From the bloody reign of Ivan the Terrible through the Hollywood blacklist and into Arnold Schwarzenegger’s virtual vacation on Mars, this week’s “Lost in the Shuffle” will have you seeing RED.
THE BRAVE ONE (1956) – To the Bull Ring/March of the Bullfighters
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This seldom-seen film about a young Mexican boy who tries to save his pet bull from death at the hands of a celebrated matador is remembered today more for its political overtones than anything. The 1956 Oscar for Motion Picture Story was awarded to Robert Rich, who was listed as the writer on the film. Rich was actually a pseudonym for blacklisted writer Dalton Trumbo. The film’s producers denied the rumors that Trumbo was the writer and it was not acknowledged until several years later. Trumbo finally received his Oscar in 1975, though it took even longer for the official screen credit to be changed. Victor Young‘s Mexican-flavored score is pleasant enough but, like much of Young’s film work, isn’t terribly inspired. This cue features Young’s gift for melody with its rousing march.
TOTAL RECALL (1990) – For Old Times’ Sake
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No film composer combined synthesizers and other electronics with an acoustic orchestral palette with the same grace as Jerry Goldsmith. By the 1990′s, what more could he show us? Apparently quite a bit. His score for the sci-fi hit TOTAL RECALL has remained a fan favorite ever since it’s release. If you enjoy rhythmic, pulsating, heart-pounding acting cues, then this is the score for you. This isn’t my cup of tea per se, but much of the music is exciting. It almost makes me want to sit through this Arnold Schwarzenegger film…but not quite.
THE BRAVADOS (1958) – The Posse Rides
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This stark Western features the only score collaboration by two Golden Age greats–Alfred Newman and Hugo Friedhofer. You can hear stylistic hallmarks of both composers in each cue, and the differences between them is not as marked as it was between Newman and Bernard Herrmann on THE EGYPTIAN (1954). This cue features Newman’s rousing main theme, a memorable French horn minor-key march.
THE MIRACLE WORKER (1962) – Contact of Hands
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Nearly fifty years after it first appeared on Broadway, the tale of Helen Keller and her teacher Annie Sullivan is as timeless as ever. The poignancy of the tale and the top-notch acting by Patty Duke and Anne Bancroft (both of whom won Oscars) more than make up for the occasional staginess of the film. Laurence Rosenthal‘s emotional score underscores the drama with a delicate hand at times and never overplays its hand. This cue marks the first meeting between Helen and Annie. A harp gently plunks out the first notes of the main theme, followed by strings. The bassoon and strings romp, and the cue closes with motifs from the main theme in clarinet duet. The score was only released as a composer promo. I hope it’s eventually released commercially so that more film music fans can discover it.
IVAN THE TERRIBLE (1944) – Tartar Steppes
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I’m interested in all things Russian–history, literature, music. My screensaver is a picture of St. Basil’s Cathedral, and a map of Russia hangs over my desk to serve as inspiration for a visit someday. So it makes sense that I’d be drawn to Russian cinema as well. And cinema doesn’t get much more Russian than the works of director Sergei Eisenstein. The films themselves would be masterpieces on their own, but add the music of Sergei Prokofiev and even with only two films (which included ALEXANDER NEVSKY) you have a partnership that rivals later greats like Bernard Herrmann/Alfred Hitchcock and John Williams/Steven Spielberg. IVAN THE TERRIBLE. The film takes some getting used to with its mise en scene style of filmmaking and stylized acting. But stick with it and you’ll be rewarded with one of the masterpieces of film and film music. This cue is taken from PART I. Its reverent tone portrays Ivan as savior minutes before he destroys the Tartar stronghold at Kazan. If the tune sounds familiar, it’s because James Horner ripped it off for GLORY.
I don’t know why so many knock Victor Young with meaningless, received wisdom, nothings like “uninspired”. What does that mean? Not only was he a wonderful writer of melodies, but I find he was a fine craftsman of film composing. By craft, I am writing about the ability to make the music perform its very specifically cinematic (temporal cuts etc.), narrative functions in a way that does not reveal the careful planning and work, so that you experience it as “music”. I would love if you could show specific examples of “uninspired” work (that you could not find in any other professional composers work, one who did hundreds of films in twenty, some years).
Prokofiev was a wonderful composer of music, why, besides the “received” wisdom do you think he is SO special as a “film” composer. What are the specifically cinematic-music techniques he use that makes him such a great “film” composer?
