THE MUSIC BUFFS WEB PAGES

         FILM MUSIC REVIEW - The Web Magazine

  Compilation Reviews (July - December 2002)

The reviews are arranged by month and in alphabetical order.  

Also, there is usually one compilation that is singled out as "Editor's Choice - Best of the Month."  

Scroll down the page to read the reviews.  

If you have any comments or questions, write to:

 Film Music Review

Please keep FMR up and running by ordering a copy of A Guide to Film Music or order something from Amazon.com (see Bookshelf Search below)

Scroll down this page to read all the CD reviews.  

To find other web sites about film composers,  magazines, soundtracks and record labels, go to:

 Links

Help Support FILM MUSIC REVIEW.

Order Your Copy Now, While Supply Lasts!

A Guide to Film Music - Songs and Scores (2nd revised edition, PineTree Press, 2002)

This expanded and updated guide was written by film music historian Roger Hall.

It has a wealth of useful information:

*A timeline of film music highlights from 1926 to 2001

*A chapter on suggestions for listening to film music

*A complete list of Academy Award film music from 1934 to 2000

*A complete list of the Sammy Movie Music Awards from 1988 to 2001

*Top100 Scores of the 20th Century

*Comments on Film Music:  Interviews with two classical composers (Aaron Copland and Virgil Thomson); The Composer as Commentator (Bernard Herrmann,  David Raksin, Dimitri Tiomkin); The Composer as Critic (Elmer Bernstein); The Film Lyricist and Songwriter (Sammy Cahn and Henry Mancini); The Movie Critic and Historian (David Thomson and Tony Thomas).

*An extensive bibliography and discography.

Throughout the guide are many illustrations of composer autographs, including:

Johnny Green, Bernard Herrmann, Alex North, Miklos Rozsa,  Max Steiner , Dimitri Tiomkin, John Williams and others.

There are also songwriter autographs as well, such as:

Harold Arlen, Sammy Cahn, George & Ira Gershwin, Henry Mancini, Johnny Mercer, Jay Livingston, and Harry Warren.

The title page of the guide has a rare score page from the end credits of E.T.,  boldly signed by John Williams.

There is also an accompanying CD-R or Tape available titled: "Listener's Guide to Film Music."  

This film music guide is a limited edition and will be numbered and signed by the author.

A  Guide to Film Music was announced in the March/April 2002 issue of Film Score Monthly.

In a letter to the author, the distinguished film composer Elmer Bernstein has written the following:

"I do feel your book is done in a most interesting way.  It affords a quick overview of what has not become a very, very broad field.  Congratulations!"

To order your limited edition signed copy  of A Guide to Film Music now,  go to:

 Music Titles from PineTree Press

Bookshelf Search

Help support FILM MUSIC REVIEW.

Buy your Books, CDs, DVDs or Videos at Amazon.com here:

Review Rundown::

The titles have been chosen to cover a broad range of new commercial, promotional and vintage soundtracks.  No bootleg CDs are reviewed. The comments and ratings are based on the whole CD package - recorded music, booklet notes and art design.   

Ratings:

*****   (Superlative - Highest Recommendation)

****1/2 (Outstanding - Highly Recommended) 

 ****     (Exceptional - Especially Worthwhile)  

  ***1/2 (Very Good - Better Than Average)

  ***      (Good - Okay)

   **1/2  (Fair - Nothing Special)

   **      (Mediocre - Barely Passable)

     *      (Poor - Save Your Money)

Each month several soundtracks are selected for Best of the Month and/or Recording of Special Merit.  These soundtracks are chosen on the date of the review, and not necessarily at the end of the month, and are those felt worthy of exceptional merit.

Some selected soundtracks have these headings above them:

Editor's Choice - Best of the Month

CD Release of Special Merit

For previous compilation reviews in 2002, see

CD Reviews (Compilations, January - June)

CD Reviews: September-November 2002

Adolph Deutsch: THE MALTESE FALCON and other classic film scores 1941-1944 (Marco Polo) - ****1/2 [Editor's Choice - September]

ALEXANDER'S RAGTIME BAND (Songs by Irving Berlin/Musical Direction by Alfred Newman)(Screen Archives Entertainment) - ****1/2 [Editor's Choice - December]

8 FEMMES (Songs and Score by Krishna Levy) - Fidelite Productions/WEA Music France - **

The Fantasy Album (2 CDs)(Silva) - ****1/2 [Editor's Choice - October]

Max Steiner: The RKO Years, 1929-1936  (BYU FMA) - ****1/2 [Editor's Choice - November]

Music For The Movies Of Clint Eastwood (Warner Sunset) - ***1/2

Paramount Pictures 90th Anniversary: Memorable Scores (Sony Classical) - **1/2

Things to Come: Original Film Music Themes 1935-1947 (Naxos) - ***

Editor's Choice - Best of the Month, September

Adolph Deutsch:  THE MALTESE FALCON and other classic film scores 1941-1944

41 Tracks (75:51)

Film Scores: THE MALTESE FALCON (tracks 1-8 = 13:47); GEORGE WASHINGTON SLEPT HERE (tracks 9-14 = 11:19); THE MASK OF DIMITRIOS (tracks 15-26 = 16:10); HIGH SIERRA (tracks 27-31 = 13:17); NORTHERN PURSUIT (tracks 32-41 = 21:11)

Moscow Symphony Orchestra, William Stromberg, conductor.  Score restorations and music notes by John Morgan. Recording engineers & editors:  Edvard Shakhnazarian and Vitaly Ivanov. Notes: Rudy Behlmer

Recorded at Mosfilm Studios, Moscow, Russia, September 2000

Marco Polo 8.225169

Rating: ****1/2 

Morgan and Stromberg have done it again!  They have given us yet another outstanding collection of vintage scores by one of Hollywood's best during the Golden Age.  This score restorer and conductor just keep turning out treasures from Hollywood's golden past.  The fabulous Classic Film Music Series has already included such well known composers as: Bernard Herrmann, Erich Wolfgang Korngold, Alfred Newman, Max Steiner,  and Victor Young (for more information see review below for Paramount Pictures 90th Anniversary).  Also included have been such lesser known composers as Hans J. Salter, Paul Dessau and Roy Webb. 

