FILM SCORE FRIDAY 8/13/04

David Raksin was born on August 4th, 1912 in Philadelphia, PA. His father, a clarinet player for the Philadelphia Orchestra, ran a music store and conducted the orchestra for silent films shown at the Metropolitan Opera House in Philadelphia, which inspired the young Raksin to pursue a career as a film composer in an era where composers tended to end up in the profession rather than seek it out.

Raksin studied the piano as a child, taught himself to play organ and percussion, and formed a dance band at the age of twelve, performing at private parties and earning his union card at age fifteen. After graduating from the University of Pennsylvania, where he studied composition while earning his tuition through his performing and conducted jazz music for school football games, he moved to New York and arranged for dance bands. Raksin's arrangement of Gershwin's "I Got Rhythm" was widely played and led to a publishing contract, thanks to a recommendation from Gershwin himself.

Arrangers Herbert Spencer (who would become John Williams' principal orchestrator for his great 70s and 80s scores) and Edward Powell recommended Raksin to Alfred Newman, who hired him to work with actor-writer-director-composer Charles Chaplin on the score for Modern Times. Chaplin would hum or whistle his melodies and Raksin would arrange them into the score, and though Raksin's youthful bluntness led to Chaplin firing him mere weeks into their relationship, Newman convinced Chaplin to rehire him. (Raksin appears as a bit character in Richard Attenborough's film Chaplin, played by Michael Blevins who had a major role in Attenborough's film of A Chorus Line).

Raksin contributed uncredited scoring for a large number of B-movies in the late 30s and early 40s, frequently in the thriller genre, and studied under the tutelage of Arnold Schoenberg, who was living in L.A. at the time. Despite its eventual classic status, his breakthrough film was not considered a major project by its studio, 20th Century Fox. Alfred Newman and Bernard Herrmann had both turned down the chance to write the score for Otto Preminger's romantic mystery, Laura -- Herrmann told Newman "Laura wouldn't listen to Herrmann, she'd listen to Debussy." Raksin had to persuade Preminger not to use the song "Sophisticated Lady" as Laura's theme, finding it inappropriate for the character, and Raksin was given a weekend to create a suitable new theme or else Preminger would use the song. Stuck for inspiration, Raksin read a letter from his wife, who was out of town dancing in a show, and realized that she was essentially telling him the marriage was over. The melody that Raksin's heartbreak inspired became one of the most beloved movie themes of all time, and after the film's release the studio decided to add lyrics to it. Raksin rejected the first submissions until Johnny Mercer wrote the words that would forever be associated with Raksin's melody.

Raksin worked steadily on films through the rest of the 40s and the 1950s, but despite his facility with melody, his sensibility was more modern than the Steiners and Tiomkins who were the dominant forces in film music at the time and his scores were often sparsely spotted, though his first Oscar nominated score, for 1947's Forever Amber, was a lengthy work dominated by a gorgeous main theme. He scored everything from romantic comedy (the Tracy-Hepburn vehicle Pat and Mike) to tragedy (Carrie), from noir (Force of Evil) to animation (James Thurber's The Unicorn in the Garden).

One of his classic scores was for the wonderful Hollywood melodrama The Bad and the Beautiful, and no less a talent than Stephen Sondheim proclaimed it one of the finest movie themes ever written. Raksin later reworked his music for the film Two Weeks in Another Town, a moviemaking drama which was not a sequel to Bad and the Beautiful but which reteamed star Kirk Douglas and several of the key behind-the-camera personnel, including director Vincente Minnelli. Like many in the movie industry, his life was affected by the hearings of the McCarthy era, and he later spoke candidly about his difficult decision to testify before the HUAC.

Raksin received his other Oscar nomination for the drama Separate Tables, which earned David Niven a Best Actor Oscar, but the experience was an unsatisfying one for the composer, as the filmmakers rejected Raksin's original version of the score and had him take a warmer, more conventional approach. Over his career he worked with an unusual variety of directors, from William Wyler (Carrie) to Nichols Ray (Bigger Than Life), from John Cassavetes (Too Late Blues) to Jerry Lewis (The Patsy). Like many of the major composers of the era (including Herrmann and Waxman), Raksin worked in TV as well as in features, writing episode scores for such programs as Wagon Train, G.E. Theater and Medical Center (the first episode), as well as the theme for the hit Ben Casey and the TV series versions of the films Father of the Bride and Five Fingers.