Both of these questions are based on my lack of understanding what “film” music means, as differentiated from “music”. Perhaps you can enlighten me. What makes Prokofiev such a particularly great “film” composer, and Young simply “uninspired”? I can’t see it yet.
Hi Harry. Thanks for commenting. You bring up some interesting questions. Let me see if I can expand on my viewpoint.
I totally agree with you that Young had a gift for melody (which I state in the post). But I personally find most of his film music serviceable. Not bad per se, but it gives me the impression of a factory quality that perhaps was unavoidable with the studio system.
Let’s take his Oscar nominated scores (which mean nothing, I know, in the great scheme of things). Young was nominated for Original Score 16 times. Outside of FOR WHOM THE BELL TOLLS, SAMSON AND DELILAH, and AROUND THE WORLD IN 80 DAYS, I’d be hard pressed to remember most of the music from the other 13 films. Maybe some of his films didn’t allow him to stretch his compositional muscles. Or maybe I just don’t find the music all that appealing. I’m thrilled you’re able to experience them not only in the context of the film, but as pure music. I’d be interested in getting some suggestions of quality scores.
Why do I feel Prokofiev was such a great film composer? First, his films with Eisenstein are masterpieces. Even the long forgotten LIEUTENANT KIJE (with some other director I can’t remember) turned out an amazing orchestral suite. I also think there was a “muse” factor at work in which both director and composer were inspired by each other. Eisenstein even went back and recut certain scenes to fit the music. But mostly I feel Prokofiev’s music is simply more complex and emotionally richer. I’m sure if Prokofiev had been forced to compose numerous films like Young, he’d have had his share of uninspired work as well, especially with Stalin breathing down his neck. It certainly took its toll on Shostakovich’s film work.
I only compare these two composers because you asked my opinion. And my statements are not based on “meaningless, received wisdoms”. They’re based on those opinions and how the music of these composers affect me in the gut, much like your statements were as well. Others may feel differently and that’s perfectly okay. There’s plenty of film music to go around.
Thanks again for commenting. It’s rare I get to expound for four paragraphs. :)
Well, going back in your posts, I see that you have mentioned Young favorably enough (AW80D) that indeed, at least his melodies seem inspired to you. I have found that the film music fans (which actually tends to mean “sound track” collectors) seem to gather opinions from the group, and rarely have much of a functional theory of what film music might actually be and what its particular values are. For some reason Young, whom I regard as a wonderfully skilled composer, if not necessarily in my Pantheon, has been dismissed by the powers that be, but outside of Mervyn Cooke, the entire discussion has been on the infantile level of “I don’t like it, I just don’t like it”.
“… you’re able to experience them not only in the context of the film, but as pure music”
Well, no. I NEVER listen to film music, I only watch it. Film music heard without the accompanying images is not perceived as film music, but as music, which brings in a different set of functions and values. But I find that Young’s music fulfills the functions well, and sometimes has beautiful melodies to boot. For example, the scene in For Whom The Bell Tolls where Robert Jordan (Gary Cooper) first meets Maria (Ingrid Bergman)(a scene Melvin Cooke finds fault with). It is a long, long stretch of business, wall to wall underscore, emotions constantly changing and much dialog to be carefully underscored. It might ad up to something you would not want to put on your stereo, but with the film it ducks and dodges with grace and accuracy.
“Why do I feel Prokofiev was such a great film composer? … But mostly I feel Prokofiev’s music is simply more complex and emotionally richer.”
This whole statement is nothing but an opinion, and the last line is a comment on the music, not on how the music functions with the image/narrative. Prokofiev is a composer who has been “deemed” a great film composer. I’ll try and rephrase my question: what is it specifically, between the music and image, that you are valuing? What is the functional difference between great music, and great film score, if any? How does Prokofiev exhibit this?
In any case, I love to find people writing about film music because, as you can see, I am trying to work out these questions for myself. And you are digging in to the subject so heartily it makes me happy.
For me personally, I nearly ALWAYS listen to film music when I watch a film. It is such a big part of my life that I seldom can separate out that part of my brain that is constantly aware of the music and what it is doing. It’s not right or wrong. It just is.
