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Sidney Lumet originally planned SERPICO to have no score.
Fortunately, producer DinO De laurentis convinced him otherwise!
brm
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What about the Paul Newman picture (directed by George Roy Hill) - SLAP SHOT ? The credit reads, Music Supervision by Elmer Bernstein, but throughout the film there are only a few pop songs here and there; no actual "scoring" in any of the scenes.
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Posted: |
Sep 14, 2014 - 8:53 PM
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By: |
Rozsaphile
(Member)
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There's no background score to John Huston's THE ASPHALT JUNGLE, just opening and closing credit music by Miklos Rozsa.
Not true. There is music over the opening credits which extend into the opening scene of a police car tailing the Sterling Hayden character (Dix Handley) as he enters his friend's diner. A powerful opening that brilliantly sets the mood of this classic noir and grandfather of all heist films, but it's an insignificant contribution dramatically speaking compared to what comes toward the end of the story. A very stern police captain explains to a captive group of reporters that they've rounded up all of the criminals except one (Dix Handley). "A hooligan" he shouts adding "a man without human feeling or human mercy". That scene dissolves into Dix (half dead after having been shot earlier in the story) deliriously driving with his emotionally distraught girlfriend (Jean Hagen) to his childhood's Kentucky farm accompanied by Rozsa's frantically jabbing strings. As they speed along during an unusual daylight countryside setting (most of the preceding story takes place at night in the city) Dix, after having driven all night, mutters poignantly about how everything will be fine as long as his Pa hasn't sold the black colt (he really loves horses) and his girlfriend cries over the state he’s in. The music intensifies, slows and rises in octaves and yearns as Dix finally reaches the gate to the farm his Pa no longer owns, staggers across the magnificent lawn, blood pouring out of his stomach wound, with his girlfriend crying out his name as she runs behind him. He drops dead on the lawn and she continues on for help as Rozsa segues into a hauntingly peaceful interlude. A few horses surround him and one of them gently nudges his face as he lies there on his back staring straight up into space. THE END appears over a long shot of this idyllic setting and that's when Rozsa's music climaxes into one of the most achingly romantic themes heard in American cinema playing through to the final cast credits. The contrast is quite striking hearing this orchestral tour-de-force after having heard no music since the film’s opening. All around, perfection personified. Film music applied as such has no peer.
Well said! And one might add that Andre Previn's jukebox cues play over an important scene.
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Posted: |
Sep 14, 2014 - 9:35 PM
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By: |
Doc Loch
(Member)
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There's no background score to John Huston's THE ASPHALT JUNGLE, just opening and closing credit music by Miklos Rozsa.
Not true. There is music over the opening credits which extend into the opening scene of a police car tailing the Sterling Hayden character (Dix Handley) as he enters his friend's diner. A powerful opening that brilliantly sets the mood of this classic noir and grandfather of all heist films, but it's an insignificant contribution dramatically speaking compared to what comes toward the end of the story. A very stern police captain explains to a captive group of reporters that they've rounded up all of the criminals except one (Dix Handley). "A hooligan" he shouts adding "a man without human feeling or human mercy". That scene dissolves into Dix (half dead after having been shot earlier in the story) deliriously driving with his emotionally distraught girlfriend (Jean Hagen) to his childhood's Kentucky farm accompanied by Rozsa's frantically jabbing strings. As they speed along during an unusual daylight countryside setting (most of the preceding story takes place at night in the city) Dix, after having driven all night, mutters poignantly about how everything will be fine as long as his Pa hasn't sold the black colt (he really loves horses) and his girlfriend cries over the state he’s in. The music intensifies, slows and rises in octaves and yearns as Dix finally reaches the gate to the farm his Pa no longer owns, staggers across the magnificent lawn, blood pouring out of his stomach wound, with his girlfriend crying out his name as she runs behind him. He drops dead on the lawn and she continues on for help as Rozsa segues into a hauntingly peaceful interlude. A few horses surround him and one of them gently nudges his face as he lies there on his back staring straight up into space. THE END appears over a long shot of this idyllic setting and that's when Rozsa's music climaxes into one of the most achingly romantic themes heard in American cinema playing through to the final cast credits. The contrast is quite striking hearing this orchestral tour-de-force after having heard no music since the film’s opening. All around, perfection personified. Film music applied as such has no peer.
Well said! And one might add that Andre Previn's jukebox cues play over an important scene.
What perfect timing. I'm delivering a paper at the SERCIA Music and Film conference next weekend on the music in John Huston's films and will be talking about both the Rozsa score and the jukebox scene.
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To claim that REAR WINDOW has no music or a score is ignorant if not preposterous. Starting with the main titles, Franz Waxman composed a great score for this film, even though it has only a few cues. In fact, one of the cues had been used already by Waxman in A Place in the Sun. Lalo Schifrin re-recorded them and it was a great influence on Leonard Bernstein for instance, as we can hear it in West Side Story.
Music is an important element in REAR WINDOW, the song Waxman composed for the unemployed composer, LISA, not only stops Ms. Lonely Hearts from killing herself, but also at the end later becomes Grace Kelly's character's theme. Funny how people limit film music to only action cues by Hans Zimmer.
Yes, the little fugato from 'A Place in the Sun' recycled in the film is the one involved in the famous coincidence anecdote Waxman's son told about Franz's meeting with Shostakovich. Waxman also supervised and selected the 'source' cues very hands-on.
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The 1974 TV movie "The Gun" has no original score.
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