Like many of the Golden Age greats, Raksin found himself in less demand during the 60s and 70s, especially due to the growing influence of pop music on film scoring soundtrack production, but Raksin himself admitted that such songs were the appropriate choice for films like Easy Rider and American Graffiti -- just not for every movie. One of his final feature scores was a memorably harsh and unsettling score for the psychological horror film What's the Matter With Helen?, starring Debbie Reynolds and Shelley Winters. In 1983 he scored the acclaimed, controversial TV movie The Day After, about the aftermath of nuclear war in a Kansas town, but though director Nicholas Meyer was normally a great supporter of film music (his first feature was scored by Miklos Rozsa, and he gave important early opportunities to James Horner and Cliff Eidelman), ultimately much of Raksin's score was dialed out, and the final product was dominated by adaptations of Virgil Thomson's The River. His final score was for a 1989 TV movie Lady in the Corner, starring Loretta Young and Brian Keith.

Even when he wasn't scoring for the big and small screens he stayed creatively active, writing concert pieces as well as ballets and three stage musicals. He taught classes in film scoring at the University of Southern California from 1956 to 2003, taught "Urban Ecology" in USC's School of Public Administration from 1968 to 1989, and hosted a 64-part radio series, The Subject is Film Music. In 1975 he recorded an RCA album of suites from his classics Laura, Forever Amber, and The Bad and the Beautiful, and in the 1990s each of those scores received a CD release of the original score tracks. He compiled a series of essays entitled David Raksin Remembers His Colleagues: Hollywood Composers, which is available to order for members of The Film Music Society, of which he was a former President. In 1996, Ekay Music published a sheet music collection entitled The Timeless Melodies of David Raksin, with each piece preceded by an introduction from Raksin himself humorously discussing the genesis of each composition; the cover has the classic movie still of Dana Andrews looking at the portrait of Laura, with the photo doctored so that it is Raksin wearing the Fedora and trenchcoat, not Andrews. He also wrote an autobiography, If I Say So Myself, which is awaiting publication.

David Raksin died on August 9, 2004 at his home in Van Nuys, California after a brief illness. He is survived by his son, daughter, and three grandchildren.

The second edition of Tony Thomas' book Music For the Movies was an especially invaluable source of information for this article.

DR. RENAULT'S SECRET
THE UNDYING MONSTER
WHISPERING GHOSTS
CITY WITHOUT MEN
SOMETHING TO SHOUT ABOUT
TAMPICO
LAURA
Score CD on Fox Music, paired with Jane Eyre
WHERE DO WE GO FROM HERE?
DON JUAN QUILLIGAN
FALLEN ANGEL
SMOKY
THE SHOCKING MISS PILGRIM
THE HOMESTRETCH
THE SECRET LIFE OF WALTER MITTY
FOREVER AMBER
Score CD on Varese Sarabande; Oscar nominee Music - Scoring of a Dramatic or Comedy Picture
DAISY KENYON
FURY AT FURNACE CREEK
APARTMENT FOR PEGGY
FORCE OF EVIL
2:31 on the Rhino CD Murder is My Beat: Classic Film Noir Themes and Scenes
WHIRLPOOL
THE REFORMER AND THE REDHEAD
THE NEXT VOICE YOU HEAR...
A LADY WITHOUT PASSPORT
RIGHT CROSS
THE MAGNIFICENT YANKEE
Oscar finalist Music - Scoring of a Dramatic or Comedy Picture
KIND LADY
ACROSS THE WIDE MISSOURI
IT'S A BIG COUNTRY
THE GIRL IN WHITE
PAT AND MIKE
CARRIE
THE BAD AND THE BEAUTIFUL
Score CD on Rhino
LIFE WITH FATHER (TV)
APACHE
SUDDENLY
THE BIG COMBO
JUBAL
SEVEN WONDERS OF THE WORLD
Composed with Jerome Moross and Emil Newman; Oscar finalist Music - Scoring of a Dramatic or Comedy Picture
HILDA CRANE
BIGGER THAN LIFE
THE VINTAGE
MAN ON FIRE
G.E. THEATER (TV)
WAGON TRAIN (TV)
GUNSIGHT RIDGE
UNTIL THEY SAIL
TWILIGHT FOR THE GODS
SEPARATE TABLES
Oscar nominee Music - Scoring of a Dramatic or Comedy Picture
AL CAPONE
Oscar finalist Music - Scoring of a Dramatic or Comedy Picture
FIVE FINGERS (TV)
PAY OR DIE
TWO FACES WEST (TV)
BEN CASEY (TV)
FATHER OF THE BRIDE (TV)
TOO LATE BLUES
TWO WEEKS IN ANOTHER TOWN
3:12 on the Rhino CD The Lion's Roar: Classic MGM Film Scores 1935-1965
NIGHT TIDE
BREAKING POINT (TV)
THE PATSY
INVITATION TO A GUNFIGHTER
SYLVIA
Score LP on Mercury
THE REDEEMER
LOVE HAS MANY FACES
A BIG HAND FOR THE LITTLE LADY
WILL PENNY
Soundtrack LP on Dot
MEDICAL CENTER (TV)
THE OVER-THE-HILL GANG RIDES AGAIN (TV)
WHAT'S THE MATTER WITH HELEN?
GLASS HOUSES
THE GHOST OF FLIGHT 401 (TV)
THE SUICIDE'S WIFE (TV)
THE DAY AFTER (TV)
3:46 re-recorded for the Edel CD-set Highlander: Best of Fantasy
LADY IN THE CORNER (TV)

