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Posted: |
Apr 5, 2019 - 12:14 PM
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By: |
Morricone
(Member)
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I was surprised to see, I think for the first time, no one posted about Elmer Bernstein's birthday yesterday. I never say "happy birthday" because I don't think the departed are listening but I do celebrate their birth. Elmer is a generation before Goldsmith and Williams and tends to be forgotten. But I personally think those composers wouldn't have the career they did without Elmer tearing down the barriers he did. It is the reason I chose to do another sprawling epic concert on him at the Autry this September. In fact this reminds me of a post I did many years ago that I think it might be appropriate to revive. This is from 2010:
I have been bouncing around going from the AVATAR thread where Horner is extolled as the greatest story teller the cinema has ever known to the Williams discussion board where "isn't he the greatest composer ever!" pops up regularly. On the Morricone messageboard it is easy to find "Ennio changed the face of film music and left all the others behind" and there is the semi-annual sojourn here declaring "I miss Jerry Goldsmith so much, he was the greatest!" I never indulged in this stuff because I always thought it demeaned the real qualities of these master composers. But recently I thought it must FEEL really great to say something like that. So I have picked the only one of my kings who doesn't get as much gushing as the others and let fly:
Elmer Bernstein is IT! No one else has been there when everything was happening. From his baby steps in filmscoring smack in the midst of it's golden age, whose eastern European influences he could emulate expertly, to his innovative modern approach in SUDDEN FEAR (1953) (with woodwind solos and an "intimate" approach which showed he had a foot in both worlds). He had already started out as a strong young contender when a number of events honed him into a master.
In 1952 he met Charles Eames, the groundbreaking designer whose work, with wife Ray, in industrial design, furniture design, art, graphic design, film and architecture is famous the world over. Eames had made a film about the concepts that made the computer possible and Elmer scored it and throughout the next 25 years and 30 short films they truly would go where no man had gone before. Film score geeks probably are just familiar with "Toccata for Toy Trains" but cinema students have seen "The Powers of Ten" a film that begins with a wide shot of the known universe and ends within the subatomic particles of a man's hand. Yeah, Elmer scored that one too.
Event two was the McCarthy era and his "gray listing". He would learn a lot of life lessons AND music ones too. He couldn't work on anything above ground so he was stuck with the likes of CAT WOMEN ON THE MOON and ROBOT MONSTER but they taught him how to make due with practically nothing! The people at Capitol records (where he recorded these in 1952) were impressed with the sound you could get when you used a Novachord, a Hammond B3 organ, some electrified instruments and an extremely small orchestra. They went wild for those early electronics. So did many over the years. In retrospect if someone were to ask me what score is the best marriage of electronics and conventional instruments I would pick Bernstein's THE CARETAKERS.
The third event was meeting David Wolper. After doing "Hollywood and the Stars" Elmer did a long series of award winning documentaries that changed the face of that art form including the National Geographic series that retains his "accidental" theme to this day. A piece written for an episode called “A Yankee Sails Across Europe” became the main theme to that series.
Meanwhile back in Hollywood Elmer broke the blacklist with a one-two punch that no one ever forgot. One from controversy-magnet Otto Preminger hiring him to do THE MAN WITH THE GOLDEN ARM, the first jazz score in history. Alex North may have incorporated jazz influences into his scores but Elmer's was the first to incorporate jazz riffs into his, which, let's face it, is the definition of what jazz is. And the crucial thing about his experiment was that it was extremely popular. His soundtrack LP hit the charts thereby opening things way up for Mancini, Goldsmith, Williams and a ton of other composers who could now push the envelope of how a film may be scored.. In the mean time punch number two came when, while working on dances for THE TEN COMMANDMENTS it's composer Victor Young became ill and he inherited the whole score under the auspices of Cecil B. Demille, the man who created the blacklist ! Elmer could write old Hollywood with the best of them. There has got to be more than a dozen leitmotifs in THE TEN COMMANDMENTS, these days I am lucky if I can hear one. In the exodus scene he learned how to score faster than what is ostensibly on screen which came in handy on THE MAGNIFICENT SEVEN. Add to that he did it all again in THE BUCCANEER which Demille did not have the health to direct himself. As a dubious honor Elmer used to joke he scored more major director's swan songs than anybody else. The last films of Demille, Fred Zinnemann, William Wyler, John Ford and Michael Curtiz were all done by him.
