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Posted: |
Oct 23, 2014 - 8:27 PM
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By: |
joan hue
(Member)
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Many of you already know Bernstein’s magnificent score to TO KILL A MOCKINGBIRD. Please add your perspectives to mine.
I have the Ava score and the Royal Scottish score. I will operate from track titles as they vary between discs.
While revisiting the score and the movie,I wanted to see if Bernstein scored this movie from the perspective of the children. The book is narrated by the child Scout. The novel’s brilliance is in this point of view. Both Jem’s and Scout’s perspectives show a naïve child-like innocence when viewing their lives, town, and the central drama. Like the novel the movie also views the world through their eyes. We adults, whether viewing or reading, see the tragedy of Tom Robinson and the racist town, which is MAGNIFIED for us because the children for so long, just don’t get what is happening. We would all like to keep our naïve innocence, but real life and adulthood impose some ugly realities.
Bernstein said he struggled a while with composing this score until he realized the point of view was Scout’s as a child. In the opening of the film, we hear a child humming, and then Bernstein introduces his melodic, winsome, and gorgeous theme along with the child’s humming. As I hear this theme in the film, which reoccurs often throughout the film, I felt it was a family theme. It’s an almost bucolic, idyllic theme that seems to show that all is well in this wonderful family of three, but real life will intrude.
In the ROLL THE TIRE track, kids are playing and having fun. Places in this thematic track show playfulness and some of Bernstein’s almost western signature rhythms. In one place, it sounds a bit like a barn dance until the tire rolls too closely to Boo’s house. Then the music sounds dangerous. Since the children have heard horror stories about Boo Radley, the music does seem to reflect THEIR perception. Bernstein composes an eerie rather scary theme for Boo at this point and in THE SEARCH FOR BOO track. At one point, when Jem sees the lurking shadow, the music is very menacing because the kids think it is Boo. Musically, we hear what Jem, Dill, and Scout think is an immediate threat to them. (Boo’s theme will change later on.)
I find it interesting that the director and Bernstein do not score anything for the rabid dog, but there is frightening music for the LYNCH MOB and for Bob Ewell. Maybe what is really terrifying in this story is humankind at our worst, not rabid animals.
JEM’S DISCOVERY was a NEW discovery for me. He finds a medal in the tree, and I heard in minor key a new theme for Boo that will later be fully develop with the words, “Hey Boo.” What a perfect idea from Bernstein. No more creepy Boo. I think Jem subconsciously understands who is leaving these treasures, so Boo gets a gentle theme on a piano
TREE TREASURES. The music is scary at first as Boo’s dad fills in the tree, but then a new gentle theme is introduced as Jem goes through his treasures. I was surprised that I didn’t hear Boo’s theme in this track or in the movie at this point.
Sad, almost hopeless music scores the verdict, but it is dignified music. “Miss Jean Louise, stand up. Your father’s passing.”
Buoyed by Bernstein’s main family theme, time passes after the tragedy. When the children are attacked, Bernstein composes exceptionally bloodcurdling music in FOOTSTEPS IN THE DARK and CHILDREN ATTACKED. Scout can see so little and is so scared that the music seems to reflect her own terror.
SCOUT AND BOO or BOO WHO? In this track, Boo’s theme is fully developed. I used to think it was a variation of the main theme, but it is not. When Scout says, “Hey Boo,” Bernstein’s violins swell as Boo is honored with a lovely, endearing (Kleenex-inducing) theme that seems to signify his own innocence and shy kindness. It plays gently on a piano one more time when Scout leads Boo out on to her porch. The family theme ends this magnificent movie.
In the Ava CD, there is a track called TO KILL A MOCKINGBIRD that is not on the other disc nor in the movie. The main theme is played fully with a choir and in waltz tempo. Anyone know why this occurs?
I do feel after several listenings and rewatching the movie that Bernstein, like Harper Lee did in her novel, scored a lot of this movie with music that reflects the perceptions of the children. It was an unforgettable, extraordinary undertaking that produced one of the most gorgeous, memorable scores ever composed.
One thing I really appreciated on my latest viewing is the amazing black and white cinematography in this movie.
I hope all of you will at some time read the book, see the movie, and listen to this score. People who call themselves Film Score Aficionados should know this score.
“Attention, attention must be paid,” to such a score.
