THE PRESS, Christchurch Wednesday, February 2, 2011 WORLD B5 OBITUARY Composer hit right formula for 007 As a young man, Briton John Barry had a strong interest in music and film. He went on to write music for James Bond films including Goldfinger. ohn Barry did not get teens, at a time when jazz was the chance to see any popular. footage and had not After leaving school he Jread any of Ian played in a dance band and Fleming’s books when he was did his National Service as a called in to work on the music bandsman with the Green for the first James Bond film, Howards battalion in Egypt Dr. No (1962), for which and Cyprus. Monty Norman had originally Hedid a correspondence been commissioned to write course with the jazz composer the score. and arranger Bill Russo. By ‘‘I was just given a timing the time he left the army and and told that it was about this formed his own band, the Secret Service guy,’’ said John Barry Seven, musical Barry, who was already a fashions were moving on minor pop star, with a proven again, with the development appeal to the younger of rock and roll. generation. Barry was impressed and The resulting piece of influenced by Duane Eddy’s music became one of the most sound and his signature familiar themes in cinema twangy, echoing guitar. and also one of the most The John Barry Seven argued over. became regulars on the The official composer Saturday teatime pop show credit went to Norman Drumbeat (1959), with Barry though the music, as it is used on trumpet. in the film, has the distinctive Barry also wrote and mix of twangy guitar and arranged songs for Adam brass that was so Faith, and it was this Many accolades: British composer John Barry with his Fellowship award characteristic of Barry at that association which led to at the 2005 Baftas. He won five Oscars for his film music, but was never time. Barry first getting involved in Immensely popular: Sean Connery and Ursula Andress in the first James Bond film, Dr No. John Barry wrote the scores for a series of Bond films. nominated for his James Bond scores. Photo: REUTERS Arguments over films. Faith was cast in the authorship continued for film Beat Girl (1959), and the action. ‘‘I thought it was Barry collaborated with of the time was the wistful, run which never happened. underwater action. years and ended up in the Barry composed the music. [John Barry] had the silliest lyric I ever wrote,’’ several lyricists on the Bond rolling theme on harmonica He fared much better with He had his signature courts. A jury in the High He had his first Top 20 hit he said. theme songs, including Don from Midnight Cowboy (1969). Billy (1974-76), a West End motifs, but he was also very Court eventually returned a in 1960 with Hit and Miss, the this habit of Barry believed the entire Black – Thunderball (1965), Some of his best music, adaptation of Keith versatile. His smoky, unanimous verdict in theme for the popular BBC marrying women score was important, and the Diamonds are Forever (1971) however, was composed for Waterhouse’s Billy Liar,by seductive music contributes Norman’s favour, recognising show Juke Box Jury (1959-67). ‘ Goldfinger soundtrack topped and The Man with the Golden less familiar projects, Dick Clement and Ian La so much to establishing mood him as the composer of the It featured pizzicato strings and then the album charts in Britain Gun (1974) – and Hal David – including the haunting score Frenais, with Black writing in the neo-noir thriller Body work. The litigation served to alongside Vic Flick’s suddenly not and the US. We Have All the Time in the for the BBC Mafia drama the lyrics, and Michael Heat (1981). reflect how important the twanging guitar and was being married to On the back of Bond, World from On Her Majesty’s Vendetta (1966-68) and his Crawford originally in the Other films include Bond films had become. credited to the John Barry Barry’s career took off, and he Secret Service (1969) and equally compelling but more title role. Walkabout (1971), Robin and Over the next quarter of a Seven Plus Four (the them. But that composed music for Zulu Moonraker (1979). optimistic piece The Girl with Barry maintained his Marian (1976), Somewhere in century, Barry composed violinists). was just him. (1964), The Ipcress File (1965) – Occasionally Saltzman and the Sun in Her Hair (1968). It position as one of cinema’s Time (1980), The Cotton Club music for a series of James Other hits followed, a mix the first of the Harry Palmer Broccoli brought in should have been the theme top composers throughout the (1984), Howard the Duck Bond