Now Morgan and Stromberg have turned their attention to Adolph Deutsch (1897-1980).  He may not be as well known as the other composers of Hollywood's Golden Age.  But Deutsch was a major player in the films of the 1930's and '40s.  The most famous of the five Warner Bros. scores on the CD are from two Humphrey Bogart films:  THE MALTESE FALCON and HIGH SIERRA. The other three films are also memorable and each one demonstrates Deutsch's uncanny ability to provide just the right score for any occasion.  His orchestrators (Arthur Lange, Charles Maxwell, and Jerome Moross) are also given the credit they deserve.  John Morgan also points out they were influenced by him.  For example, the classic western score THE BIG COUNTY by Moross shows some similarity to Deutsch's NORTHERN PURSUIT.

It's common knowledge that THE MALTESE FALCON from 1941 made Bogart a star.  It should have done the same for Deutsch but it didn't.  As Rudy Behlmer writes in his CD notes: "Adolph Deutsch was assigned the film and created a subtle and properly mysterious score that was devoid of bombast...his FALCON theme sets the mood perfectly."  The eight tracks not only include the Main Title (opening with the famous Warner Bros. fanfare by Max Steiner) but also the End Title and End Cast music.  Now we have the evidence of Deutsch's supportive scoring of this classic crime drama.  

The next film on the CD is an enjoyable comedy from 1942 starring Jack Benny, and Warner Bros beauty, Ann Sheridan. GEORGE WASHINGTON SLEPT HERE features a very clever score by Deutsch in which he includes a number of themes representing Washington, even though not all of them are from the 18th century.  As John Morgan writes, Deutsch's comedic talent was "in the style of Carl Stalling and those wonderful Warner Bros. cartoon scores...Filled with musical quotations, 'Wa-Wa' brass, trilling woodwinds, and ingenuous 'mickey-mousing' this music is a delight from beginning to end."  Morgan also reprints the cute lyrics for the opening Main Title song that was to be sung by a chorus, but left out because of shortened credits.  For sake of reference, Behlmer has correctly named the various popular songs used in the film, including "Yankee Doodle" and "The Liberty Song."  That's very good detective work on his part.  

THE MASK OF DIMITRIOS has the longest suite on the CD.  While the film is well scored, the music is more complex than the others.  Morgan classifies this score as "sort of a 'musical' sequel to Deutsch's THE MALTESE FALCON and shares many musical similarities in orchestration, mood and harmonic language." While that is true, it doesn't make it any easier to grasp.  As Behlmer quotes Deutsch from 1944: "Good film music becomes an integral part of the film play and is intended to intensify all of the aural and visual elements of the medium...Atmospheric, or mood music, much harder to write effectively, are barely noticed and rarely remembered."  That statement applies especially to this score.  But it's still a worthwhile addition to this CD.  

The other Bogart film from 1941, HIGH SIERRA, opens with the Steiner fanfare and immediately moves into the Main Title which nicely sets the stage for this exciting chase film, shot on location in the Lone Pine mountains and other areas in California.  For this score - to quote from Behler again - "Deutsch definitely favored melody, syncopation and simple atmospherics, in addition to some heavier accents, for his score...And it all makes for a memorable listening experience." I'd agree.  Deutsch has written a much sunnier score for this film.  In fact, it stands in direct contrast to the darker scores for MALTESE FALCON and MASK OF DIMITRIOS.  

The final suite is from an Errol Flynn film, NORTHER PURSUIT, from 1943.  As in GEORGE WASHINGTON SLEPT HERE, Deutsch uses music specific to the film's story.  Since the film takes place in Canada during World War II, he chose a majestic Canadian national song, "Maple Leaf Forever," which is heard just after the Main Title (track 32). The brass players of the Moscow Symphony Orchestra do an especially admirable job on cues like "Gun Battle" and The Big Battle" (tracks 39-40).  This memorable suite includes the original ending not included in the film, with the famous four note motif from Beethoven's Fifth Symphony symbolizing V for Victory.  This suite is one of the highpoints of the entire CD.  

As usual, credit for the superior playing of the Moscow Symphony Orchestra must go to conductor William T. Stromberg.  He has expertly molded this top notch Russian orchestra to match these scores restored so carefully by John Morgan, who is also a composer.

The CD booklet is filled with fascinating background about the films and the scores.  Besides Rudy Behlmer's well researched notes, there are very helpful music notes by John Morgan, a few score illustrations, and a number of well placed film photos.  Special kudos to Scott MacQueen and Ron Haines for their tasteful art design of this CD booklet.  

Even if you've never heard of Adolph Deutsch, this CD should provide ample proof why he was another of the major Golden Age masters who could compose highly polished scores for any story or locale.

Needless to say, this is an essential release and belongs in any library of vintage scores.

It's another gem in the crown of jewels in this Classic Film Music Series.