Elmer Bernstein, along with Jerome Moross, sashayed Coplandesque American writing into the western score with THE MAGNIFICENT SEVEN, which Jerry Goldsmith called the “greatest western score ever written.” Indeed if you want to make the ultimate cliché film music concert you HAVE to include PSYCHO, JAWS, GONE WITH THE WIND, the James Bond theme, THE PINK PANTHER and THE MAGNIFICENT SEVEN, all for instant identification. Having been stereotyped as king of the western score he used that power to explore many angles of the western including the starkness of Serge Bourguignon’s arty THE REWARD, the western jazz of THE SCALPHUNTERS, the spare modern western score for HUD, the gentle satire of FROM NOON TO THREE and the epic comedy THE HALLELUJAH TRAIL that has enough themes for a musical (in fact, it has 4 songs). Also mainstream Hollywood could finance this experimentation since John Wayne hired him to “give me another MAGNIFICENT SEVEN” for the next 16 years (and he came damn close in THE SONS OF KATIE ELDER).
In 1957 when BRIDGE ON THE RIVER KWAI had made a hit of the Colonel Bogey March there was a clamoring for an original hummable march. Way before William’s Indiana Jones march Elmer created THE GREAT ESCAPE. It set the tone for many a score and practically the rest of Ron Goodwin’s career. Robert Zemeckis’s and Bob Gale’s academy award winning student film A FIELD OF HONOR is totally built around that march. And, again, Elmer would follow-up with marches with very different approaches; British ZULU DAWN, Israeli CAST A GIANT SHADOW and an extraordinary meld of a march and a Vienna waltz BRIDGE AT REMAGEN.
More stereotypes followed but he used every one to explore different styles of music. For instance, extending jazz to the classic SWEET SMELL OF SUCCESS and STACCATO TV series. And further To Cajun jazz in WALK ON THE WILD SIDE, to the African-calypso fusion of RAMPAGE, 70s funk of LIBERATION OF L.B.JONES. And then he went Ye Old English in WHERE’S JACK, the gospel folk music of GOD’S LITTLE ACRE, the Polynesian HAWAII, the Vegas SILENCERS, the psychedelia of I LOVE YOU, ALICE B. TOKLAS, Rock-a-billy BABY THE RAIN MUST FALL and on and on. And speaking of BABY, Glenn Yarbrough’s chart topping rendition of that song wasn’t the only popular song Elmer wrote. Brook Benton’s WALK ON THE WILD SIDE, Johnny Cash doing THE SONS OF KATIE ELDER, Jack Jone’s LOVE WITH THE PROPER STRANGER and even Vikki Carr on THE SILENCERS all got some airplay. Elmer did lots of theater including the 2 musicals MERLIN and HOW NOW DOW JONES, both received Tony nominations. He wrote dance music for OKLAHOMA, THE TEN COMMANDMENTS and PETER PAN. And let us not forget his ultimate challenge. Ivan Reitman getting him to score the animated epic HEAVY METAL. Rock reviewers were assigned to review this film across the country and an amazing amount of them referred to Elmer’s score as the glue that melded the disparate heavy metal songs together into a coherent whole. I’ll go further and say this was Elmer’s STAR WARS and would have been recognized as so if the subject matter wasn’t so marginal for the time.
Now John Wayne wasn’t the only loyal employer Elmer had, Frank Sinatra, in films like SOME CAME RUNNING, CAST A GIANT SHADOW and KINGS GO FORTH remembered the talented GOLDEN ARM composer and when Sinatra did his only conducting album based on the poems of Norman Sickel, there is Elmer again doing a piece called “Silver”. The fact is Elmer has one of the longer lists of Director-composer relationships ever. They include Cecil B. Demille, Anthony Mann, John Sturges, George Roy Hill, Robert Mulligan, Ivan Reitman, John Landis, Martha Coolidge, Tom Laughlin and Martin Scorsese. Frankly there are few directors of that era he didn’t work with. Vincente Minneli, Stanley Donen, Francis Ford Coppola, Stephen Frears, Peter Yates, Henry Hathaway, John Schlesinger, Martin Ritt, Sydney Pollack, Don Siegel, Jim Sheridan and John Frankenheimer all had a go with the maestro. At his peak he had so much work that he passed it on and recommended the likes of Jerry Goldsmith, John Williams, Lalo Schifrin, Fred Carlin and Marvin Hamlisch for jobs.
