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 Posted:   Jun 11, 2025 - 1:46 PM   
 By:   leslie   (Member)


Currently on YouTube - a seven-minute extract from an unsold tv pilot starring Jane Wyman.

The short extract is richly and loudly scored, both in the composer's lyrical and in his exuberant style (with dynamic piano to the fore).

A hitherto hidden gem.

Leslie

 
 Posted:   Jun 11, 2025 - 2:02 PM   
 By:   Justin Boggan   (Member)

I can't find it. Can you post a link?

 
 
 Posted:   Jun 11, 2025 - 2:14 PM   
 By:   leslie   (Member)

I can't find it. Can you post a link?

Simply type in Doctor Kate Jane Wyman NOT Dr.

Leslie

 
 Posted:   Jun 11, 2025 - 2:16 PM   
 By:   Justin Boggan   (Member)

I did, it's not coming up.

I also added his credit to IMDb, since it was missing.

 
 Posted:   Jun 11, 2025 - 2:23 PM   
 By:   Yavar Moradi   (Member)

Here you go Justin:
https://youtu.be/TiLzJC6gYdE?si=lT3d323s547z_Nd0

Yavar

 
 Posted:   Jun 11, 2025 - 2:31 PM   
 By:   Justin Boggan   (Member)

Thank you, Yavar.

Powerful dramatic opening music. Other good music, but that was the stand out cue. IF the full pilot ever surfaces, I'll do a suite of music from it.

 
 Posted:   Jun 12, 2025 - 8:17 AM   
 By:   W. David Lichty [Lorien]   (Member)

 
 
 Posted:   Jun 13, 2025 - 9:48 AM   
 By:   James MacMillan   (Member)

I watched my DVDR of this earlier today. Film was a little jumpy at times but watchable enough. Jane Wyman is Doctor Kate, a too-good-to-be-true medic who looks after the inhabitants of backwoods Boulder Junction. It was terribly soapy and sentimental, cloying even. It must have had an old-fashioned look about it while it was being made. Lamont Johnson was the director.

Bernstein provided a lot of music, much more than I'd remembered, but it wasn't one of his more memorable efforts from that particular period of his career. IMHO, of course!

JMM.

 
 Posted:   Jun 14, 2025 - 2:56 AM   
 By:   CindyLover   (Member)

More backwoods doctor action with Jane Wyman.

 
 
 Posted:   Jun 15, 2025 - 9:04 AM   
 By:   leslie   (Member)

I watched my DVDR of this earlier today. Film was a little jumpy at times but watchable enough. Jane Wyman is Doctor Kate, a too-good-to-be-true medic who looks after the inhabitants of backwoods Boulder Junction. It was terribly soapy and sentimental, cloying even. It must have had an old-fashioned look about it while it was being made. Lamont Johnson was the director.

Bernstein provided a lot of music, much more than I'd remembered, but it wasn't one of his more memorable efforts from that particular period of his career. IMHO, of course!

JMM.


Hi James

Not having seen the whole film, I am, of course, at a disadvantage. Having said that, within the confines of the seven minutes, I am very much taken with the quality and effectiveness of the score

The energetic and propulsive action sequence, driven along by the robust vigour of the piano, is hugely exhilarating and, for sheer, visceral excitement, is exemplary. I find it a peerless example of Bernstein's ability to energise a fairly conventional sequence.

I have always found irresistible, those late fifties projects which allowed Bernstein to deliver themes which projected human warmth and empathy, while stopping short of slipping into schmaltz, eg his lovely and touching score for the " General Electric Theatre" episode, " Nobody's Child" In some ways the apotheosis of this, for me, is his beautiful' family' theme in "The Comancheros" - a wonderfully nostalgic piece of 'Americana' ( I am not even sure if Bernstein himself appreciated how exceptional this theme was, given that he only included a part of in the suite he recorded from the film). I do find the lyrical sections of the "Doctor Kate" score very typical of the rich vein of melody he mined in those early scores.

Leslie

 
 
 Posted:   Jun 16, 2025 - 10:11 AM   
 By:   James MacMillan   (Member)



Hi James

Not having seen the whole film, I am, of course, at a disadvantage. Having said that, within the confines of the seven minutes, I am very much taken with the quality and effectiveness of the score

The energetic and propulsive action sequence, driven along by the robust vigour of the piano, is hugely exhilarating and, for sheer, visceral excitement, is exemplary. I find it a peerless example of Bernstein's ability to energise a fairly conventional sequence.

I have always found irresistible, those late fifties projects which allowed Bernstein to deliver themes which projected human warmth and empathy, while stopping short of slipping into schmaltz, eg his lovely and touching score for the " General Electric Theatre" episode, " Nobody's Child" In some ways the apotheosis of this, for me, is his beautiful' family' theme in "The Comancheros" - a wonderfully nostalgic piece of 'Americana' ( I am not even sure if Bernstein himself appreciated how exceptional this theme was, given that he only included a part of in the suite he recorded from the film). I do find the lyrical sections of the "Doctor Kate" score very typical of the rich vein of melody he mined in those early scores.

Leslie


Leslie, I am in agreement with all that you say here. So much of it was irresistible to me too. I know what you're referring to in "The Comancheros", it's something he could have expanded upon but chose to use it only once and then it was gone. There are moments like that in "Kings of the Sun" too, and in other projects from that time.

 
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