films. He perfected the of original compositions and Jeremy Clyde films, which presented a ‘‘outsiders’’, including Paul for some Oscar-winning 1970s and 1980s. His last two (1986), Chaplin (1992), Indecent formula for the big, ballsy cover versions, including singer much more downbeat version McCartney for Live and Let romance, but it was used for a Bond theme songs, for A View Proposal (1993) and Enigma theme song on the third Blueberry Hill (1960) and The of spying, with Michael Caine Die (1973). Sunsilk shampoo commercial. to a Kill (1985) and The Living (2001). His most notable instalment, Goldfinger (1964), Magnificent Seven (1961). He several pieces of music as the as Len Deighton’s everyman In the late 1960s and early It proved so popular that it Daylights (1987), were top ten television themes include The with the aid of lyricists Leslie also worked on another Adam main theme. The basic secret agent – The Knack 1970s Barry was regularly was released as a single. hits for Duran Duran and Persuaders! (1971). Bricusse and Anthony Faith film, Never Let Go (1960). melody of the eventual theme (1965), King Rat (1965) and the composing music for three or He had another go at a-ha. His melancholy, He was appointed OBE in Newley and singer Shirley No-one had any idea just appears to bear similarity to a Marlon Brando film The four major films each year. musical theatre, teaming up nostalgic scores contributed 1999 and won a Bafta Bassey. how successful the James piece of music written by Chase (1966). He won his first two with Alan Jay Lerner in 1971 significantly to the Oscar fellowship in 2005. He combined sweeping Bond films would become Norman for an unproduced Barry left his first wife for Oscars for Born Free in 1967, for a musical version of triumphs of Out of Africa and John Barry, OBE, was strings and aggressive brass, when production began on Dr stage musical, though the mix a Swedish woman, but that sharing the award for best Lolita, which had trial runs in Dances with Wolves, despite born on November 3, 1933. He fusing pop, jazz, cabaret and No early in 1962. of twanging guitar and brass relationship faltered too and song with Black. One of his Philadelphia and Boston occasional echoes of died on January 30, 2011, aged musical theatre in something It was shot on a tight was characteristic of Barry. he enjoyed the single life in best non-Bond compositions before an intended Broadway Thunderball’s epic 77. The Times akin to a mini-opera. His budget, though it was bigger Norman retained the London, often in the company monumental theme tunes and than Barry’s previous films. composer credit for the tune. of Caine and Terence Stamp. powerful scores became vital Monty Norman was a John Barry and his band He wrote his first stage elements in the classic James successful singer and recorded it – it was a Top 20 musical, Passion Flower Hotel Bond formula, matching the songwriter, who went out to hit in 1962 – and Barry’s (1965), with the lyricist Trevor scale of the drama on screen. the Jamaican locations and guitarist Vic Flick got £7 10 Peacock and the writer Wolf But although Barry is best came up with a score shillings for his services. Mankowitz. It was set in a known for Bond, he composed influenced by the local In 2001 Norman won a libel girls’ boarding school, which for more than 100 films and calypso and steel-drum sound. case against The Sunday the pupils turn into a brothel. television programmes. He The producers wanted a Times for an article which The cast included Pauline won five Oscars, but never piece of music that could falsely suggested that Barry Collins, Francesca Annis and even got a nomination for the serve as a signature theme had written it. Norman was the 18-year-old Jane Birkin, Bond films. across several movies. There awarded damages after who had had a tiny part in He won Academy Awards was talk of bringing in successfully arguing that the The Knack and would shortly for Best Music and Best Song someone of the calibre of article had damaged his become Barry’s second wife, for Born Free (1966), and for William Walton to do further reputation by suggesting that despite the marked gap in the music for The Lion in work, but the producers he had wrongly taken credit their ages. Winter (1968), Out of Africa Harry Saltzman and Cubby (and royalties) for the Bond The marriage lasted only a (1985) and Dances with Wolves Broccoli opted for Barry, who theme. few years. Barry would go (1990). was new and young, cheap Lionel Bart wrote the through a third marriage and Born John Barry and fashionable.