Highly recommended.

--Roger Hall, 18 September 2002

Editor's Choice - Best of the Month, December

ALEXANDER'S RAGTIME BAND (1938)

48 Tracks

Songs by Irving Berlin.  Musical Direction by Alfred Newman.  Vocal arrangements by Charles Henderson. Orchestrations by Edward Powell. CD Producers: Ray Faiola, Nick Redman, Craig Spaulding.  Film Notes: Michael Feinstein.  Audio Production:  Ray Faiola.  Design:  Leslie Guinn.

Sreen Archives Entertainment

Rating: ****1/2

Let me start off by saying it as directly as possible.  This is a milestone release of a great Hollywood musical!    

The original 1938 soundtrack of ALEXANDER'S RAGTIME BAND is especially welcome for several significant firsts.  As Michael Feinstein writes in his excellent notes:  "The film holds the unique distinction of being the first chronoligical musical survey of the catalogue of a single songwriter, enriched by three new songs."  One of these new songs, "Now It Can Be Told" was nomiated for an Oscar. Another distinction is for Alfred Newman, who received the first of his nine Oscars for his musical direction of this musical extravaganza.  Also, the songwriter (Irving Berlin) was also the first songwriter to be also Oscar nominated for his "Original Story." And finally, the film itself was the first major musical from 20th Century Fox to be nominated for Best Picture.  The film starred Tyrone Power, Alice Faye, Don Ameche, Ethel Merman and Jack Haley.

But naturally it's the music that matters most for soundtrack collectors.  So let's look at what we have on this CD.

This soundtrack is divided up into eight main headings:  The Formative Years (tracks 1-8); Now It Can Be Told (tracks 9-12); Success for Stella (tracks 13-16); Alexander's Wartime Band (tracks 17-21); Post-War Arrangements (tracks 22-27); European Skyrocket/ Stella's Spiral (tracks 20-34); Carnegie Hall (tracks 35-45); Exit Music (tracks 46-48). Within these headings are many of Berlin's greatest early songs, such as the cleverly racy song, "Everybody's Doin' It Now" (track 8), and zippy "When the Midnight Choo Choo Leaves for Alabam" (track 15).  There are also the great songs from World War I, like "It's Your Country" (track 17) and the classic - "Oh, How I Hate To Get Up In The Morning" (sung by Jack Haley and chorus)(track 19).  The following heading continues with such Berlin standards as: "Say It With Music" (track 22); "A Pretty Girl Is Like A Melody" (track 23); "Lazy" (track 24); and "Blue Skies" (tracks 26-27 - in wonderful jazzy arrangements sung by Brodayway belter, Ethel Merman, and Hollywood blonde heartthrob, Alice Faye).  Both these singers provide a good contast - on one hand the bold and brassy Merman, and on the other the quieter ballad singing style of Faye. 

These contrasts are amply demonstrated under the next heading (tracks 28-34).  For example, track 32 features two songs:  "Everybody Step" (sung in loud snappy fashion by Merman) and "All Alone" (sung as a soft love ballad by Faye). Merman continues to shine with the next upbeat song, "Marching Along With Time."  

The heading marked "Carnegie Hall" begins with "Orchestra Tunes Up" (track 35).  That leads into a great swinging arrangement of Berlin's hit song, "Marie."   Following that are more Berlin songs, a few sung like "Slumming on Park Avenue" (track 37 - sung by Merman), and "Some Sunny Day" (track 39 - sung by Don Ameche).    

Many of the purely orchestral tracks are just as worthwhile to hear led by 20th Century Fox music master, Alfred Newman.  Feinstein even mentions that Tyrone Power conducts in the film just like Newman, "so it's quite obvious who was his coach for this performance!"  That's surely no coincidence!

The sound quality of the CD is simply amazing considering its age after so many years of storage.  Ray Faiola deserves high praise for restoring this original 1938 soundtrack to allow us to hear it again in its full brilliance.  This includes the last three tracks ("Exit Music") which features three rousing renditions of Berlin songs: "Remember"; "Let Yourself Go"; and "Top Hat, White Tie and Tails."  These tracks give ample proof of Newman's skill as a master conductor, in addition to his great film composing abilities.

The colorful CD booklet includes many film stills and notes by Feinstein ("Irving Berlin, Alexander and the Fox Music Department" - a must read!), Producer's Notes by Ray Faiola, and "Alexander's Ragtimne Band - The Story in Music" (also by Feinstein?).  The booklet design work is also outstanding, except for a few pages where text is printed over photos - a trendy style used on many soundtrack CDs that I really dislike.     

Anyone who is interested in hearing the skill and quality put into a vintage musical will want to get this excellent release.

Screen Archives Entertainment deserves to be supported for such a worthwhile release of a great Hollywood musical.

---Roger Hall, 16 December 2002

To order this soundtrack and see what else is available, go to:

www.screenarchives.com

8 FEMMES

21 Tracks (41:03)

Songs: "Papa t'es plus dans l'coup"; "Message personnel"; "A quoi sert de vivre libre"; "Mon amour mon ami"; "Pour ne pas vivre seul"; "Pile ou face"; "Toi jamais"; "Il n'y a pas d'amour heureux."

Original music composed and orchestrated by Krishna Levy.  Mixed by Didier Lize.  Music mixed at Studio Guillaume Tell. Artwork: Annie-Sophie Audoin.  Fidelite Productions/ WEA Music France.