When I starting collecting Elmer in 1965 he already had 20 soundtrack LPs out, more than any other composer. And that status remained with him for at least ten years more. He also had the most bootlegs made of his scores which led him to become the most outspoken activists against them. But he put his money where his mouth was. When fans asked “but then how do we get this music?” he created the Elmer Bernstein Film Music Collection, re-recordings of unreleased scores (available in The Bernstein Collection Box) accompanied with Filmmusic Notebook (available through the Film Music Society) to compliment them. This whole endeavor came mostly out of his own pocket. Even though this experiment failed it led to a lifelong commitment to film music preservation as well as being president of the Society for the Preservation of Film Music from 1996 to 2001. BTW other positions he held include the Academy of Motion Picture Arts and Sciences (first vice president, beginning in 1963; chair of the music branch with others), Screen Composers Association (director), Composers and Lyricists Guild of America (president, 1970--), National Academy of Recording Arts and Sciences (founding life member and director) and Young Musicians Foundation (president 1961-71).
But all of this is secondary to the music. Every composer is judged by his highest achievements. Elmer has them in spades. His writing can be as dense as TWILIGHT or KINGS GO FORTH or he can achieve a simplicity, as in TO KILL A MOCKINGBIRD. This goes to the heart of what music is there for. And the effectiveness? How much does Elmer help Shirley Maclaine’s excruciatingly tragic performance in SOME CAME RUNNING, which earned her an Oscar nomination? At what point did Burt Lancaster’s sensitive portrayal of THE BIRDMAN OF ALCATRAZ and the imagery of the chicks he nurtures merge with Bernstein’s oh-so-gentle proddings to reach poetic heights? How much of Tennessee William’s repressed sexuality in SUMMER AND SMOKE is expressed through Geraldine’s Page’s performance and how much through Elmer’s smoldering music? How much of MY LEFT FOOT's young Christy Brown's inarticulateness IS expressed through, what Elmer called, "figures turning in on themselves?" Is Sinatra in MAN WITH THE GOLDEN ARM trying to get through the DTs, or the “high” of Elmer’s music? Isn’t it Elmer’s music that gets Steve McQueen over that first fence in THE GREAT ESCAPE? Charlton Heston and the special effects go a long way but it is Bernstein’s music that convince us that we are witnessing the hand of God parting the waters in THE TEN COMMANDMENTS. And if you want to see the real power of film music just turn the sound off during the exodus in that same movie. Of the myriad titles Saul Bass created (including the Herrmann/Hitchcock ones), is there a more perfect marriage of music and image than the cat stroll in WALK ON THE WILD SIDE? But possibly the most telling is the minutiae of film scoring. The only music in HUD is accompanying rides over the lonely expanse, isolating these small town lives more than anything I could imagine. The few seconds of TRUE GRIT music that accompanies Rooster Cogburn one-handedly cocking his rifles before his final showdown in the meadow does more than any long overworked cue could.. Elmer’s entire comedy career for me is encapsulated in the few seconds he vamps as Bluto comes up with the second half of his speech in ANIMAL HOUSE. He not only knows what is funny but knows how to make it funnier. This is the art of film scoring at it’s purest!
Now if you lay ALL of this out on the table you would be hard-pressed to find a career comparable, even among Golden Age composers! At the very least you have to admit there are no film composers that more deserve the designation “ARTIST”. .Or you can go further, like me, and say Elmer Bernstein – the greatest.
Wow! Now I see what you guys get out of it. That felt great!
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Posted: |
Apr 5, 2019 - 12:58 PM
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By: |
joan hue
(Member)
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Now if you lay ALL of this out on the table you would be hard-pressed to find a career comparable, even among Golden Age composers! At the very least you have to admit there are no film composers that more deserve the designation “ARTIST”. .Or you can go further, like me, and say Elmer Bernstein – the greatest.
I so agree, Henry. You wrote a MAGNIFICENT article here about Elmer Bernstein. You should write his biography.! I thought I knew a lot about my favorite composer, but you provided new information for me.