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Many of you already know Bernstein’s magnificent score to TO KILL A MOCKINGBIRD. Please add your perspectives to mine.
I have the Ava score and the Royal Scottish score. I will operate from track titles as they vary between discs.
While revisiting the score and the movie,I wanted to see if Bernstein scored this movie from the perspective of the children. The book is narrated by the child Scout. The novel’s brilliance is in this point of view. Both Jem’s and Scout’s perspectives show a naïve child-like innocence when viewing their lives, town, and the central drama. Like the novel the movie also views the world through their eyes. We adults, whether viewing or reading, see the tragedy of Tom Robinson and the racist town, which is MAGNIFIED for us because the children for so long, just don’t get what is happening. We would all like to keep our naïve innocence, but real life and adulthood impose some ugly realities.
Bernstein said he struggled a while with composing this score until he realized the point of view was Scout’s as a child. In the opening of the film, we hear a child humming, and then Bernstein introduces his melodic, winsome, and gorgeous theme along with the child’s humming. As I hear this theme in the film, which reoccurs often throughout the film, I felt it was a family theme. It’s an almost bucolic, idyllic theme that seems to show that all is well in this wonderful family of three, but real life will intrude.
In the ROLL THE TIRE track, kids are playing and having fun. Places in this thematic track show playfulness and some of Bernstein’s almost western signature rhythms. In one place, it sounds a bit like a barn dance until the tire rolls too closely to Boo’s house. Then the music sounds dangerous. Since the children have heard horror stories about Boo Radley, the music does seem to reflect THEIR perception. Bernstein composes an eerie rather scary theme for Boo at this point and in THE SEARCH FOR BOO track. At one point, when Jem sees the lurking shadow, the music is very menacing because the kids think it is Boo. Musically, we hear what Jem, Dill, and Scout think is an immediate threat to them. (Boo’s theme will change later on.)
I find it interesting that the director and Bernstein do not score anything for the rabid dog, but there is frightening music for the LYNCH MOB and for Bob Ewell. Maybe what is really terrifying in this story is humankind at our worst, not rabid animals.
JEM’S DISCOVERY was a NEW discovery for me. He finds a medal in the tree, and I heard in minor key a new theme for Boo that will later be fully develop with the words, “Hey Boo.” What a perfect idea from Bernstein. No more creepy Boo. I think Jem subconsciously understands who is leaving these treasures, so Boo gets a gentle theme on a piano
TREE TREASURES. The music is scary at first as Boo’s dad fills in the tree, but then a new gentle theme is introduced as Jem goes through his treasures. I was surprised that I didn’t hear Boo’s theme in this track or in the movie at this point.
Sad, almost hopeless music scores the verdict, but it is dignified music. “Miss Jean Louise, stand up. Your father’s passing.”
Buoyed by Bernstein’s main family theme, time passes after the tragedy. When the children are attacked, Bernstein composes exceptionally bloodcurdling music in FOOTSTEPS IN THE DARK and CHILDREN ATTACKED. Scout can see so little and is so scared that the music seems to reflect her own terror.
SCOUT AND BOO or BOO WHO? In this track, Boo’s theme is fully developed. I used to think it was a variation of the main theme, but it is not. When Scout says, “Hey Boo,” Bernstein’s violins swell as Boo is honored with a lovely, endearing (Kleenex-inducing) theme that seems to signify his own innocence and shy kindness. It plays gently on a piano one more time when Scout leads Boo out on to her porch. The family theme ends this magnificent movie.
In the Ava CD, there is a track called TO KILL A MOCKINGBIRD that is not on the other disc nor in the movie. The main theme is played fully with a choir and in waltz tempo. Anyone know why this occurs?
I do feel after several listenings and rewatching the movie that Bernstein, like Harper Lee did in her novel, scored a lot of this movie with music that reflects the perceptions of the children. It was an unforgettable, extraordinary undertaking that produced one of the most gorgeous, memorable scores ever composed.
One thing I really appreciated on my latest viewing is the amazing black and white cinematography in this movie.
I hope all of you will at some time read the book, see the movie, and listen to this score. People who call themselves Film Score Aficionados should know this score.
“Attention, attention must be paid,” to such a score.
Pardon me for blowing my own horn here but I wrote a piano solo version of the theme which is contained in the Elmer Bernstein Collection published by Hal Leonard Music. I did it in 1999 with Elmer's cooperation. He let me use his orchestral sketch to work from and the finished product was approved by him personally.
