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OH MY GOD! I just backtimed the end of the DVD of A PLACE IN THE SUN to -1:39, then played the original finale with it (track 14 of the Kritzerland CD).
I mean, seriously, the original version of this ending cue is SO much more introspective, subtle, and heart-rending. How could they ever have decided to go with the rewritten finale, with its over-the-top, almost happy-ending/sappy-ending (including a syrupy version of the the "Vickers" theme).
The original ending works SO much better. The version in the film is typical Hollywood "slightly-happy ending music." The original version totally encompasses Clift's last moments in the cell, and speaks of the religious forgiveness and the tragedy of the whole siuation, with the ticking-clock melody when the clock is shown, and the bittersweet religious chords as Clift leaves his cell; then the build-up as he leaves the cell-block... then the relatively silent moment as he remembers Elizabeth Taylor, the forceful coda, then that embracingly-soft ending coda for the Paramount logo. What a magnificent, sadly unused, piece of music. Oh, it's just great.
Thanks Bruce for giving that to us. Really, that was one of the MOST revealing bits of film music history ever.
I still have to delve into the other cue changes, but at this time, even through that one cue, I have to say you've given me a new insight into this score. This score, in the past, has NOT been one of my favorite Waxman scores, but now, I have suddenly seen the genius behind it.
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Posted: |
Aug 1, 2013 - 9:43 PM
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By: |
PFK
(Member)
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OH MY GOD! I just backtimed the end of the DVD of A PLACE IN THE SUN to -1:39, then played the original finale with it (track 14 of the Kritzerland CD).
I mean, seriously, the original version of this ending cue is SO much more introspective, subtle, and heart-rending. How could they ever have decided to go with the rewritten finale, with its over-the-top, almost happy-ending/sappy-ending (including a syrupy version of the the "Vickers" theme).
The original ending works SO much better. The version in the film is typical Hollywood "slightly-happy ending music." The original version totally encompasses Clift's last moments in the cell, and speaks of the religious forgiveness and the tragedy of the whole siuation, with the ticking-clock melody when the clock is shown, and the bittersweet religious chords as Clift leaves his cell; then the build-up as he leaves the cell-block... then the relatively silent moment as he remembers Elizabeth Taylor, the forceful coda, then that embracingly-soft ending coda for the Paramount logo. What a magnificent, sadly unused, piece of music. Oh, it's just great.
Thanks Bruce for giving that to us. Really, that was one of the MOST revealing bits of film music history ever.
I still have to delve into the other cue changes, but at this time, even through that one cue, I have to say you've given me a new insight into this score. This score, in the past, has NOT been one of my favorite Waxman scores, but now, I have suddenly seen the genius behind it.
Didn't Waxman want his name taken off the film after his score was tampered with?
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By the way, sorry for using all those CAPITALIZED WORDS in my post. Geez, I sound like a 16-year-old girl, buy hey, I was excited.
As far as the composing/re-arranging credits for the revised cues, is it correct to assume the ones conducted by Young are the ones Young worked on (ditto for Amfitheatrof)?
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By the way, sorry for using all those CAPITALIZED WORDS in my post. Geez, I sound like a 16-year-old girl, buy hey, I was excited.
As far as the composing/re-arranging credits for the revised cues, is it correct to assume the ones conducted by Young are the ones Young worked on (ditto for Amfitheatrof)?
Exactly.
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Frank DeWald wrote the following regarding the film version of the “Main Title” heard in track 15:
Yes. It combines the original opening (conducted by Waxman) with the rescore of the first scene (conducted by Young). The changeover occurs in the film almost exactly where Waxman's credit appears. Track 1 is only the rescored portion.
The trailer also seems to showcase a few more seconds of Waxman’s original “Main Title” that were replaced by the rescored section in the film itself. Just before the line “Is your name George Eastman?” we can hear an extra few dramatic chords.
JamesSouthall wrote:
http://www.movie-wave.net/?p=3872
Great review, James! Thanks for sharing your thoughts.
Jim Doherty wrote:
OH MY GOD! I just backtimed the end of the DVD of A PLACE IN THE SUN to -1:39, then played the original finale with it (track 14 of the Kritzerland CD).
Good stuff, Jim, regarding the potency of “The Last Mile.” I love the lament of the tolling chimes and later that haunting lull timed to George's memory of an embrace with Angela.
Cheers
Chris
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SAE is offering A Place in the Sun again -- they must have found a few additional CDs.
What happens occasionally with SAE is - they sell to overseas dealers and sometimes those dealers reserve one number then ultimately take less or I've had dealers order and just stop communicating at all - so those copies become available. Can't imagine it would be all that many copies so grab it while you can.
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This is an excellent CD on all levels, the music on it sounds great, in most parts beyond believe.
I'm glad this recording could be restored for us collectors.
Thank you, Bruce.
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I'll never forgive A PLACE IN THE SUN for winning the Oscar that should have been awarded to QUO VADIS. But that didn't stop me from paying $50.00 on eBay for the new Kristerland release. Track 20, "Alice's Radio", alone made it worth the price. But, still, Rozsa was robbed. More than 60 years later, thanks to the mighty Lukas, we have both original scores on CD.
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I'll never forgive A PLACE IN THE SUN for winning the Oscar that should have been awarded to QUO VADIS. But that didn't stop me from paying $50.00 on eBay for the new Kristerland release. Track 20, "Alice's Radio", alone made it worth the price. But, still, Rozsa was robbed. More than 60 years later, thanks to the mighty Lukas, we have both original scores on CD.
If I am not wrong these editions were produced by Bruce Kimmel and James Fitzpatrick/Luc Van de Ven
I am wondering, why do you thank Lukas (I assume Kendall) for these releases?
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With Quo Vadis he's referring to the original tracks that were included in the Rozsa Treasury from FSM, not the Prometheus rerecording.
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With Quo Vadis he's referring to the original tracks that were included in the Rozsa Treasury from FSM, not the Prometheus rerecording.
I though that.
Thanks for the aclaration
If I am not wrong these editions were produced by Bruce Kimmel and James Fitzpatrick/Luc Van de Ven
I am wondering, why do you thank Lukas (I assume Kendall) for these releases?
'cause both Bruce & Lukas are Executive Album Producers on A PLACE IN THE SUN! 
OK and thanks. I have this new edition but it still sealed and I didn't know that Bruce and Lukas maintain a collaboration
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