Rhino 73836

Rating: **

There is an interesting idea here but it doesn't really work very well.  Take eight French actresses and give them songs to sing and make a murder mystery out of it.  Well if these actresses were also great singers it would have worked much better. The eight actresses are (in order of their songs on the soundtrack):  Ludivine Sagnier, Isabelle Huppert, Fanny Ardant, Virginie Ledoyen, Firmine Richard, Emmanuelle Beart, Catherine Deneuvre, and Danielle Darrieux.  Some of them make an effort to sing the lyrics (L. Sagnier).  A few do a mixture of speaking and singing (such as I. Huppert).  Still others choose to just speak the lyrics (like C. Deneuvre).   Strangely, the ones who do the speaking are usually the most convincing. The songs themselves are very medicore with nothing particularly memorable about any of them.  At least the lyrics are included in the CD booklet if you'd like to read them.  For those who might like English translations of the original French, there aren't any included with the lyrics.

The songs aren't especially memorable.  The first one is an upbeat oldies type rock song ("Papa t'es plus dans l'coup" - 1:31), sung in a overly cutesy-pie little girl voice by L. Sagnier.  The following song ("Message personnel" - 4:14) by I. Huppert is a combination of speaking and singing and comes off pretty well.  The next one ("A quoi sert de vivre libre" - 2:40) is sung by F. Ardant and is the best performance of the eight singing actresses, although her voice is still pretty weak.  The worst one is "Pile ou face" - 1:36), sung by E. Beart.  The song is beyond her range and she has no style at all.  At least the song is short.  Then we get the two best spoken interpretations by well respected actresses:  "Toi Jamais" (C. Denneuvre) and "Il n'y a pas d'amour heureux" (D. Darrieux).  Both convey the song lyrics with more feeling than any of  the others.  

The score itself by Levy is not terrible but also not very good.  A few of the cues are actually appealing.  For example, track 10 ("Themes 8 Femmes" - 3:53), begins nicely with a solo piano and then taken over by strings and woodwinds.   Another one is track 12 ("Confession de Suzon" - 2:31) which makes good use of subdued strings, but it did sound a lot like Bernard Herrmann - who is one of the best role models to follow.   The remaining tracks sound just like filler.  Most of the themes are soft and peaceful but don't seem to go anywhere and leave no impression of where they have been either.    

The CD booklet is quite well done, particularly the cover with the eight actresses from the film.  As mentioned before, all the song lyrics are given in their original French.  In fact, everything in the booklet is in French, without any English or German translations.  

I suppose this CD would be for diehard fans of French cinema who wish to have a souvenir of this film.

For me it was mostly a big snoozer.

--Roger Hall, 16 December 2002    

Editor's Choice - Best of the Month, October

The Fantasy Album

2 CDs

Disc One (15 Tracks = 71:43)

Disc Two (13 Tracks = 73:48)

Executive Producer: Reynold da Silva.  Producer: James Fitzpatrick.  Associate Producers: Rickie Clark and Mike Townsend.  Chief Digital Recording Engineer: John Luard Timperley. Assistant Engineer: Jan Holzner. Art Direction & Design: Sean Mowle.  Cover image: John Daniels.  

The City of Prague Philharmonic Orchestra, conducted by Nic Raine and Paul Bateman.  Orchestra recorded at Smecky Studios, Prague. Crouch End Festival Chorus (Choir master: David Temple).  Chorus recorded at Sony Music Studios, London.  CD 1/Track 14 - conducted by Kenneth Alwyn.  CD2/Track 12 - National Philharmonic Orchestra, conducted by Jerry Goldsmith.  

Silva America SSD 1142

Rating: ****1/2

The Silva label continues to produce outstanding compilations of film music with various themes such as: THE DISASTERS Move Music Album (1998); and SHAKESPEARE at the Movies (2001).  Obviously this compilation should appeal especially to those who don't already have the soundtracks.  

The first disc is divided up into recent fantasy scores (tracks 1-7) and "The Fantastic Film World of Ray Harryhausen" (tracks 8-14).  Included in the first group are HARRY POTTER AND THE SORCERER'S STONE: LORD OF THE RINGS; THE MUMMY; THE MUMMY RETURNS; CROUCHING TIGER, HIDDEN DRAGON; CONAN: THE BARBARIAN; and DRAGONHEART.  All of these themes are well performed by the City of Prague Philharmonic Orchestra, which has become almost like the old Hollywood movie studio orchestras.  I thought that "The Fellowship" (track 2, 5:52) was every bit as good as the original soundtrack from LOTR.  The same applies to the extended suite (track 6, 10:37) from CONAN with strong support from the dynamic Crouch End Festival Chorus, directed by David Temple.  I'm not much of a fan of  the bloated majesty in THE MUMMY and its sequel (tracks 3 and 4) but both excerpts are performed so well that they still make for enjoyable listening.  Surprisingly, CROUCHING TIGER (track 5, 5:07) is quite close to the original soundtrack except the solo cellist is not identified . One of my favorite fantasy scores of recent years is DRAGONHEART and the "Main Themes" suite  (track 7, 4:33), with lovely choral accompaniment, is very well done indeed.

The Harryhausen tracks feature music by the every inventive Bernard Herrmann, including THE SEVENTH VOYAGE OF SINBAD (Overture); MYSTERIOUS ISLAND (Prelude/The Balloon/Giant Bees/The Giant Crab); JASON AND THE ARGONAUTS (Prelude); and THE THREE WORLDS OF GULLIVER (Overture).  The other scores are by Jerome Moross (THE VALLEY OF GWANGI, track 12, 7:46); Miklos Rozsa (THE GOLDEN VOYAGE OF SINBAD, track 14, 4:50); and John Williams (THE WITCHES OF EASTWICK, track 15, 4:38).   These themes are available elsewhere but it's nice to have them all here on one CD.

