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 Posted:   Mar 11, 2019 - 10:46 AM   
 By:   Yavar Moradi   (Member)

Hi all! I recently stumbled across these notes I wrote over a year ago for the pilot episode of The Goldsmith Odyssey podcast. Not as in-depth as I did for some other more substantial works, but as this is Jerry's earliest extant work for visuals that I know of, I thought some here might be interested. The score is quite effective in context, but nothing special I'm dying to have on album, apart from its historical my "advance liner notes" are almost certainly not likely to live up to their name (but I kept that labeling, since I wrote more substantially than for things I called Complete Score Breakdowns in the tradition of Deputy Riley). smile If someone wanted to include 2-3 of the best minutes of this on some future new Goldsmith recording, that might be kinda neat.
Note: Timings are approximate; titles are my own.

Climax: Dr. Jekyll and Mr. Hyde (S01E34, aired 7/28/1955):

0:35 - 1:12 Climax Theme

Cymbals crescendo into the series theme by Leith Stevens which is briefly stated at :59 before fading away.

2:05 - 2:22 1. Main Title 0:17
The first brief cue by Goldsmith underscores the main title card with agitated brass, woodwinds, and low-end piano. Though very brief it is distinctly Goldsmithian.

3:51 - 5:19 2. Murderers 1:28
The first extensive development of the halting Hyde material, transitioning from the question whether Dr. Jekyll is acquainted with “even murderers?” through to his manservant Poole and his friend Mr. Utterson intruding on his lab, confronting Mr. Hyde. It ends moments after Utterson shoots Hyde dead.

6:24 - 6:50 3. The Journal 0:26
As Utterson opens up and begins reading the journal addressed to him, we begin hearing Dr. Jekyll’s relating his tale and the first flashback begins, with mysterious music recalling Bernard Herrmann.

8:50 - 10:09 4. Angels and Monsters 1:19
This Herrmannesque style continues through an uneasy cue as Jekyll discusses his theories of the soul with his friends Utterson and Dr. Lanyon.

10:35 - 11:31 5. Success at Hand 0:56
Low woodwinds dominate this cue as Jekyll narrates and his past self mixes his formula and drinks it.

11:45 - 13:49 6. Sinking Into Oblivion 2:04
Tense strings, woodwinds, and organ combine to produce an uneasy skittering cue as Jekyll undergoes his first transformation into Hyde. This material will recur for future transformations, but in this first one it grows more and more agitated and intense as the room spins in Jekyll’s vision.

14:28 - 14:34 7. Not the Angel 0:06
This brief button underscores Mr. Hyde smashing his visage in the mirror.

17:18 - 17:47 8. Come Here 0:29
The organ, woodwinds, and horn for Mr. Hyde intrude briefly over the sung source music at the local pub, as he menaces a young woman there, then fade out again as piano source music takes over from it in turn.

18:41 - 19:56 9. Filthy Devil 1:15
Hyde confronts the woman’s boyfriend and tries to take her away. The cue begins as Hyde lunges at him and continues as he runs away, eventually pursued by the police. Around 19:01 it takes a turn towards action for the pursuit, muted trumpet joining in as the music gets more and more intense, leading Hyde to Jekyll’s lab and the return of the skittering woodwind music for the transformation back to Dr. Jekyll.

20:05 - 20:22 10. Capable of Murder 0:17
Another button for the ending of the first act, as Jekyll speaks with the police who pursued Hyde.

22:36 - 23:50 11. The Vow 1:14
A lighter woodwind cue underscores Jekyll’s narration about his vow to reject Hyde, go back into society, and devote himself to good works. It turns uneasy once more as he relates his decision to give Dr. Lanyon the antidote potion as a precaution.

24:06 - 24:58 12. Chatter 0:52
The low organ followed soon by the halting Hyde woodwind material and tense strings as Dr. Jekyll feels the temptation of Hyde returning and runs away from his oppressive guests. The cue fades out for a return to the tavern source music.

28:27 - 29:02 13. After the Murder 0:35
After confronting the object of his desire and subsequently murdering her fiancee, Hyde flees the scene as she screams and this cue begins, following through to a subsequent scene where he visits Lanyon for the antidote.

