jerry Goldsmith concert, titled Soundtrack, is still beyond me. As was the audience with a taped message. Traditionally “Jerry Goldsmith Lives,” took place some days notable absence of outstanding scores like this award is presented by last year’s winner. after the WSA ceremony. The Flemish Radio Alexandre Desplat’s Girl With a Pearl Earring, Antonio Pinto on piano and the orchestra Orchestra, conducted by the congenial Dirk ’s S.W.A.T. or ’ performed a suite of Pinto’s music for Behind Brossé, proved once more that it is emerging Matrix Reloaded/Revolutions. Hey, you present an the Sun, Nina and Collateral, full of elegiac beauty, as one of Europe’s finest orchestras to play film award and somebody is going to disagree. its minimalist phrasings recalling Nyman or music. A triumphant continental European So, without further ado, the envelope, please: Desplat, yet being completely original.

OCTOBER 2004 44 FILM SCORE MONTHLY FILM SCORE MONTHLY 45 OCTOBER 2004 FESTIVAL REPORT

COME A CAROL-ING: Mrs. Goldsmith (center) after the tribute concert for Jerry Goldsmith, conducted by Dirk Brossé (center right).

Best Original Soundtrack of the Year • John Williams presented by David Arnold (Harry Potter and the Prisoner of Azkaban) • Eternal Sunshine of the Spotless Mind and the winner: (Jon Brion) • Gabriel Yared (Cold Mountain) • Harry Potter and the Prisoner of Azkaban So there was Yared on stage for the third (John Williams) time, running out of people to thank, still • Pirates of the Caribbean: The Curse of being applauded enthusiastically. But was the Black Pearl (Klaus Badelt) Cold Mountain really the soundtrack event of • Shrek 2 (Harry Gregson-Williams) 2003/2004? Or was Yared being recognized and the winner: for the incredible music he wrote and the • Cold Mountain (Gabriel Yared) artistic integrity he displayed with regards Public and jurors did not agree on the same to his rejected Troy score?. winner this year, with festival regular Gabriel Yared winning a well-deserved award here. Lifetime Achievement Award Presenter David Arnold offered eternal words presented by Sir George Martin of wisdom before opening the envelope: Alan and Marilyn Bergman “Never try to drink five different sorts of Belgian beer within one hour.” Sir George, who charmingly admitted that he couldn’t write lyrics that are any good if Best Original Song Written for Film his life depended on it, praised “the simplicity and brilliance [of great lyrics] that move the •“Accidentally in Love” (Shrek 2 - Adam Duritz, heart,” which is the defining quality of the Dan Vickrey, David Immergluck, David Bryson and Bergman’s oeuvre. Both Bergmans thanked Matthew Malley, performed by Counting Crows) the audience with modesty (“being able to •“Into the West” (Lord of the Rings: The Return marry words with wonderful music is award of the King - , Howard Shore and Fran itself”) and song, when Alan performed The Walsh, performed by Annie Lennox) Windmills of Your Mind and •“Man of the Hour” (Big Fish - , with great sentiment, accompanied by the performed by Pearl Jam) orchestra. •“Remember Me ”(Troy - James Homer and Cynthia In addition to the night’s events, Steven Weil, performed by Josh Groban and Tanja Tzarovska) Prengels won the SABAM award for the and the winner: most original composition by a young •“You Will Be My Ain True Love” (Cold Belgian composer for his music for the short Mountain - , performed by ) silent film Réveil Tam Tam. Performed by the This was part two of the landslide night orchestra, it received warm applause by the for Cold Mountain. Gabriel Yared accepted the audience. Another Belgian artist, Sioen (on award on Sting’s behalf. piano, accompanied by orchestra) played a ballad from Team Spirit 2. Soundtrack Composer of the Year presented by Maurice Jarre World Soundtrack Awards Concert After he had to cancel his participation in • Harry Gregson-Williams (Shrek 2) the 2001 concert, Elmer Bernstein planned to • Alberto Iglesias (La Mala Educación) come back this year to conduct in Ghent for • Daniel Tarrab/Andrés Goldstein the third time. Alas, fate had other plans. (La Puta y la Ballena)