On the second disc are scores I find less appealing but which fans should enjoy.  The tracks I especially dislike are the MAD MAX scores (tracks 8-9) which I find just too over the top.  But there are some rarer items on this disc too.  They include the Poledouris score to FLESH AND BLOOD ("End Titles" - track 2, 5:01); Goldsmith's magical LEGEND ("Faerie Dance/Reunited" - track 12, 7:12); and Rozsa's superb 1940 THIEF OF BAGDAD score ("Overture/ The Market of Basra" - track 11, 5:16).  In addition, there is an enjoyable trilogy of Danny Elfman music for Tim Buton films: BEETLEJUICE ("Main Theme" - track 4, 2:03); EDWARD SCISSORHANDS ("Main Title/ Ice Dance" - track 5, 5:30); and BATMAN (Suite - track 6, 12:57).  

The CD notes for each film give the cast and a brief synopsis of the story.  The art design by Sean Mowle is also well done, with the white owl in flight contrasted against the black ground. 

All in all this is another of the wonderful Silva compilations put together by industrious producer James Fitzpatrick.  He is to be congratulated for his outstanding work on this 2 disc set, as well as others he has done.

For fantasy film lovers everywhere, this is like a greatest hits collection.  The sound is terrific too, full and bright.  This two disc set is an outstanding value.  Well worth adding to your movie music collection.

--Roger Hall, 5 November 2002           

Editor's Choice - Best of the Month, November

Max Steiner: The RKO Years, 1929-1936

3 CD Set

Disc One  - 26 tracks (77:24)

Disc Two  - 23 tracks (63:08)

Disc Three - 23 tracks (73:11)

Producer:  James D'Arc for Brigham Young University.  CD Producer: Ray Faiola.  Executive Producer & Distributor: Craig Spaulding, Screen Archives Entertainment.  Disk Restoration & Transfer: Chris Lembesis. Music Notes: J.B. Kaufman.  Special Essay: Louise Steiner Elian. Design: Leslie Guinn.

Brigham Young University Film Music Archive FMA-MS110

Rating: ****1/2

Do you believe modern film scoring began with KING KONG?  Then you're wrong!

However it did begin with the composer of KONG - Max Steiner.  

Steiner is today justly credited as the first major film composer in Hollywood.  

As this marvelous 3-disc set illustrates, he was composing highly accomplished scores years before KING KONG.  He worked at RKO from 1929 until 1936.  Then he spent one year at Selznizk Studios and moved on to Warner Bros. for the rest of his career.  Altogether he received three Oscars: one at RKO for THE INFORMER (included on the 3-CD set), and two more at Warner Bros. for NOW, VOYAGER and SINCE YOU WENT AWAY.

Since this set is such a landmark release, the review will be a longer one than usual.

The first disc of the set has five films: CIMARRON (1931) (Main Title only); SYMPHONY OF SIX MILLION (1932)(9 tracks); BIRD OF PARADISE (1932)(6 tracks); SWEEPINGS (1933)(4 tracks); MORNING GLORY (1933) (4 tracks); OF HUMAN BONDAGE (1934)(2 tracks).   CIMARRON was important for RKO because it won the Best Picture Oscar of 1930-31.  It was also Steiner's first Hollywood score.  Only the Main Title (2:10) is heard but it already demonstrates his ability to write with a forceful brass fanfare opening.  Using a technique probably borrowed from his operatic heritage or also from his years in New York conducting Broadway shows, Steiner manages to quote three main themes in just over two minutes of the Main Title music.  Having themes assigned to different characters in the story is a technique Steiner used over and over again, most notably in his early classic score for KING KONG (which isn't included in this CD set). Fortunately, KONG has been released on an excellent 1999 Rhino/Turner original soundtrack CD, produced by Ray Faiola, who also did outstanding restoration work on this 3-CD set.    

Of the five films featured on disc one, the ones with the most tracks are also the best of this early group.  Both SYMPHONY OF SIX MILLION and BIRD OF PARADISE from 1932 illustrate Steiner's pioneering efforts to underscore using his own procedure.  Steiner's words are quoted in the CD booklet and he writes: "I like to term my method - facetiously, of course - the "Mickey Mouse" type; that is, I permit myself to be dominated by the story and the characters, and synchronize the music to them."  Often character themes or "leitmotifs" are variants of the central theme heard in the Main Title.  That's the case with SYMPHONY OF SIX MILLION and to a lesser extant with BIRD OF PARADISE, which begins with a dreamy tropical sound for the film's story of the love between a sailor and a native girl. The highlight of the latter score is "Swimming/Island of Love" (track 14, 10:23), a beautifully realized treatment of two different cues, using mainly the main theme music. Another highlight is the poignant finale, "Luana's Farewell/Finale" (track 16, 3:50).  Anyone who wants to know more about how film music began should listen carefully to these two scores. Both scores, one dramatic and the other romantic, were released just before KONG.  I believe these scores are the true beginning of film music scoring as we know it today.

It should be mentioned, as the booklet does, that Steiner's orchestrator was Bernhard Kaun.  I believe he was at least partly responsible for the success of Steiner's scores. Kaun was an expert orchestrator capable of translating Steiner's instructions into scores of great intensity and feeling.    