SUBJECT: David Raksin, R. I. P.
 
Goldsmith, Piccioni, and now, David Raksin. I never got to meet the first two (although I really tried with Goldsmith), but I got to know Mr. Raksin through several meet-ups and I must say, he was a true gentleman.

I used to write program notes for the American Cinematheque in Hollywood, and one weekend we showed Chaplin's MODERN TIMES. Mr. Raksin was to be in a Q&A afterwards, and before the screening I had a chance to meet him. I had seen his picture on the RCA LP of LAURA/FOREVER AMBER/THE BAD AND THE BEAUTIFUL and recognized him immediately as he walked into the lobby of the DGA where the screening was to be held. I was the first to greet him and tell him how much I appreciated his work. He was very friendly and happy to meet a fan (he also graciously signed my LP and CD booklet). After the Q&A he saw me as he was leaving and had some nice things to say about my program notes, which he had read in the green room before undergoing his grilling by the audience. He even said some nice things about the notes while onstage, which was good for my ego, to say the least!

For the next few years, I would occasionally run into Mr. Raksin at some film event, and he always remembered me, asked how things were going and what I was up to. Needless to say-another ego boost!

The best came at a Cinecon meeting one Labor Day here in LA at the Roosevelt Hotel in Hollywood. I was in the Cinegrill with a writer friend of mine of some renown, who had met and interviewed a number of movie notables (John Wayne, Cyd Charisse, Danny Elfman, etc.) for articles and books -- the latter of which has made me his LA researcher. We were waiting on a Q&A with Julius Epstein, one of the famous writing team known as "the Epstein Brothers," who had worked on CASABLANCA, among other classics. Suddenly, in walked David Raksin, who sat down at one of the barstools and appeared to be waiting patiently. I went over to see him, he greeted me warmly, and after a minute or so, I looked to see my friend looking a bit put-off by my conversation. I immediately introduced him to Mr. Raksin, they chatted, then my friend said to me: "I'm jealous."

Needless to say, that kept me in quite a good mood for the rest of the day.

I only saw the man once more after that, but I will never forget his kindness to a fan, his terrific work as a composer and his ability to acknowledge the public for making his "Laura" theme so popular.

I will miss him very much.

Slime? SLIME? They're rating for slime now? Did they have to cut some of the slime to keep from getting an R? Will the DVD boxed set of You Can't Do That On Television have to be released unrated?

Code 46 - The Free Association (inc. David Holmes) - Koch

Alien vs. Predator - Harald Kloser - Score CD due Aug. 31 from Varese Sarabande
Danny Deckchair - David Donaldson, Steve Roche , Janet Roddick
Gozu - Koji Endo
The Princess Diaries 2: Royal Engagement - John Debney - Song CD on Disney
We Don't Live Here Anymore - Michael Convertino
Yu-Gi-Oh! The Movie: Pyramid of Light - Elik Alvarez, John Angier, Joel Douek, Ralph Schuckett, Wayne Sharpe, Freddy Sheinfeld, Gil Talmi - Soundtrack CD on RCA