Also, may I add that your writing is amazing and so creative. This had to take some time on your part, and I hope others will read it, learn, and chime in.
I really like that you pointed out that there are enough themes in HALLELUJAH TRAIL to support a musical. That is why it is one of my favorite scores.
I do think that sometimes people get so enamored with one or two other composers that they don't really realize the impact Bernstein had of film scores for over 5 decades, and how versatile his scores were.
Thank you so much for sharing his birthday with us at FSM.
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I was surprised to see, I think for the first time, no one posted about Elmer Bernstein's birthday yesterday.
I did, on Facebook (and participated in multiple different Group threads about his music there). And we at The Goldsmith Odyssey posted some of Jerry's thoughts on Elmer in celebration:
https://twitter.com/Goldsmithpod/status/1113935629807685637
But you're right that there were crickets here at FSM, surprisingly. Personally, if there is one composer out there who I wish some enterprising podcast hosts (such as yourself?) would tackle on The ______ Odyssey similar to what we are doing for Goldsmith, it's Elmer Bernstein. He is the only Hollywood composer I can think of who matches Jerry in terms of career longevity, prolificacy, and variety (even if he had periods of being more typecast than Jerry ever was). Yes, your namesake also qualifies but only if counting the majority of his career outside of Hollywood.
After Elmer, The Poledouris Odyssey and The Rozsa Odyssey would be my next most-wanted.
I will dispute one thing you wrote: that Elmer was of an earlier generation than Jerry. Well, only if you consider a generation to be less than seven years, because that's how much older Elmer was. Elmer's first film score was in 1951. Jerry got his start in radio rather than film, and the earliest radio score of his we've been able to listen to is also 1951*. And of course Jerry and Elmer sadly passed away within a matter of weeks of each other. To me they had remarkably parallel careers, and are each others' closest contemporaries, not in different generations.
Yavar
*In this extensive interview with Jon Burlingame, one of Jerry's last, he mentions providing music for some sort of "children's record" in the late 40s when he was only 19 years old. Since this was presumably something that got commercially released, I've been trying as hard as I can to figure out what it was, because he left it frustratingly unnamed in the interview (and Jon didn't know what it might be when I inquired with him): https://interviews.televisionacademy.com/interviews/jerry-goldsmith
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Posted: |
Apr 5, 2019 - 4:30 PM
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By: |
Morricone
(Member)
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Thanks Yavar. What you are doing is unheard of in the annals of film music and no one deserves it better than Jerry. When you are finished, IF you ever truly get finished, the Goldsmith Odyssey will truly be a monument to one of our greatest film composers. And I, for one, will be eternally grateful to you guys.
I will dispute one thing you wrote: that Elmer was of an earlier generation than Jerry. Well, only if you consider a generation to be less than seven years, because that's how much older Elmer was. Elmer's first film score was in 1951. Jerry got his start in radio rather than film, and the earliest radio score of his we've been able to listen to is also 1951*. And of course Jerry and Elmer sadly passed away within a matter of weeks of each other. To me they had remarkably parallel careers, and are each others' closest contemporaries, not in different generations.
Yavar
I guess I beg to differ too.
Well let's start off by saying those seven years were important ones. His changing the game of film scoring in THE MAN WITH THE GOLDEN ARM is one thing. But his other assignment that year Cecil B. DeMille's THE TEN COMMANDMENTS may have been more impressive. DeMille started his career in 1914 with THE SQUAW MAN, before THE BIRTH OF A NATION. This kind of puts Elmer in association with the beginnings of cinema. But more accurately and importantly it is one of the rarest examples of talent overcoming the blacklist. Elmer snuck quietly on the DeMille set to do just dances, just as he did on OKLAHOMA. But somehow those dances impressed DeMille and his minions so much that when Victor Young had to bow out he chose not just a relative unknown composer but an unhireable one at that. This is for the most expensive film made up to then and he picks a guy on the blacklist. THE TEN COMMANDMENTS and Elmer's Columbia films established him firmly in the last days of the studio system way more than Jerry or John ever saw. I think the first Goldsmith epic was THE BLUE MAX/ IN HARM'S WAY, take your pick, and by then that sort of epic film scoring had already begun to change.