The second disc has music from two films:  LITTLE WOMEN (1933)(11 tracks) and THE LITTLE MINISTER (1934)(10 tracks).  These two scores are dripping with sweetness and sentimentality.  Once again Steiner shows his awareness of the film's time and story.  For example, there's the central theme for Josephine (played by Katharine Hepburn) in the Main Title.  Also included with the Main Title track are a Civil War march and a few bars of "Silent Night." All this music helps to set the time and tone of this popular Louisa May Alcott story. The second track has a series of familiar classical themes for "The Witches Curse" (3:10), which seem to almost comically harken back to the silent movie days. Like all major Golden Age film music masters, Steiner was intent on using the right period music in his scores.  There are also a number of dance tracks, such as "Polka Medley" (2:47) and "Waltz" (2:32). Steiner would put his knowledge to good use years later in his monumental score for GONE WITH THE WIND.

THE LITTLE MINISTER is my least favorite of the scores in the set.   It's not a bad score by any means.  I just think the score doesn't hold together as well as the others. That's not the fault of the orchestrator, who this time is Maurice de Packh. His orchestral treatment for the Main Title (track 12, 2:59) has a very fine series of Scotish tunes like "Loch Lomond" and "Comin' Through The Rye."  Following the tracks for this film, there are 2 bonus tracks.  The first one is a Steiner song, "'Twas Meant to Be" (track 22, 1:47).  This song has lyrics by Will Jason and Hal Burton.  But the song wasn't used and in the film Katherine Hepburn sings a traditional song instead.  The bonus track is from a playback disk recording in October 1934, with Albert Hay Malotte playing the song on piano.  Malotte is best known for his musical setting of "The Lord's Prayer," written a few years after this film was made.  The other bonus track, titled "Brave Little Women" (track 23, 3:17) is more interesting because it includes Steiner's own instructions to his musicians for two separate takes.  These versions are not the same as the version heard on the reference disk as reproduced on track 7.  It's fascinating to compare the different versions.   

The third disc has two of Steiner's best early scores.  The first one is his first Oscar nominated one for THE LOST PATROL (1934)(12 tracks).  The other one is his first Oscar-winning score for THE INFORMER (1935)(11 tracks). Having substantial excerpts from these two milestone scores make the CD set especially valuable.

Both these scores were for films directed by John Ford.  Steiner's music establishes the locale of these films in convincing fashion.  THE LOST PATROL takes place in the desert, with British soldiers being picked off by Arab snipers during World War I.  As the extremely informative CD notes point out, this film was not shot in the Mespotamian desert of the story but instead in the desert outside of Yuma, Arizona in the summer of 1933.  Originally Steiner was scheduled to compose only the Main and End Title music.  But because of his skill in writing for the film's action, the film's release was pushed back to allow Steiner and his team of assistants to complete an entire score.  The CD notes put this film in its right perspective by stating that "Steiner's music doesn't soften the starkness of [John] Ford's drama, but deepens and intensifies it.  THE LOST PATROL became the first purely dramatic score nomiated for an Academy Award."  And it should have won that first year!  The notes also mention the various special musical effects used by Steiner to accompany the bleek drama.  These include a harmonica playing "Smile, Smile, Smile"; an a 30-voice chorus singing "in cupped hands" (as Steiner described it) to portray the howling night desert winds (track 5).  Steiner also uses a theme he called "Arab 1" (track 7), which he would use again eight years later as the main theme for CASABLANCA.  After KONG, this is probably Steiner's best early score.

THE INFORMER is probably the more familiar of the two Ford films.  It is based on Liam Flaherty's story of Dublin, Ireland in 1922 and the moral dilemna of Irish patriot, Gypo Nolan - brilliantly played by Oscar-winning actor, Victor McLagen.  The opening Main Title (track 15, 2:53) is described in the CD notes as "a grim, relentless march representing Gypo, the informer."  While that's true, it's what Steiner does with that central theme that is so impressive.  The notes mention various ways Steiner uses this theme, such as for Gypo's girl in track 14 ("Katie on the Streets"), with an inversion of Gypo's theme before we hear Katie's (played by Margot Grahame) theme.  Not mentioned in the CD notes are the numerous musical quotes of what sounds like "Yankee Doodle" - perhaps to represent the British government leaders in Ireland, or the freedom fought for and won during the American Revolution.  Katie's theme is used in various orchestral colors as does Gypo's theme.  There are also themes for other characters like Gypo's sister, Mary (played by Heather Angel) on track 18; and a blind man (D'Arcy Corrigan) on track 16, who appears to represent Gypo's guilty conscience.  The finale ("Gypo Shot/Forgiveness") includes a snatch of music at the beginning which appears to come from his KONG score.  When Steiner composed THE INFORMER, his wife was Louise and she was a harpist.  As she describes it in the CD notes, it may explain why he featured that instrument in so many of his scores.  In her tribute to her late husband, Louise Steiner Elian also mentions a little known fact about THE INFORMER.  She writes: "Max asked me to choose a hymn for this climactic scene in the film.  The one you hear is the one I chose."  And it's a most appropriate way to end this wonderful CD set of Max Steiner at RKO.

The hefty CD booklet is filled with beautiful full color movie posters and photos of Steiner and his wife, Louise, and several of him conducitng the orchestra.  There's also a funny photo of Steiner conducting while both he and assistant director, Freddie Fleck, are laying fully clothed in a bathtub and Fleck is singing.  The CD design by Leslie Guinn is beautifully done and adds even more glow to this marvelous treasure box of early Steiner scores.    

Anyone who's interested in the early days of film should definitely get this excellent CD set.  

