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Speaking of must buy - there are less than 125 copies left. 
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This is another one you're going to have to reissue for Christmas some years down the line, Bruce -- like you did for the Herrmann Christmas album. This one isn't a title that should be out of print!
Yavar
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CitizenJoe,
Please pardon me, but I can't help being curious: Why have you never bought a Kritzerland CD before? Do you have something against wonderful packaging of classic scores? I note that one of your favorite composers is Bernstein. I'd think, if nothing else, you'd have wanted to buy at least one of the many superb Elmer Bernstein albums Bruce has blessed us with. Or, did you mean Leonard Bernstein?
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RE: ALTERNATE CLARENCE CASTING
I totally agree that nobody could have bettered Henry Travers -- whom I, too, love in SHADOW OF A DOUBT, to say nothing of BELLS OF ST. MARY'S or THE INVISIBLE MAN -- but I'll bet Victor Moore would have been just as great a Clarence in his own way. And, now that you've got me thinking about it, one other excellent candidate springs to mind: Cecil Kellaway, who got an Oscar nomination for his angelic leprechaun in THE LUCK OF THE IRISH. And yes, people, I am indeed plugging another great Kritzerland soundtrack disc!
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I suppose I'm in the vast minority here, but I have never liked Victor Moore as an actor or funny person.
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Victor Moore may have been more effective as a stage performer. The kind of reactive behavior he excelled in probably worked better onstage; on film it seems more than a little exaggerated. (Although, to be honest, more than once I've found his whiny vocal tones irritating.) He appeared as the victimized Vice President in the original stage casts of George and Ira Gershwin musicals, "Of Thee I Sing," and its sequel, "Let Them Eat Cake," and gained a kind of fame playing a perpetually clueless, bumbling fool, and was able to make a career out of playing this type.
Typical performance for him is a skit in the MGM starfest, ZIEGFELD FOLLIES, called "Pay the Two Dollars," wherein he plays a man given an inexpensive ticket by the police, but who is convinced by his brother-in-law, Keenan Wynn, to fight it, and ends up in jail.
Never saw the humor is this overlong, overworked skit. But it shows the typical Moore mannerisms in a more concentrated fashion. (Although, I can't understand how such a skit would ever work in a stage production, either...) But then, ZIEGFELD FOLLIES has been more of an acquired taste, with inane episodes like this, interspersed by genuinely entertaining pieces like the Judy Garland "Interview" sequence, and the wildly designed "Limehouse Blues" number with Fred Astaire, not to mention the only filmed pairing of Astaire with Gene Kelly.
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Henry Travers and the other old fellow he cavorts with (I forget his name) are the *only* things I like about Hitchcock's Shadow of a Doubt. I never understood the praise for that film or what Hitchcock himself preferred it. I think it is clumsy and heavy handed (and the same goes for the Tiomkin score, frankly).
But every time Travers is on screen I'm enjoying the movie again.
Yavar
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Bruce, I'm curious to know your take on Leo McCarey's MAKE WAY FOR TOMORROW and Victor Moore's performance in it. I've never seen it myself, but have heard from many reliable sources that it's an outstanding film, and (I assume) it's very different from most shows featuring Moore in his typical comical guise. (I also assume Beaulah Bondi is great in it -- she's one of those can-do-no-wromg actresses, like Thelma Ritter.)
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I am SO glad I saw this announcement in time to snatch this up. This has been a long-time holy grail for me. It started with my love of the music in-film, and then once I heard the Telarc recording and discovered how much had been changed and was missing, I longed to hear the full score--preferably in its original recordings so we can see how it would've worked with the film. Now the dream is realized! I am so immensely grateful for the efforts of the people that have produced this. Can't wait to listen to it!
The timing was just right - and most, if not all, of the credit on this goes to Chris Malone, who just did an amazing job.
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