And then technically, if we want to include radio, Elmer was working for Armed Forces Radio during WWII when a composer for a dramatic series went AWOL. He filled in and fell in love with background scoring. If you think finding Jerry's children's record is hard try a dramatic series that only went to Armed Forces Radio to our soldiers. After the war all evidence shows his assignments on radio continued, including scoring a prestigious dramatic reading by Henry Fonda in 1946.
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Posted: |
Apr 6, 2019 - 12:17 PM
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By: |
Morricone
(Member)
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Yavar, I'd love to listen to a Bernstein Odyssey.
Henry, one western you mentioned was called The Reward. I've never heard of it nor heard any of the score. Since there are planes, I guess it is a modern western. Reviews about it were horrid at IMBD, but still I'd love to hear the music.
I'm enjoying my third read of your article.
Huge thanks, Joan. That was 2010 when I was a bit more eloquent. You have been the biggest and best loyalist for Elmer. Popping in any time he is mentioned. I thank you for that.
BTW THE REWARD was one of the earliest of the Intrada Special Collection Series being Volume 6 paired with STORY ON PAGE ONE. Indeed the French director Serge Bourguignon who did this modern western, insisted on paring down every one of Elmer's compositions into it's bare essentials. The result was a minimalist score that today would be normal. Making Bernstein ahead of his time. Elmer said he was fascinated by this auteur's process but as an afterthought would have fought him on a few issues. When I re-listen to this score, which isn't often, I actually am surprised I end up listening to the source music including one piece that is nicely used for end credits. When I first heard this I thought Elmer just got some Mexican music and played that until I found out it was all his. And it has finally grown on me. I should have known he did this because when Elmer began his studies he focused on, like Aaron Copland, folk music - from around the world. So anytime he got an exotic assignment he was prepared to bring an authentic feel to it. RAMPAGE, HAWAII, FIVE DAYS ONE SUMMER, THE MIRACLE, CAST A GIANT SHADOW, NATIONAL GEOGRAPHIC and even the ancient music he had to make up for KINGS OF THE SUN and THE TEN COMMANDMENTS attest to this.
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Posted: |
Apr 6, 2019 - 1:20 PM
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By: |
Thor
(Member)
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Wow, that's a long and great tribute. Thanks, Morricone! I have far fewer Bernsteins in my collection than I should and would like to have (THE TEN COMMANDMENTS, STACCATO, THE MAG 7, MOCKINGBIRD, BIRD MAN OF ALCATRAZ, MARIE WARD, LAST MAN STANDING, WILD WILD WEST, FAR FROM HEAVEN and the Denon compilation). But I've obviously heard a great deal more, and discover new things that I fall in love with ever so often -- like MARIE WARD just a few months ago.
I sometimes like to ponder what would have happened if Spielberg had chosen to work with Bernstein instead of Williams, since Bernstein scored Spielberg's episode "Eulogy for a Wide Receiver" from OWEN MARSHALL, COUNSELOR AT LAW in 1971.
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Posted: |
Apr 7, 2019 - 11:06 AM
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By: |
Morricone
(Member)
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Wow, that's a long and great tribute. Thanks, Morricone! I have far fewer Bernsteins in my collection than I should and would like to have (THE TEN COMMANDMENTS, STACCATO, THE MAG 7, MOCKINGBIRD, BIRD MAN OF ALCATRAZ, MARIE WARD, LAST MAN STANDING, WILD WILD WEST, FAR FROM HEAVEN and the Denon compilation). But I've obviously heard a great deal more, and discover new things that I fall in love with ever so often -- like MARIE WARD just a few months ago.
I sometimes like to ponder what would have happened if Spielberg had chosen to work with Bernstein instead of Williams, since Bernstein scored Spielberg's episode "Eulogy for a Wide Receiver" from OWEN MARSHALL, COUNSELOR AT LAW in 1971.
Well Spielberg was a soundtrack collector. And I have nothing sacred as to speculation. On the other hand my head simply does not permit me to think about certain alternate Spielberg collaborations like ET or JURASSIC PARK anymore than I can think of Sturges/Bernstein collaborations like THE MAGNIFICENT SEVEN or THE GREAT ESCAPE with different scores. Simply because I cannot imagine how they could be improved upon. On the other hand a superb score like William’s SHINDLER’S LIST I had always wondered what Elmer or Jerry Goldsmith, being closer to the subject, may have found in themselves to bring to such a powerful film.