It's essential to any serious film music collection.   A landmark release. 

I highly recommend it.

--Roger Hall, 27 November 2002  

Music For The Movies Of Clint Eastwood

23 Tracks (78:20)

Executive Producer:  Bruce Ricker.  Coordinating Producer: Joel Cox. Music scoring mixer: Bobby Fernandez. Assistant engineer: Greg Dennen.  Music editing consultant: Donald Harris. Mastered by Keith Blake.  Liner Notes: Dave Kehr.

Warner Sunset/Warner Bros 9.48050-2

Rating: ***1/2

This is a handsome tribute to Clint Eastwood, an actor and director of uncommon distinction.  The CD is divided into two main sections.  The first thirteen tracks are devoted to themes which nicely highlight his career.  The next ten tracks are an original suite composed, orchestrated and condcuted by Lennie Niehaus titled: "Clint Eastwood: An American Filmmaker."  It was commissioned by the Museum of Modern Art for the PBS American Masters documentary, "Clint Eastwood: Out of the Shadows."  

The first section has most of the themes you would expect, beginning with the great Dimitri Tiomkin-Ned Washington song for the TV series, RAWHIDE (2:05).  There are also the familiar western themes from THE GOOD, THE BAD AND THE UGLY (Ennio Morricone - 2:40); THE OUTLAW JOSEY WALES (Jerry Fielding - 3:35); and PALE RIDER (Lennie Niehaus - 3:07).  To illustrate how versatile Clint Eastwood really is, there are seven tracks of his own music:  the very beautiful "Claudia's Theme" from UNFORGIVEN (3:41); "Big Fran's Baby" from A PERFECT WORLD (3:14); "Amanda's Theme" from TIGHTROPE (1:34); "Kate's Theme" from ABSOLUTE POWER (2:06); the lovely "Why Should I Care" from TRUE CRIME (2:40); "Espacio" from SPACE COWBOYS (2:02); and the "Doe Eyes" (Love Theme from THE BRIDGES OF MADISON COUNTY - 3:58).  Most of these Eastwood pieces are quite simple and understated, just like the actor himself.  They are a perfect reflection of Eastwood's laid back persona.

The suite by Eastwood's good friend and musical collaborator is also a reflection and a great tribute to the actor.  As Niehaus is quoted to have said: "I wanted to give my feeling of Clint's love for all types of music and his love of jazz in particular... basically it's a piece of music with ten different feelings, moods or whatever."  Then Dave Kehr goes on to explain in his notes: "The suite moves through moods of reflection, action, suspense and release; it incorporates elements of the classic Western themes of Dimitri Tiomkin and Miklos Rosza (huh?); as well as the eminently urban sounds of big band jazz." Lasting nearly forty minutes, this is a marvelous suite and is worth the price of the CD alone.

The CD foldout has a number of color photos of Eastwood, the helpful notes by Kehr and full track listings - which are unfortunately made hard to read on the dark background.  

This is an outstanding collection of themes from Eastwood films with the added bonus of a wonderful original suite by Niehaus.

A great tribute to one of today's favorite actors and especially recommended for the suite.

--Roger Hall, 18 September    

2 CDs

Disc One (21 Tracks = 73:57 )

Disc Two (22 Tracks = 73:52)

Rating: **1/2

To celebrate the 90th anniversary of one of the major Hollywood studios, a 2-CD set of over two hours of themes from movies from the 1940s to this year.  Unfortunately, there are very few titles from the early years.  But there are 42 films represented from 1944 to 2002 so that's quite a broad range of music.

The first CD begins with "Hymn to the Fallen" from SAVING PRIVATE RYAN.  Is there anyone who doesn't already have this superb John Williams theme?  It would have been more appropriate to place it within its 1990s slot on Disc 2. The remainding twenty tracks on Disc 1 have themes from 1944 to 1984. 

Only three films from the 1940s are included:  DOUBLE INDEMNITY and THE LOST WEEKEND (both Miklos Rozsa), and THE HEIRESS (Aaron Copland).  The 1950s are represented by even fewer scores:  SUNSET BOULEVARD (Franz Waxman) and THE TEN COMMANDMENTS (Elmer Bernstein).  Moving on to the 1960s, there are four scores represented: BREAKFAST AT TIFFANY'S (Mancini); ROSEMARY'S BABY (Komeda - a great addition to this collection); ROMEO & JULIET (Rota); ONCE UPON A TIME IN THE WEST (Morricone).

But where is Victor Young's music?  He composed hundreds of scores while on the staff at Paramount Pictures.  Just to give some evidence of his prolific output, here's a rundown:

Young received 22 Oscar nominations, among them were these film scores:  THE DARK COMMAND (1940); FOR WHOM THE BELL TOLLS (1943); LOVE LETTERS (1945); and SAMSON AND DELILAH (1949).  He received only one Oscar for AROUND THE WORLD IN EIGHTY DAYS. Unfortunately, it was awarded posthumously, since he had died in 1956.

During his twenty year career from the 1930s to '50s, he composed over 350 film scores, almost all of them for Paramount Pictures.  And he wrote for all kinds of films - comedies, musicals, dramas and westerns.  Among his early scores were three for Hopalong Cassidy westerns, starring William Boyd - see Cowboy Song Corral

These are a few CDs I would recommend of Victor Young's film scores:

AROUND THE WORLD IN EIGHTY DAYS.  Music Composed and Conducted by Victor Young.  MCA Records MCAD-31134.  His last score and one of his greatest achievements. A world of tuneful delights.