OCTOBER 2004 46 FILM SCORE MONTHLY FILM SCORE MONTHLY 47 OCTOBER 2004 FESTIVAL REPORT what I did and never attempted to interfere in the creative process.” The Program: Hawaii (continued from page 24) A Tribute to David Raksin When the Turner Classic Movies tribute • “Laura” That last sentence pretty much sums up to Bernstein’s films was held in 2001, he A Tribute to Michael Kamen Bernstein’s compositional style. He was a told Robert Osborne that he had a full-size • Robin Hood, Prince of Thieves master at making the most of a simple theme cardboard cutout of John Wayne in his studio Wim Mertens in Concert or motif, expanding it and shaping it in to keep him on his toes. Obviously, Bernstein • “Multiple 12” (from Between the Devil and the different ways. For example, the main theme found working on the Wayne westerns to Deep Blue Sea) for Hawaii is first heard in the overture, then be very stimulating. His work on True Grit is • Birds For The Mind (from Belly of an Architect) in more expanded form in the main title cue, top-notch all the way. The music is used very A Tribute to Elmer Bernstein and again in the “Hawaiian Welcome” and sparingly—something that today’s younger • Opening remarks by Don Black other cues. This colorful score is full of much directors could learn from—but when it • The Great Escape more than the main theme and has many does come in, there is good reason for its • To Kill a Mockingbird wonderful themes, including the superb appearance, such as the theme for Rooster • The Magnificent Seven entr’acte music. This score is yet another (John Wayne) and Le Boeuf () example of Bernstein’s ability to touch the when they are riding across the wide-open Starting off with Raksin’s “Laura,” which emotions through his music. spaces. This is a score that is among Bernstein’s benefited from slow tempi and the first of better westerns and superior to those that Recommended Recording: Original mono soundtrack many fine woodwind performances, Brossé followed in the 1970s. and surviving stereo tracks, conducted by Elmer brought out all the emotional impact of the Bernstein, Varèse Sarabande, 2 CDs - VCL 0403 Recommended Recording: Capitol LP ST-263, 1969; DRG music, which is all too often reduced to its 1017, 2002. CD 19067, 2004. song version. And I have never heard a performance capture the original recording’s energy and tempo of the rousing Robin Hood (Paramount, 1969) overture—until now. True Grit Coda Academy Award Nomination for Best Song Thankfully the prolific Wim Mertens At the end of my interview in 2001, I asked (“True Grit”—lyrics by Don Black). is very much alive. He accompanied his Elmer Bernstein if film music should be two selections himself with his trademark BERNSTEIN COMPOSED THREE SCORES considered on its own terms or be included piano and voice, his compositions for John Wayne westerns during the 1960s. as an area of classical or pop music. He are influenced by minimal music and He began with The Comancheros in 1961 (FSM answered very directly: convey the impression of a living, breathing CD Vol. 2 No. 6) and then scored The Sons of “I am totally opposed to any organism with their low rumbling string Katie Elder in 1965, which has one of Bernstein’s classification of music, and it is foundations and hypnotic violin motifs. most energetic western themes. But it was particularly ridiculous in pop music, Lyricist Don Black gave the tribute with True Grit that he reached his peak with where every quirk gives it a name or speech for Elmer Bernstein, praising his a Wayne western. Once again there’s a very classification. Music should succeed on enormous energy and acknowledging their memorable main title theme, but this time it’s its merit, not its classification.” many collaborations—sadly for a string of also the music for a title song, nicely sung by forgettable movies as he admitted smilingly. Glen Campbell. He’s also one of the film’s stars, Bernstein selections featured precise playing, along with a talented newcomer, Kim Darby. Certainly the diverse film scores by the conductor and orchestra very much at When asked what it was like working with Bernstein I’ve listed here are quality works, ease with the familiar selections. A great an icon like Wayne, Bernstein told me: and their classification means little except concert—once again—which, despite sad for the various film genres. To use a western “My association with John Wayne was circumstances, demonstrated that great analogy, they really hit their targets. Thus, to most agreeable and friendly. He enjoyed music will live on forever. . FSM me, they remain the “Magnificent 7.” FSM

sequence is a montage of images of him being gone is quite a loss I think. One of the things Sideways (continued from page 10) bored during a lonely day, but the music is that’s happened is I started paying much the musicians for bringing a lot of personal- actually kind of upbeat, which is actually more attention to all the work that they did ity to their performances. And I think that’s counterintuitive, but the upbeatness of it because the amount of work and the quality also because there are so few musicians that makes it funnier—that’s an example where the of the work that they did is extraordinary, each voice gets heard. The jazz players are not music defines the tone of the sequence.” and it’s interesting to look back at all that normal film session players and some of them and realize we’re just scratching the surface. were hard to get hold of because we had to In Remembrance There’s also something inspiring in the fact organize our recording sessions around their On a darker note, Kent joined his contem- that they died quite old and they were work- touring schedules.” poraries in pointing out the depth of loss ing right up to the time they died and doing Payne’s unusual comic sensibilities also dic- the film scoring community has suffered extraordinary, top quality work. It’s really tated unconventional scoring choices. “There’s this year with the deaths of Jerry Goldsmith, something to aspire to, the idea that it’s pos- one cue that is all about how boring Miles’ Elmer Bernstein and other composers. “To sible to keep on getting better and to stay that day is when he’s literally abandoned, and the have those really strong melodic personalities alert and engaged at that age.” FSM