I am very proud to be associated with this great piece of music.
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Yes, the FMC version (which was re-released by FSM) has a wonderfully intimate quality to it that I find missing rom the later re-recording that Elmer did. Personally, I think he got it right the first (and second) time he recorded the music, the first being for the film. The third time was fine, but in my mind it's third best.
As you said, the first time he recorded it was for the film. This wonderful original recording has sadly never been released, though Intrada tried recently (failing because some rights were held by another party they were unable to negotiate with). Then second he recorded the Ava LP version, also lovely, and thankfully recently released by Intrada from the original master tapes which sound incredible. The third time then is what I think you may be confused about, since you praise its "wonderfully intimate quality" but then call it third best -- this being the FMC version, which fortunately FSM put out in their first box set.
Then the fourth recording is the one I think you meant to refer to -- the 90s one he did for Varese. I agree with you that that one is clearly the least of the surprisingly many times Bernstein recorded this score. But with a score this good, I don't mind having four versions. 
Yavar
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Posted: |
Oct 24, 2014 - 11:54 PM
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By: |
Dana Wilcox
(Member)
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Yes, the FMC version (which was re-released by FSM) has a wonderfully intimate quality to it that I find missing rom the later re-recording that Elmer did. Personally, I think he got it right the first (and second) time he recorded the music, the first being for the film. The third time was fine, but in my mind it's third best.
As you said, the first time he recorded it was for the film. This wonderful original recording has sadly never been released, though Intrada tried recently (failing because some rights were held by another party they were unable to negotiate with). Then second he recorded the Ava LP version, also lovely, and thankfully recently released by Intrada from the original master tapes which sound incredible. The third time then is what I think you may be confused about, since you praise its "wonderfully intimate quality" but then call it third best -- this being the FMC version, which fortunately FSM put out in their first box set.
Then the fourth recording is the one I think you meant to refer to -- the 90s one he did for Varese. I agree with you that that one is clearly the least of the surprisingly many times Bernstein recorded this score. But with a score this good, I don't mind having four versions.
Yavar
Thank you, Joan, for reminding us of what great film music can do for a film.
I can only hope that we will one day see a complete release of the original tracks. While I mostly agree with MMM's sentiments, I still prefer the Ava (among the re-recordings) because it utilized many of the same musicians who recorded the film tracks and best (IMO) retains the subtleties of the music heard in the film. The FMC version is second for me, still close to the originals but just a hair more self-conscious in the performance aspects. I do love the FMC version's inclusion of great cues not included in the Ava. Not a fan of the Varese/Bernstein re-record, as EB here seems to have gone for dramatic impact and in the process sacrificed the childlike innocence of the original score. Just my opinion.
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Thank you Joan.
TO KILL A MOCKINGBIRD is my favorite book and the soundtrack and the movie are in my top five.
My favorite recordings are the Ava and the FSM.
The scene in the movie which utilizes the music cue(s) "Scout and Boo/Boo Who?" is my favorite two minutes in all of cinema. I don't think you will find music any more tender than this. Every time I see the movie or listen to the soundtrack I start crying like crazy when the music starts.
Scout: "Hey, Boo."
Atticus Finch: [making introductions] "Miss Jean Louise, Mr. Arthur Radley. I believe he already knows you."
Scout: "You can pet him, Mr. Arthur. He's asleep. Couldn't if he was awake, though; he wouldn't let you. Go ahead."
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No TO KILL A MOCKING BIRD thread would be complete without a visit from Elmer fan supreme, Dana Wilcox. It's the score that started out our friendship, I believe. I share his enthusiasm for the original Ava release.
(And, GaGa Room, I'm surprised to find anyone who even remembers Richard Rust!)
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No TO KILL A MOCKING BIRD thread would be complete without a visit from Elmer fan supreme, Dana Wilcox. It's the score that started out our friendship, I believe. I share his enthusiasm for the original Ava release.
(And, GaGa Room, I'm surprised to find anyone who even remembers Richard Rust!)
I really don't remember what kindled my interest in Mr. Rust. HOMICIDAL is a favorite movie of mine so that might be where it started or it could have been WALK ON THE WILD SIDE.
He should have been in more movies and his roles should have been bigger. He was a good actor.
Plus he was quite handsome or at least I think so.
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