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FSM Box 04 The Miklos´ Rozsa´ Treasury Supplemental Liner Notes Contents Mikl´osR´ozsaat M-G-M: A Chronology 1 Madame Bovary 6 The Red Danube 16 The Miniver Story 18 The Asphalt Jungle 20 East Side, West Side 21 The Light Touch 22 Quo Vadis (music & effects) 25 Quo Vadis (archival music) 33 The Story of Three Loves 40 Young Bess 45 All the Brothers Were Valiant 51 Knights of the Round Table 56 Crest of the Wave 57 Beau Brummell 60 Something of Value 63 Crisis 66 Tip on a Dead Jockey 68 Library Re-recordings 71 King of Kings 72 El Cid 77 Ivanhoe 82 Lust for Life 83 The V.I.P.s 84 Great Movie Themes Composed by Mikl´osR´ozsa 89 The Power 91 Liner notes ©2009 Film Score Monthly, 6311 Romaine Street, Suite 7109, Hollywood CA 90038. These notes may be printed or archived electronically for personal use only. For a complete catalog of all FSM releases, please visit: http://www.filmscoremonthly.com Madame Bovary, The Red Danube, East Side, West Side ©1949 Turner Entertainment Co., A Warner Bros. Entertain- ment Company. All rights reserved. The Miniver Story, The Asphalt Jungle, Crisis ©1950 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. Quo Vadis ©1951 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. The Light Touch, Desperate Search, Ivanhoe ©1952 Turner Enter- tainment Co., A Warner Bros. Entertainment Company. All rights reserved. The Story of Three Loves, Young Bess, All the Brothers Were Valiant, Knights of the Round Table, Rogue’s March, Code Two ©1953 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. Crest of the Wave, Beau Brummell ©1954 Turner Entertain- ment Co., A Warner Bros. Entertainment Company. All rights reserved. Lust for Life ©1956 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. Something of Value, Tip on a Dead Jockey ©1957 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. King of Kings ©1961 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. El Cid ©1961 Samuel Bronston Productions Inc. All rights reserved. The V.I.P.s ©1963 Turner Entertainment Co., A Warner Bros. Entertainment Company, and Elizabeth Taylor Burton n/k/a Elizabeth Taylor. All rights reserved. Great Movie Themes ©1963 Turner Entertainment Co., A Warner Bros. Entertainment Company. All rights reserved. The Power ©1963 Turner Entertainment Co., A Warner Bros. Entertainment Company, and Galaxy Productions Inc. All rights reserved. FSM Box 04 • The Miklos´ Rozsa´ Treasury • Supplemental Liner Notes Mikl´osR´ozsaat M-G-M: A Chronology Miklos´ Rozsa´ served as a contract composer at and April 11, 1949. Score recorded June 6, August 18 and M-G-M from 1948 to 1962. Adding two more films 29, 1949. (The V.I.P.s and The Power) scored on a freelance basis, Adam’s Rib (1949) Not a note of music survives and taking a handful of “loan out” projects into consid- from this Tracy–Hepburn battle-of-the-sexes classic di- eration, M-G-M served as Rozsa’s´ exclusive cinematic rected by George Cukor (about lawyers on the oppo- home for 20 years. This represents the prime of his ca- site side of a murder case). Rozsa’s´ score totaled less reer and saw the creation of most of his greatest works. than 15 minutes; the film also featured a song by Cole The following is an annotated list of all of his projects Porter, “Farewell, Amanda.” Recorded August 3, 8, 10, for the studio, from the date he officially began work 23, September 22, 1949. on July 15, 1948 through the end of The Power, scored East Side, West Side (1949) The two surviving in late 1967. Rozsa´ cues for this urban melodrama can be found on disc 2. Score recorded October 18 and November 1, 1949. Command Decision (1948) Rozsa’s´ first film at Source music (not by R´ozsa,conducted by Johnny Green) M-G-M was this adaptation of a Broadway play about recorded October 19 and November 3, 1949. behind-the-scenes decision-making in World War II. The Asphalt Jungle (1950) Rozsa’s´ score to this Clark Gable starred, with Sam Wood directing. No classic film noir consisted only of a main and end title, recordings survive from Rozsa’s´ original score, which presented on disc 2, along with some source music not totaled less than a half-hour of music. Recorded October written by Rozsa.´ Score recorded February 1, 1950. Source 25, 26, November 3 and 16, 1948. music recorded February 2 and March 6, 1950. Kiss the Blood Off My Hands (1948) This film Crisis (1950) Rozsa’s´ first score for writer-director noir starring Burt Lancaster was not an M-G-M film Richard Brooks was conceived (and largely executed) but rather the last picture Rozsa´ scored to conclude a for guitars, performed by Vicente Gomez,´ Jose´ Barroso contract with Universal. M-G-M coordinated with Uni- and Jack Marshall. The surviving cues are presented versal to account for the time (22 days) Rozsa´ needed on disc 10. Pre-recordings made on February 2 and 7, 1950. to score the film during the latter half of 1948. Score recorded March 21, 24, 27, 29 and April 27, 1950. The Bribe (1949) One of Rozsa’s´ last film noir The Miniver Story (1950) Rozsa´ wrote a brief projects was this thriller starring Robert Taylor, Ava score for this sequel to the classic Mrs. Miniver (1942), Gardner, Charles Laughton and Vincent Price. Only incorporating Herbert Stothart’s themes from the orig- one 0:22 cue survives from the recording sessions—a inal. Rozsa´ scored the film in England (coinciding with fragment of a non-Rozsa´ source cue. Recorded December a trip he took to Rome for the filming of Quo Vadis), 28, 29, 1948 