FILM SCORE MONTHLY 47 OCTOBER 2004 Film&TVMusic2004 11/14/04 7:49 PM Page 1

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The Gift What remains is more than ink on the page. • By Jason Comerford

he first thing that popped into my mind when I read guaranteed. (Obit-column editors have to be just about as employable as nurses and mechanics.) Among all the that Elmer Bernstein had passed away was, “Well, I’m usual accolades and career descriptions and testimonials and descriptions of next-of-kin, there emerges the mere glad he hung in long enough to give us Far From Heaven.” impression of an individual, composed of fragments. T It’s kind of sick joke, in a way, to write an obituary; like Then I sat down at my desk and wondered why the pang of loss someone falling all over themselves to tell you about the great party you’ve just missed out on. I felt was more stinging than expected. I went over to my CD rack And then you meet Elmer, you get some CDs signed and an interview on tape, and years later you read an obituary and pulled out two CDs that I had singled out with a handful of and you wish you’d written it yourself so you could tell everyone about your own experience and fill in all the other film scores that stay on permanent important illuminating details that the writer missed, display, for whatever reason. Stuff that’s and that’s when you realize that the obituary is just like exceedingly rare, some albums I wrote everything else: Mortality leaves it stranded, destined to liner notes for, whatever. be unfinished. And some autographs. “I have to do the fan thing,” I told Elmer when I met he deaths of Jerry Goldsmith, David Raksin and him, digging in my bookbag for the CDs Elmer, coming in such quick succession, invite much I’d tossed into it earlier that morning, Treflection and provide an opportunity to celebrate just before leaving my apartment. I their achievements. Soon enough, however, those well- hadn’t planned on bringing anything meaning sentiments tend to get mixed up in a mad rush with me for him to sign—it seemed like to talk all about eras gone by and days of wine and roses bad form—but at the last what-the-hell and “golden years” and other such flights of fancy. The pro- moment I snagged The Good Son and tective instinct that arises when championing the body of the re-recording of To Kill a Mockingbird and left for the an artist’s work in the wake of their passing all too often interview. They’ve never left my CD racks, either of them, gives way to opportunistic condemnations of the present both bearing a personalized legend scrawled across the artistic and cultural climate. “There’s just nothing like this covers in black Sharpie. any more, and now there never will be again,” this attitude Meeting celebrities is not as earth-shattering an says, conveniently overlooking the fact that there’s great art experience as would lead you to everywhere, all the time, and there always will be. You just believe. We all breathe the same air and bleed the same have to find it. red. It’s just that people can find themselves in a place The grief process is a fickle thing, and it tends to force in their lives when even one such encounter can take people to accept the hardest, most frightening reality of all: on greater and grander meaning than it deserves to. It’s Life is too short. Part of the great triumph of art is that it’s because they’re the ones who are leading by example, the immortal; the best of it sticks around. When I wrote about ones who seem to be living the dream. Whatever it is. And Jerry Goldsmith’s passing, I noted, “I like to think that artists one glancing contact with that can make someone just reveal themselves through their work, that stray bits and crazy enough to keep hoping. pieces of themselves make their way into what they create, unblemished and raw.” Imagine the great riches that await ou didn’t have to know Bernstein’s work inside and out anyone who cares to look: the thousands, millions, billions Yto understand that this was a unique individual. Elmer of stray bits and pieces that come together to form a mere Bernstein carried with him the intangible and undeniable impression of those who once walked amongst us. When weight of experience, but not ostentatiously so. You’ll some- a musician puts pen to paper and goes about creating times meet people who expect you to automatically assume music, it is a part of himself that he leaves with us, one the position of molehill to their mountain. Elmer, though, that reflects his best intentions and noblest goals. The act struck me as humble, down-to-earth, approachable. He of creation is the greatest, most optimistic gesture that any didn’t command your respect; he earned it. artist can make. They leave with us the seeds of the future. There’s a fairly standard format to an obituary. There Their work is their gift to us all. FSM has to be, after all; you’ve got new material every day, The author can be reached at jcomerford79@.com.

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