Mr. Gray wrote several cues that are in fact mini-compositions, each with a discernable beginning, middle and end. He liberally employed 2 main themes, which I'll call the African Queen Theme and Love Theme, in multiple variations throughout the picture. A "triumphant" arrangement of the latter underscores the brief opening credits, which, in turn, segue into a ride downriver with but the sounds of wild Africa for an aural accompaniment.

The theme for the African Queen, a dilapidated old boat, contains a rhythm with William Tell Overture-like whimsy but with a breeziness more inherent to Gershwin's walking theme from An American in Paris. It's downright jaunty, a infectious romp at the beginning. More ominous, dramatic arrangements follow, with even a "plodding & trudging" variation in the scene when Charlie and Rose escape from the insect plague.

The Love Theme, which opens with a passage vaguely reminiscent of the song "South of the Border", is particularly memorable in the scene when Rose suddenly grasps Charlie's hand as the inveterate quarrelers discover they are very much in love. A waltz variation was inserted in the middle of a long cue underscoring a humorous scene earlier as they attempted to bathe in the river (Charlie in front, Rose astern). This piece is my favorite music in the entire movie, closely followed by other great cues: "Adrift in the Reeds" hit my memory radar with a short burst of Poltergiest-like feel, and "Breaking Free from the Reeds" is positively breathtaking (harp, flute, strings!), within a truly memorable scene-with-music.

What convinces me that the score will make an excellent stand-alone soundtrack CD is that the music, as great as it is, was not the least overpowering on screen due in no small measure to its minimal amplification. I can only dream how it would sound on its own. Please check it out, Mr. Morgan. I MUST HAVE IT!

Best wishes,
Sean

ALLAN GRAY
Gray was Polish but his creative life was largely spent in England. Musical Director to Max Reinhardt for some years. His films included Madness of the Heart, The Life and Death of Colonel Blimp, The African Queen (the famous Humphrey Bogart vehicle) for and Mr Perrin and Mr Traill, based on the novel by Hugh Walpole, from which a movement entitled Proposal was extracted for concert use. His very first score was a German film Emil and the Detectives. He wrote a number of scores for Emeric and Pressburger including A Matter of Life and Death (1946) with its haunting, simple piano progression, the Prelude of which was recorded on 78 and reissued on EMI CD in a classic collection of 40s and 50s film scores.
Films: Emil and the Detectives (1931), The Silver Fleet (1943), The Volunteer (1943), Life and Death of Colonel Blimp (1943), A Canterbury Tale (1944), I Know Where I’m Going (1945), A Matter of Life and Death (1946), Stairway to Heaven (1946), This Man is Mine (1946), Mr Perrin and Mr Traill (1948), Madness of the Heart (1949), The Reluctant Widow (1950), No Place for Jennifer (1951), Obsessed (1951), Outpost in Malaya (1952), Twilight Women (1953).
Life and Death of Colonel Blimp (1943) 78. Commando Patrol. RAF Dance Orch. Decca F8364.
A Matter of Life and Death (1946): Prelude and This Man is Mine (1946): theme. Queen’s Hall Light Orch/Charles Williams. Columbia DX1320.

PS
How rude of me--here's the link: http://www.filmmusic.uk.net/britlst2.htm" TARGET=_blank>http://www.filmmusic.uk.net/britlst2.htm

PPS
Sean, you're a Brit (or displaced Pole http://www.filmscoremonthly.com/board/smile.gif">)? Guess you didn't see it on cable over here, huh...

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[This message has been edited by Howard L (edited 28 December 2000).]

LOL
Is this a compliment?

John

The world is CRYING OUT for a boffo rerecording of Franz Waxman's marvelous, classic score to "Sunset Boulevard"!!!! I swear, I'll buy 3 copies, just to support what you are doing at Marco Polo!

NP: The Egyptian (Marco Polo rerecording) ****** (are six stars allowed?)

Best wishes, and more apologies for the schmoozefest http://www.filmscoremonthly.com/board/biggrin.gif">
Sean
[This message has been edited by OHMSS76 (edited 28 December 2000).]

What would be the chances of the gang at Marco Polo to record an older score by Jerry Goldsmith? Something like Black Patch(if the scores exist)The List of Adrian Messanger(I'd love to hear the hunt music played by the MSO) or even Freud?

I know the series tends to stick in the Golden Age, I just think it would be cool to see the label tackle one quasi-GA score?

What do you think!
Best wishes,
Sean

Best wishes
Matt

Although we specialize in the Golden Age, we have done things that are a bit newer. In fact, our last sessions had Steiner's THE MOST DANGEROUS GAME (1932), our oldest recorded score and Arnold's DAVID COPPERFIELD (1970) our newest rerecorded score!
As far as Goldsmith is concerned, THE LIST OF ADRIAN MESSENGER would be Bill Stromberg and my first choice to rerecord. We both love that music. I suspect the stereo music tracks are still at Universal. My wish would be for FSM to crack that Universal barrel and release some of their holdings.
Yes, RED SHOES is a possibility. Somewhere else I posted about doing a full CD of that score. So much great music besides the ballet. Easdale is always a favorite and he and his family has taken care of his written music.

John

Miklos Rozsa's QUO VADIS..
Alfred Newman's CAPTAIN from CASTILE..

Finer music from any source is not available and it would be great to have these scores in 'modern' sound.
paul