and January 3 and 6, 1949. later adding a few cues in Culver City. The surviving Edward, My Son (1949) Rozsa´ wrote and cues (from the Culver City sessions only) can be found recorded four uncredited cues (“Lord Boult,” “Love on disc 2. Pre-recordings (not by R´ozsa)made March 6, Affair,” “Intro: Love Affair & Meet the Bride” and “Ten 8 and April 18, 1950. No dates available for R´ozsacues Years Old”—respectively 1M1, 7M1, 7M2 and 12M1) in recorded in England. Culver City R´ozsacues (revisions and Culver City to replace and/or supplement portions of a additional cues) recorded August 29 and September 5, 1950. brief score by John Wooldridge that had been recorded King Solomon’s Mines (1950) M-G-M’s hit ad- in England. George Cukor directed Spencer Tracy and venture starring Stewart Granger and Deborah Kerr Deborah Kerr in the somber film, an adaptation of a has no score as such, just source music and native per- stage play. Not a note survives from Wooldridge’s or cussion. Rozsa´ did, however, provide an original sym- Rozsa’s´ recordings. R´ozsacues recorded March 9, 1949. phonic score for the film’s trailer, the surviving seg- Madame Bovary (1949) Rozsa’s´ first historical ments of which are available on the FSM release of Val- score at M-G-M was one of his best. This box set ley of the Kings and Men of the Fighting Lady (FSMCD presents the surviving tracks on disc 1, with lost cues Vol. 7, No. 17). Trailer score recorded September 5, 1950— included from a music-and-effects track. Additional the same day as the last Miniver Story session. selections (including pre-recordings) may be found on The Red Badge of Courage (1951) Rozsa´ did not disc 11. Pre-recordings made on November 20, December score this film—Bronislau Kaper did—but he was al- 10, 20, 1948 and January 17, February 3, 23, March 3, 1949. most the composer. A studio memo dated September Score recorded April 4, 5, June 7, 14, 15 and 16, 1949. 12, 1950 advised Rozsa´ that his next assignment was The Red Danube (1949) Surviving cues from this classic Civil War film directed by John Huston— Rozsa’s´ score to this post-WWII drama are presented but “canceled” is also written on the memo. Kaper’s at the beginning of disc 2. Pre-recordings made March 11 score was recorded on January 30, 31, February 1, May ©2009 Film Score Monthly 1 FSM Box 04 • The Miklos´ Rozsa´ Treasury • Supplemental Liner Notes 8 and July 3, 1951, so perhaps the schedule conflicted Vol. 7, No. 9. Those wishing to hear this music in with Quo Vadis or Rozsa´ departed the assignment for stereo should check out Intrada’s 1995 re-recording some other reason. This is the only time where a paper conducted by Bruce Broughton (MAF 7056D). Pre- trail links Rozsa´ to a film ultimately scored by another recordings made on August 11 and 14, 1952. Score recorded composer (see The Sheepman, below, however). December 18, 19 and 22, 1952. Quo Vadis (1951) Rozsa’s´ first epic at M-G-M is Rogue’s March (1953) Like Desperate Search, the most problematic for CD presentation, as the mu- Rogue’s March was another “B” picture (about the sic masters were tragically destroyed by a fire. Disc British military in 1890s India) given a library score 3 of this box set features a comprehensive reconstruc- from past M-G-M cues, here compiled by Al Colombo. tion including sound effects, while disc 4 features the The single Rozsa´ cue, from Command Decision, is in- soundtrack album originally released on sets of 45rpm cluded on disc 11.
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  • The Automobile and Communication in Twentieth-Century American Literature and Film

    The Automobile and Communication in Twentieth-Century American Literature and Film

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Illinois Digital Environment for Access to Learning and Scholarship Repository MOTORCARS AND MAGIC HIGHWAYS: THE AUTOMOBILE AND COMMUNICATION IN TWENTIETH-CENTURY AMERICAN LITERATURE AND FILM BY JASON VREDENBURG DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English with a minor in Cinema Studies in the Graduate College of the University of Illinois at Urbana-Champaign, 2013 Urbana, Illinois Doctoral Committee Professor Gordon Hutner, Chair Professor Dale Bauer Professor John Timberman Newcomb Associate Professor José B. Capino ii ABSTRACT Motorcars and Magic Highways examines the nexus between transportation and communication in the development of the automobile across the twentieth century. While early responses to the automobile emphasized its democratizing and liberating potential, the gradual integration of the automobile with communications technologies and networks over the twentieth century helped to organize and regulate automobile use in ways that would advance state and corporate interests. Where the telegraph had separated transportation and communication in the nineteenth century, the automobile’s development reintegrates these functions through developments like the two-way radio, car phones, and community wireless networks. As I demonstrate through a cultural study of literature and film, these new communications technologies contributed to the standardization and regulation of American auto-mobility. Throughout this process, however, authors and filmmakers continued to turn to the automobile as a vehicle of social critique and resistance. Chapter one, “Off the Rails: Potentials of Automobility in Edith Wharton, Theodore Dreiser, and Sinclair Lewis,” establishes the transformative potential that early users saw in the automobile.