29:54 - 32:14 14. Narrow Views 2:20
Hyde confronts Lanyon, threatening him and forcing him to deliver the antidote package from Dr. Jekyll. The cue continues through Hyde’s subsequent transformation back into Dr. Jekyll as an astonished Lanyon looks on.

36:16 - 36:24 15. Get Out 0:08
A brief musical button for the second act-out, as Lanyon banishes his old friend Jekyll, telling him, “You reek of hell!”

38:32 - 39:04 16. Loose Ends 0:32
The third act begins with Utterson still reading Jekyll’s journal, accompanied by woodwinds and the return of Jekyll’s narration.

41:05 - 42:07 17. Hyde Caged 1:02
Woodwinds begin a cue relating the passage of time and the police eventually giving up their search for Hyde. A distinctive solo violin enters at 41:23, as Dr. Jekyll destroys his formula, thinking he has “caged Hyde” and at 41:53 the woodwinds return more hopefully with Jekyll’s new confidence in his success. Shortly after the cue fades out into tavern source music again.

46:44 - 47:23 Hyde Within (series of short source music overlays)
For many minutes the tavern source song (female voice and piano) plays in the background as Dr. Jekyll sympathetically speaks with the woman who was the victim of his alter ego’s attentions. Finally, Goldsmith’s score re-enters with several brief sinister quotes of the song’s melody, as Jekyll feels a hint of Hyde coming from within himself. Hints of it continue to play more and more violently over the actual source cue.

47:33 - 49:40 18. You Frightened, My Girl? 2:07
The culmination of the halting Hyde material plays in this cue as Jekyll transforms back into the monster without the formula, and his companion screams as he runs out of the tavern once again. The cue continues with low woodwinds as Hyde searches Jekyll’s lab for any method to transform back again, to no avail, finally ending over a transition to the following morning as Jekyll discovers he has transformed back to his normal self again.

50:00 - 51:31 19. The Battleground 1:31
Hints of the Hyde material continue over a more mournful and subdued cue as Jekyll takes further precautions to guard against Hyde’s return, but comes up against a wall in his attempt to recreate the lost antidote. Tenser plodding material enters Jekyll becomes more desperate and concludes, “I have given up all hope,” concluding the journal narrative as Utterson shuts the book closed.

52:34 - 53:06 20. Only the Good Remains 0:32
The final cue of Goldsmith’s original score is the most filled with pathos, a lovely if brief cue for the conclusion of the story as Utterson reveals the dead body to be Dr. Jekyll, commenting to Lanyon that “only the good remains.”

57:36 - 58:52 Climax Theme (End Credits)
The theme by Leith Stevens plays in a more developed and extended form over the end credits, but even this version ends abruptly with an edit.



Full series:
FACE OF A FUGITIVE (1959) Advance Liner Notes:
TAKE HER, SHE'S MINE (1963) Complete Score Breakdown:
THE MAN (1972) Advance Liner Notes:
CRAWLSPACE (1972) Advance Liner Notes:
DO NOT FOLD, SPINDLE, OR MUTILATE (1971) Complete Score Breakdown:
The Waltons: THE CEREMONY (1972) Complete Score Breakdown:
DAMNATION ALLEY (1977) Advance Liner Notes:
PURSUIT (1972) Advance Liner Notes:
BLACK PATCH (1957) Advance Liner Notes:
DR. JEKYLL & MR. HYDE (1955) Advance Liner Notes:

 Posted:   Mar 11, 2019 - 6:23 PM   
 By:   TxIrish   (Member)

Don't forget that, as Jens mentioned in the podcast, the first name in the title is not pronounced "Jek-ill", but "Jeek-yll", with a long 'e'.

 Posted:   Mar 11, 2019 - 7:14 PM   
 By:   Yavar Moradi   (Member)

Yes I think he made that correction in our Perry Mason episode:

In our pilot Episode 0 where we discuss Dr. Jekyll and Mr. Hyde, we all pronounce it the wrong way (as people have been doing often for many years now):


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