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 Posted:   Nov 15, 2013 - 10:58 AM   
 By:   Rozsaphile   (Member)

I'm fascinated by the ways critics ignore this movie. Molly Haskell, for example, wrote a very influential book on women in movies (From Reverence to Rape, 1974) and had nothing to say about this great film that focuses not only on a memorable female character but on an institution (the religious order) that was entirely managed by women. It just didn't fit the pattern. Years later, Haskell was one of many writers to craft a posthumous tribute to Audrey Hepburn. Once again she largely ignored The Nun's Story. It wasn't just Haskell. Everybody seemed obsessed by a supposed pattern -- the "gamine," the clothes horse, the screen mate of older men -- and unwilling to address the picture where Hepburn broke the mold.

Agree it's a great Waxman score but somehow less satisfying on records. Time for somebody to have another go at it.

 Posted:   Nov 15, 2013 - 11:14 AM   
 By:   PhiladelphiaSon   (Member)

Ironically, Paramount optioned the film rights to Germany's DIE TRAPP FAMILIE, as a starring vehicle for Audrey Hepburn. She declined in order to make THE NUN'S STORY. The option expired and the rights to the property were sold to Mary Martin and her husband, who commissioned Lindsay and Crouse and Rodger's and Hammerstein to write THE SOUND OF MUSIC, which was then purchased by Fox, where Audrey Hepburn campaigned hard for the role she originally turned down. Mary Martin made millions of dollars from that one thing.

 Posted:   Nov 15, 2013 - 1:14 PM   
 By:   Bob DiMucci   (Member)

Steve Hoffman's article on rescuing the score tapes expresses surprise that the score was originally recorded in Italy. But the film was produced from late January to late June 1958 at Cinecittà Studios, Rome. In addition, location shooting was done in Rome, Brussels and other cities in Belgium, as well as the Belgian Congo.

According to a June 1958 Hollywood Reporter news item, due to the AFM musicians' strike that had been ongoing for five months, composer Franz Waxman was sent abroad to work on all phases of preparing the score, from composing to recording. Presumably, after the strike ended, Ray Heindorf recorded the additional music in Burbank before the film's opening on 18 June 1959.

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