August 31
Alien vs. Predator - Harald Kloser - Varese Sarabande
Anacondas: The Hunt For the Blood Orchid - Nerida Tyson-Chew - Varese Sarabande
The Missouri Breaks - John Williams - Varese Sarabande
Paparazzi - Brian Tyler - Varese Sarabande
Tom Sawyer/Huckleberry Finn - Richard M. Sherman, Robert B. Sherman - Varese Sarabande
September 14
The Greatest Story Ever Told - Alfred Newman - Varese Sarabande
The Manchurian Candidate - Rachel Portman - Varese Sarabande
Date Unknown
The Adventures of Mark Twain - Max Steiner - Naxos
Bandolero! - Jerry Goldsmith - Intrada Special Collection
The Big Empty - Brian Tyler - La-La Land
The Brave Little Toaster - David Newman - Percepto
Cellular - John Ottman - La-La Land
Farscape: The Peacekeeper Wars - Guy Gross - La-La Land
Foxes of Harrow - David Buttolph - Screen Archives
Headhunter: Redemption/Headhunter - Richard Jacques - La-La Land
Hitman/Hitman 2 - Jesper Kyd - La-La Land
Killer Klowns From Outer Space - John Massari - Percepto
King of the Ants - Bobby Johnston - La-La Land
Marjorie Morningstar - Max Steiner - Screen Archives
The Reluctant Astronaut - Vic Mizzy - Percepto
Son of Fury - Alfred Newman - Screen Archives
Timeline - Jerry Goldsmith - Varese Sarabande
Vic Mizzy: Suites and Themes Vol. 2 - Vic Mizzy - Percepto

August 13 - John Cacavas born (1930)
August 13 - Jerry Goldsmith begins recording his score to Star Trek: Nemesis (2002)
August 13 - John Ottman begins recording score to Gothika (2003)
August 14 - James Horner born (1953)
August 14 - Oscar Levant died (1972)
August 15 - Jacques Ibert born (1890)
August 15 - Jimmy Webb born (1946)
August 15 - Ronald Stein died (1988)
August 16 - Miles Goodman died (1996)
August 18 - Igo Kantor born (1930)
August 18 - Robert Russell Bennett died (1981)
August 19 - Fumio Hayasaka born (1914)
August 19 - Herman Stein born (1915)
August 19 - Alexander Courage's score for the Star Trek episode "The Man Trap" is recorded (1966)
August 19 - Jerry Goldsmith begins recording his score to The Illustrated Man (1968)

BANG RAJAN - Chatchai Pongprapaphan

"Not for a second does Jitnukul lose control of his complex and captivating epic, dynamically photographed by Vichien Ruangvichayakul and scored with a bold eclectic flair by composer Chatchai Pongprapahan."

Kevin Thomas, Los Angeles Times

CODE 46 - The Free Association

"All this information threatens to slow down the story, but Mr. Winterbottom, working from a screenplay by his frequent collaborator Frank Cottrell Boyce, films it all with a logy elegance reflected in the alternately harsh and dreamy score by the Free Association."

A.O. Scott, New York Times

"Winterbottom's habitual fondness for the Scope screen serves him well in this beautifully conceived future world, with the work of two d.p.s, Alwin Kuchler and Marcel Zyskind, perfectly meshing, and there's appropriately teasing music from the Free Association."

David Stratton, Variety

COLLATERAL - James Newton Howard

"Editing is supple and imaginative, and the sound work, which combines James Newton Howard's score with source music, tunes of diverse origins and ambient noises, plays a very large role in sustaining the hypnotic mood."

Todd McCarthy, Variety

OPEN WATER - Graeme Revell

"Okay, that's not the deepest metaphysical construct of our day, but it's good enough, and throughout Kentis throws in some moments of lean, lyrical spiritualism (shots of shimmering water accompanied by sacred music)."

Sid Smith, Chicago Tribune

STANDER - The Free Association

"Production package is aces, stressing a country deep in the grime of its own corrupt racism. This is best expressed through bleached-color imagery with the aid of lenser Jess Hall, while pace is picked up by editor Robert Ivison and a jazz-rock score by the Free Association."

Robert Koehler, Variety

Reader Sean Nethery astutely noticed that in last Friday's column, I attributed the same critical quote about The Village to both A.O. Scott of the New York Times and Mick LaSalle of the San Francisco Chronicle. The quote was actually Scott's, and I have since corrected the column. I would like to apologize for this inexcusable sloppiness, and the other examples of this which crop up from time to time in my columns, and which the readers are kind enough not to harass me excessively over (like last Thursday's column, in which I original spelled "LETTERS" with three T's.):

"M. Night Shyamalan has nothing to say, but he's going to keep right on saying it until people make him stop. As a director, he has skill -- almost everything effective in 'The Village,' his new film, can be traced to his genuine ability to create tension through deft camera movement and meticulous use of a musical score. But as 'Signs' hinted and 'The Village' makes plain, Shyamalan should not rely on himself to write screenplays. This is bad, amateur work given a superficial veneer of professionalism."

Mick La Salle, San Francisco Chronicle

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