Anyway the idea is Elmer’s career gives a lot to speculate on. Some composers have careers, some are lucky enough to have more than one. But only a handful literally made their life a musical journey.
Just pondering on this upcoming concert has proved to me Elmer left behind a bottomless treasure trove to work with. Even for a completist like me, in the last week or two; I have seen both THE INCREDIBLE SARAH and STORM FEAR in their entirety to see how wonderfully their scores work; I have unearthed a 45 single Rex Allen did as a vocal for DRANGO; found a score for a student film of THE TELL TALE HEART and a b*****g of MERLIN from Broadway with all the songs. After a lifetime of collecting Elmer all I could do is sit back and listen and utter a quiet “Wow!”
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Posted: |
Apr 11, 2019 - 12:57 PM
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By: |
Morricone
(Member)
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As a dubious honor Elmer used to joke he scored more major director's swan songs than anybody else. The last films of Demille, Fred Zinnemann, William Wyler, John Ford and Michael Curtiz were all done by him.
Nice tribute, including this remarkable detail that I had never noticed. I'll bet you could add some minor directors to the list as well.
You are correct sir! That 2010 memorial tribute only scratched the surface. Researching this upcoming Elmer Bernstein concert I realized I could come at him at any angle and fascinating stuff would come to the fore.
As you mention some of the minor directors (who are not so minor) who did their final theatrical feature with Elmer are:
William A. Seitor Who did ROPBERTA, ROOM SERVICE and SONS OF THE DESERT had MAKE HASTE TO LIVE as his final film.
Ulu Grosbard Who did THE SUBJECT WAS ROSES and STRAIGHT TIME ended his career with THE DEEP END OF THE OCEAN.
Lamont Johnson (THE LAST AMERICAN HERO, CATTLE ANNIE AND LITTLE BRITCHES, A GUNFIGHT) stopped features at SPACEHUNTER.
Steve Lisberger, who did TRON, called it quits with SLIPSTREAM.
Writer turned director Lewis John Carlino had his short career (THE GREAT SANTINI, THE SAILOR WHO FELL OUT OF GRACE WITH THE SEA) end with CLASS.
Speaking of Carlino, Elmer did a number of features where major writers took their shot at directing including Clifford Odets (THE STORY ON PAGE ONE), Philip Dunne (THE VIEW FROM POMPEY'S HEAD), Frank Gilroy (FROM NOON UNTIL THREE) and James Clavell (WHERE'S JACK?).
Elmer also did the last completed feature of actor Tom Laughlin which was BILLY JACK GOES TO WASHINGTON.
Which brings us to one of the largest director categories - actors who turned directors. The directorial debuts of Cornell Wilde (STORM FEAR), Richard Bartlett (SILENT RAIDERS), Anthony Quinn (THE BUCCANEER), Matt Clark (DA), Bill Duke (A RAGE IN HARLEM), Edward Norton (KEEPING THE FAITH) as well directorial stints by Al Pacino (CHINESE COFFEE), Leonard Nimoy (THE GOOD MOTHER), Sydney Pollack (THE SCALPHUNTERS), Alf Kjellin (MIDAS RUN) and Lionel Jeffries (THE AMAZING MR. BLUNDEN) all were scored by Elmer.
He has also worked with cinematographers turned directors like Barry Sonnenfeld (WILD WILD WEST) and Nicholas Roeg (who shot the first week of NIGHTMARE HONEYMOON). Editor turned director Arthur Hilton (CAT WOMAN ON THE MOON).
He actually deigned to do student films from the 1971 Steve Carver's TELL TALE HEART to 2002 Robert Krauss's PUPPIES FOR SALE.
Michael Moore's only fictional film CANADIAN BACON had an Elmer score.
Last but not least for those fans of directors of film noir Elmer worked with directors John H. Auer (THE ETERNAL SEA), Otto Preminger (THE MAN WITH THE GOLDEN ARM), Richard Fleischer (SEE NO EVIL), 2 films by Edward Dmytryk, 2 by Henry Hathaway, 3 films with Phil Karlson and 3 films with Anthony Mann.
And this is coming from just the director collaboration angle. Don't get me started on award winning performances that Elmer helped create.
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Bump.
(Since April 4th has come round again...)
N.P. The Scarlet Letter (the rejected score)
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