When I listen to film music outside of the film, I think you’re right that it’s probably done so with a different set of ears and criteria. But unless I’m writing about a particular score, film music is my music of choice to listen to for enjoyment. Also, when the music is separated from the images and story, I can learn new things about a composer’s style, I can see what themes and other things he chose to focus on, etc. That doesn’t mean it’s right for everyone to do the same. Sometimes I don’t care for a particular film (or haven’t even seen it) but I thoroughly enjoy the music on its own. Let me explain with some Victor Young examples. (I thought of these while I was trying to fall asleep last night, but was too lazy to get up and reboot the computer at 4:00 in the morning. LOL)
THE LEFT HAND OF GOD – Much of the Chinese elements feel a little cliched to me, though they may work better in the film. But that love theme is a perfect example of his gift of melody. Heartbreaking and beautiful. I have no idea how it fits in the film and I’m not sure I care. I almost don’t want to see the film because then I’d have to match it to an image. At this point, I’d rather take the melody for what it is–a stunner.
THE QUIET MAN – One of his finest scores. And yet I find it works better as Irish atmosphere than dramatically in the film. Once again, his melodies are choice.
THREE COINS IN THE FOUNTAIN – As Louis Jordan and Maggie McNamara fly over Venice, Young gives us a soaring barcarolle. Here’s an instance where I think Young perfectly captures the magic of the city and McNamara’s thrill at arriving there, much like I think I would feel when/if I ever have a chance to visit. But I prefer to listen to the score on its own as highly enjoyable music rather than ever watch the film again, which I find to be nothing more than silly, pointless drivel.
Prokofiev… He may be “deemed” a great film composer, as you say. There are people who will agree (I’m one of them), and another group who feels differently. I don’t think it has to be one way or the other. I’m not going to take the word of one group over the other. I prefer to make up my mind on my own. Take my dislike of much of Bach, Beethoven, and Mozart. Do I appreciate them intellectually and what they did for music? Definitely. But their music generally doesn’t speak to me. (I’m shying away from the rotten vegetables and fruit being thrown at me through cyberspace.)
As for Prokofiev’s film music, take the battle on the ice from ALEXANDER NEVSKY. Whatever he captured musically, Eisenstein was impressed enough to recut parts of this to match particular moments in the music (if I remember correctly). For me, if you can ignore the wretched recording capabilities in 1938 Russia), it’s an exciting cue that not only matches the visuals to a “T,” it can be pulled out for a satisfying listen on its own. (not to be taken as a definition of “great”)
If you look at the cue I posted above from IVAN THE TERRIBLE, here’s a gorgeous hymn for a blood-thirty warmonger. And yet, knowing history, it’s difficult not to put a layer of irony on the scene as if Prokofiev was ridiculing Stalin (who very much approved of PART I’s vision of Ivan). Whether or not Prokofiev actually meant that is open to interpretation. If that’s my interpretation or fact ultimately doesn’t matter. It gives the music an extra layer for me that enriches the score and the film for me emotionally.
As I read back over these examples, I’m not even sure they answer your questions, Harry. (God knows, there’s no particular order to anything.) But I hope they illustrate my point that discussing film music isn’t a black-or-white proposition. Everything is open to interpretation and opinion. How it functions within the film is first priority when watched together. But even if it doesn’t succeed in that realm, there may be other elements worth discovering…or not. And sometimes the only way you can do that is separated from the film.
As for soundtrack collectors, God bless ‘em. I certainly have more than a touch of that myself. Without them and the money they spend, the land of purchasable film music may be far more fallow than it currently is.
No discussion of film music (or any music, for that matter) can be anything more than opinions. It’s not a science. There may be some perceived realities about what certain music does or does not do for a scene. But everything is open to our own personal interpretation as we watch and listen to a film. And sometimes it is as simple as “I don’t like it, I just don’t like it”.
“What is the functional difference between great music, and great film score, if any?” I don’t think there’s one answer. It’s all open to subjective interpretation. Perhaps that needs to be its own blog post.
I like what you said above about working out these questions for yourself. I don’t think it’s a process that ever stops, or shouldn’t. If it stops, then we stop learning and growing. As I’ve said in past posts (and to reiterate one last time what I’ve been trying to say above)–though they are based on years of study, research and education–my words are my opinion, nothing more or less. Whether or not they find validation with my readers is up to their own personal interpretation. What I try and do is not “give away the farm.” I try and pique a reader’s interest so that they’ll be be interested enough to search out more information for themselves, whether or not they agree with what I’ve written.
I think you’ve raised some very interesting questions that I doubt I can ever fully answer (nor should I). But don’t be surprised if you find the topics in further blog posts. Thanks for the inspiration. ;)
I’d certainly be interested in hearing what other readers thought about these as well.