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Posted: |
Apr 27, 2025 - 10:58 PM
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By: |
Caldera
(Member)
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Caldera Records proudly presents John Cameron’s score for the Agatha Christie adaptation “The Mirror Crack’d.”
In the 1970s the British film industry saw two of its biggest successes with its adaptations of “Murder on the Orient Express” and “Death on the Nile.” Thus, producers were eager to bring more of Agatha Christie’s works on the screen. To replicate their previous two hits, John Brabourne and Richard Goodwin optioned “The Mirror Crack’d From Side to Side.”
Angela Lansbury played Miss Marple. At her side: Rock Hudson, Elizabeth Taylor, Tony Curtis, Kim Novak, Edward Fox, and Geraldine Chaplin. A large part of the script for “The Mirror Crack’d” is devoted to jibes and insults exchanged between movie stars, their producer, and director. It is 1953 and everybody is on edge as they arrive in the sleepy English village of St. Mary Mead, home of Miss Marple, to make a new film. The director hates the producer, who is intimate with the film’s star, who hates her co-star, who is married to the director. Said co-star, Marina, knows she is past her prime, but is looking forward to cutting her teeth on a historical epic. Unfortunately, from the beginning nothing goes according to plan. And soon there is a body.
By 1980, John Cameron had long since cut his teeth in film. Among his biggest successes to that date were Ken Loach’s “Kes" (1969), and “A Touch for Class" (1973), which had garnered him an Oscar nomination.
“The Mirror Crack’d” allowed him to showcase his versatility as a composer. His score consists of three elements: a theme for the film’s main character, Marina; tense suspense music, and a jolly village tune that pays homage to the film’s setting in 1953’s England. Although the film takes place in that period, Cameron was wary of nostalgia. Rather than situating his score stylistically in the past, he sought to bridge the gap between the 1950s and 1980s. The use of the saxophone was a logical choice since it had been employed in the middle of the century and since then found increasing popularity in rock and soul music.
John Cameron crafted a colorful and memorable score to what has become a crime classic. We are pleased to make it available for the first time on an album and are grateful to StudioCanal for working with us on the project.
The 63rd CD-release of Caldera Records features a detailed booklet text by Stephan Eicke and elegant artwork by Luis Miguel Rojas. The CD was mastered by Richard Moore and produced by Stephan Eicke.
C6063
Music Composed and Conducted by John Cameron
Album Produced by Stephan Eicke
Executive Producers for Caldera Records: John Elborg, Stephan Eicke
Album Art Direction and Design by Luis Miguel Rojas
The Mirror Crack’d
1. Front Titles (2:38)
2. Murder (3:58)
3. Ella, Don’t Spoil it (0:34)
4. Memories... Murder (2:04)
5. The Gloved Hand (0:54)
6. Barbiturates (0:43)
7. Switched Drinks (0:58)
8. The Intended Victim (1:43)
9. Close-up on Ella (0:16)
10. Inspector Craddock Drives (0:28)
11. The Inspector Calls (0:36)
12. Anonymous Letters (2:09)
13. The Coffee, It’s Poisoned! (1:31)
14. Ella Poisoned (0:51)
15. Why Should Anyone Want to Hurt Me? (0:41)
16. Marina’s Farewell Night Cap (2:42)
17. Of Course, the Vicar! (0:48)
18. Rubella (0:44)
19. She’s Given the Performance of Her Life (1:56)
20. End Titles (2:31)
21. Theme for Marina (3:07)
22. Ella, Don’t Spoil it (alternate version) (0:34)
23. The Coffee, It’s Poisoned! (alternate version) (1:30)
Bonus:
24. Conversation between John Cameron and Stephan Eicke (7:05)
For more information and sound clips, please visit our homepage:
https://www.caldera-records.com/mirror-crackd
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Fantastic news. I've always been fond of this score, and recently picked up the BluRay. Given the relative obscurity of the (Oscar-nominated) composer and the uncertain fate of a lot of scores recorded in the UK, I truly never expected this to see the light of day.
And Bernstein's Class is another one I've wanted for over 40 years, so this has been a great week for unexpected releases.
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Big surprise! Thanks Caldera once again.
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Another cool surprise release from Caldera!
Yavar
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I first became aware of Cameron in 73 or 74 when I saw the weird, forgotten, flawed, but enjoyable Peter O'Toole film The Ruling Class.
Ace Records has recently put out a CD of Cameron's arrangements for other artists; this compilation was assembled by Bob Stanley (from Saint Etienne) who is a John Barry fanatic and compiled The More Things Change and Something's Up!
Thanks to Caldera for releasing this Cameron score.
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And the best thing is:
IT'S THE COMPLETE SCORE!!!!
That IS great news.  I'm grateful for when you do this, as one of those who prefers no music gets left off unless absolutely necessary.
Yavar
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And the best thing is:
IT'S THE COMPLETE SCORE!!!!
And another wowser indeed!
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I'm beyond thrilled for this! What a nice surprise!
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I first became aware of Cameron in 73 or 74 when I saw the weird, forgotten, flawed, but enjoyable Peter O'Toole film The Ruling Class.
I don't think this film has been forgotten at all - not at least by Criterion and other cineastes. Peter Medak's film is quite often hailed for its brilliant, outrageous satire and overall originality, the O'Toole's performance routinely counted among his best.
Glad to hear that. I just never, ever hear anybody talk about it. Also, back in the day I saw both the theatrical release and a much longer version (director's cut?). I much preferred the shorter theatrical version.
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This is a wonderful albeit short score by Cameron, I loved listening to the CD. Wonderful use of tenor and altsaxaphone, Theme for Marina is a lovely piece of music. Great score, thanks Caldera for releasing it.
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Really surprised this did not get more attention here, it‘s such a fine score… but M:I number 27 and ranting topics seem to be more interesting.
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