The Classic Film Music of VICTOR YOUNG - Moscow Symphony Orchestra and Chorus, William T. Stromberg, conductor.  Digital World Premiere Recordings of  Prelude from THE GREATEST SHOW ON EARTH (orchestration by George Parrish); suite from THE UNINVITED (reconstruction by John Morgan); suite from GULLIVER'S TRAVELS (reconstruction by John Morgan); and suite from BRIGHT LEAF (orchestration by Leo Shuken and Sidney Cutter).  Marco Polo CD, 1998.  Chosen as Best of the Month for April 1999  

THE UNINVITED is available on another Marco Polo CD: MURDER AND MAYHEM

RIO GRANDE. Original Soundtrack recorded in 1950.  Conducted by Victor Young.

SHANE - A TRIBUTE TO VICTOR YOUNG .   New Zealand Symphony Orchestra, Richard Kaufman, conductor.  Includes suites from SHANE, FOR WHOM THE BELL TOLLS, SAMSON AND DELILAH, THE QUIET MAN, Tribute to Victor Young (arranged & orchestrated by Henry Mancini), and AROUND THE WORLD IN EIGHTY DAYS.  Koch Classics 3-7365-2 H1, 1996.  A wonderful collection, beautifully performed and recorded.

The second Paramount Pictures CD has music from 1985 to 2002.  The composers most represented are James Horner (3 scores) and Jerry Goldsmith (2 scores - including this year's THE SUM OF ALL FEARS).  This is the weakest of the two CDs with many familiar themes, such as Maurice Jarre's "Building the Barn" from WITNESS.   TITANIC again anyone?   You get the picture (no pun intended).

The cover sticker proclaims that these are "the most memorable movie scores of all time!"  I certainly wouldn't include such themes as the Main Title from THE ADDAMS FAMILY in that illustrious category.  

Sound quality is very good.  The notes by Burt Berman are very basic and inadequate for such a large collection.

If you're looking for a handy souvenir of movie themes then you might want to add this one to your collection.  Otherwise I'd skip it.

--Roger Hall, 18 September  

14 Tracks (60:23)

Films:  THINGS TO COME (tracks 1-6); DANGEROUS MOONLIGHT ("The Warsaw Concerto" - track 7); THE NIGHT HAS EYES (track 8); BAMBI (track 9); LOVE STORY ( "Cornish Rhapsody" - track 10); THE WAY TO THE STARS (track 11); WHILE I LIVE (tracks 12-13); SPELLBOUND ("Spellbound Concerto" - track 14).

Transfers and digital noise reduction by Peter Dempsey.  Notes by Peter Dempsey.

Naxos Nostalgia 8.120597

Rating: ***

If you are a fan of vintage British and American films then this release should be of particular interest.  This is not a high tech souped up CD in digital stereo.  Instead, these are the original themes recorded in mono during the 1930s and 1940s and carefully transferred by Peter Dempsey.  

The largest segment of the CD is devoted to the first British sci-fi film, THINGS TO COME, with music composed by Sir Arthur Bliss (1891-1975).  The six tracks were recorded for Decca between June 1935 and February 1936 by the London Symphony Orchestra, conducted by either Bliss or Muir Mathieson.  Some surface noise can be heard on these old recordings, such as on track 4 ("Melodrama - Pestilence").  But if you're a fan of this remarkable film based on a screenplay by H.G. Wells, you'll certainly remember the distinctive Bliss score which was a milestone in its day.

On track 7 is the so-called "Warsaw Concerto" by Richard Addinsell (1904-1977), as performed by acclaimed Hungarian pianist Louis Kentner with the London Symphony Orchestra, conducted by Mathieson.  This piece was performed in the 1941 film, DANGEROUS MOONLIGHT (Retitled: SUICIDE SQUADRON).  While the piano concerto  really isn't one in the traditional classical definition, it has remained extremely popular all these years.  That's probably due to its memorable main theme.  Sound on this track is not always so good but it's the original version.

There are also several other very popular themes included on this compilation CD.  One of them is "Cornish Rhapsody" by Hubert Bath (1883-1945) from the 1944 film, LOVE STORY (American title: A LADY SURRENDERS), performed by pianist Dame Harriet Cohen with the London Symphony Orchestra, conducted by Bath and recorded in February 1945.  Another familiar theme is "The Dream of Olwen" by Charles Williams (real name: Isaac Cozerbreit, 1893-1978) as featured in WHILE I LIVE from 1947.  This theme is on track 12 and performed by pianist Arthur Dulay with Williams and His Concert Orchestra.    

Out of the eight scores, two are from American films.  One is the Disney classic BAMBI from 1942.  There is a five minute plus sampling of music selections by Morey and Churchill, performed by Peter Yorke and His Concert Orceshtra and recorded in 1947.  The other one is another non-traditional classical piece - "Spellbound Concerto" by the great Miklos Rozsa from the Hitchcock classic, SPELLBOUND, in 1945.  It is performed by Queen's Hall Light Orchestra conducted by Charles Williams and recorded in June 1946.

Should you purchase this CD compilation?  That depends on how much you enjoy this type of highly romanticized film music.  I can remember many years ago hearing some of these themes as played by the 101 Strings. Very syrupy stuff!

The music on this compilation is not hard edged music and not all of it is especially memorable.  

As I wrote at the beginning, it's of particular interest if you're a fan of these films. The bargain price from Naxos is an added bonus.

--Roger Hall, 18 September 2002 

Return to:  FILM MUSIC REVIEW - The Web Magazine