This 1962 film was a major disappointment for MGM which also suffered a big disappointment in 1960 with "Cimarron". Topping it all off, "Mutiny on the Bounty". ultimately released in 1962, was in an extended production in Tahiti with its star, Marlon Brando, reportedly causing overruns in filming time.
Nevertheless, each of those three films had rather excellent scores. Franz Waxman scored "Cimarron". Bronislau Kaper scored "Mutiny on the Bounty". And....Andre Previn wrote his masterpiece score for "The Four Horsemen of the Apocalypse." A Vincente Minnelli film, "Four Horsemen..." was beautifully produced, photographed and scored. The acting was all right but the script was a bit tedious, IMO, and Glenn Ford was no better a leading man in this epic film than he was in "Cimarron".
Yes, I'm sure many will disagree with me on some of that, but I doubt anyone will disagree that Previn wrote one of the very best scores to ever come out of Hollywood.
Arguably, it should have been nominated for the Oscar for its year, but the film's critical rejection and boxoffice failure pretty much doomed its chances.
I heard the soundtrack LP for the first time in the mid-1960s because my best friend, Jim Whaley, had obtained a stereo copy when he and his parents were on a trip. The LP was very rare and was no longer in the Schwann catalog. I loved the entire score, but it was the love theme that captivated me the most. Happily, that theme made its way onto several MGM record releases featuring cues from a variety of MGM films.
In 1980, I was in Indianapolis at a theater off Pendleton Pike where I was going to see "The Empire Strikes Back" for the third or fourth time. This theater was in a location near, but not part of, a shopping center. As I was about 30 minutes early, I walked over to a Target store to browse the records section. I remember thinking I was wasting time because I had virtually everything of interest in their stock, I don't know what made me look a few bins to my right. "Male Vocals", I believe, were featured, but I happened to see the top edge of an album that sparked a strong memory. I recall reading "Metro-Goldwyn Mayer presents a Julian Blau..." on the exposed edge. I pulled out the LP and there was a mint mono copy of the soundtrack. Golly!!! I figured someone must have found it and hidden it in hopes of returning to buy it when they had cash. Too bad for them! I left as quickly as I could pay and carried it into the theater with me. Some years later, I was able to find a stereo copy. And then Rhino did us all a huge favor by issuing the expanded CD.
It is a terrific score, and for me also, Previn's best work. I am really enjoying these threads highlighting individual scores, Ron, perhaps in part because I have largely agreed with your choices, and like the kinds of scores that you like. We must be within a year or two of the same age, as my formative experiences with films and film scores seems to parallel yours pretty closely. It was these melodic orchestral scores that dressed up and frequently lifted the films of the day, and that drew me into a lifelong appreciation of film music.
Yup, it's my favourite Previn score, I love that extended Rhino CD. A while ago TCM (UK) started showing the film, which I'd never seen, so I gave it a go, & it isn't very good, & having the deathless Glenn Ford in the lead doesn't help. I can see why it flopped, but with all that I quite liked it, it's still on my planner & I'd buy a Warner Archive Blu-ray if they ever released it. Funnily enough I didn't think the music worked that well in the film, it seemed over melodramatic, but just listening to the CD, it's a great piece of music.
Previn wrote an entire cd worth of alternate music, some of which would have worked wonderfully in the film. Ingrid Thulins dialogue was dubbed by Angela Lansbury.
I had seen the film in the early 1990 on TV in its original English language version, and, I liked it for what it was (it's not great film for sure).
Previn's score is easily the absolute highlight in it. Some years after, I've purchased the CD as an expensive import from Rhino.
As much as I liked the score, I never really could enjoy the CD as a satisfying listening experience. I felt it was tiresome.
Later, I've read a blurb by Douglass Fake who also stated the opinion the music would have worked better in a different presentation. He missed the LP sequencing. As I've never heard that one I'm not able to compare. But the point is taken.
...Funnily enough I didn't think the music worked that well in the film, it seemed over melodramatic, but just listening to the CD, it's a great piece of music.
I had exactly the same impression. Musically it's dramatic, fascinating, intriguing, but a bit over the top and intrusive in the context of the film. From what I understand, before it reached the screen the film was edited, re-edited and chopped again, so the selection of music in specific scenes and the spotting itself may have been decided upon by people other than Andre Previn. (Another film where the music seemed at times to intrude on the visuals was THE BIG COUNTRY, although it is one of my top favorite scores as a stand-alone listen.)
...Funnily enough I didn't think the music worked that well in the film, it seemed over melodramatic, but just listening to the CD, it's a great piece of music.
I had exactly the same impression. Musically it's dramatic, fascinating, intriguing, but a bit over the top and intrusive in the context of the film. From what I understand, before it reached the screen the film was edited, re-edited and chopped again, so the selection of music in specific scenes and the spotting itself may have been decided upon by people other than Andre Previn. (Another film where the music seemed at times to intrude on the visuals was THE BIG COUNTRY, although it is one of my top favorite scores as a stand-alone listen.)
There are several films that have great scores which seem to have been written for different versions of the film than the ones they support.
Another is "The Wind and the Lion". The music seems to have been written for a vastly superior film. I like it well enough, but the music makes it worth watching. Well, the music and Brian Keith's Teddy Roosevelt.
Ron, I am really enjoying your comments on many of these classic scores and the soundtrack suites. Thanks so much!!!! I look forward to more of them in the future.
It is indeed a masterpiece (as Ron stated in his opening post.) I love the drama of it, and then there's that most beautiful of love themes. I believe there was an "unmentionable" on two discs with various out-takes and stuff. Strangely enough, I still prefer to listen to the old M-G-M album rather than the elongated Rhino release, even though it is ALL-GOOD. Previn was a master.
Barbra Streisand got to know the love theme and approached Previn to have his permission to have the Bergmans put lyrics to it for her CD "The Movie Album". He (Previn) consented and the result was "More in Love With You". The arrangement for the CD was by Jeremy Lubbock. Not sure if the addition of lyrics are an enhancement :
It is a masterpiece (and one of Previn's five favorite film scores). Since the main title in the film is different from that on the C.D., do you think there will ever be an reissue with the main title from the film as a bonus track? The brass surges in the main title are not unlike that of Gerard Schurmann's main title for "Horrors Of The Black Museum".
, ordered
