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Bernstein and Burnett at the Omnibus |
Posted By: Michael Barrett on January 21, 2010 - 10:00 PM |
I'm enjoying a collection of Leonard Bernstein's lectures on the old OMNIBUS series hosted by Alistair Cooke. Bernstein embarked on these after his success with the score for ON THE WATERFRONT, as Cooke mentions in one of his introductions.
The maestro is not only a clear explainer but makes intelligent use of the live TV medium. Unfortunately there's no show on film scoring, but so far I've seen him explain Beethoven's revisions on the first movement of the 5th, give a history and analysis of jazz, discuss what a conductor does, and best of all, present a brilliant history of musical comedy that would itself today make a great revue on Broadway (with judicious expansion). Wait a minute, that's a million dollar brainstorm: a kind of THAT'S ENTERTAINMENT on stage--hmm, a million dollars in clearances alone....
There are several instructive and engaging sequences, such as where Bernstein compares a scene in THE MIKADO with Gershwin's OF THEE I SING, with the actors making lightning costume changes back and forth. Far down on the list of participants for this 1956 program is Carol Burnett, before she was anybody! (She'd been appearing on THE PAUL WINCHELL AND JERRY MAHONEY SHOW and the sitcom STANLEY but hadn't yet "made it.") She was already an expressive comic belter, so they use her to evoke Ethel Merman singing "Give Him the Ooh-La-La" from DUBARRY WAS A LADY, and she's already better than Merman to my recalcitrant ears. Watching it, I thought "A star is born." But not yet, quite. Her hit novelty "I Made a Fool of Myself Over John Foster Dulles" was in 1957, and in 1959 she had a Broadway hit in ONCE UPON A MATTRESS and a regular role on THE GARRY MOORE SHOW. By then, the star was born.
Years ago I picked up a Burnett CD, "Let Me Entertain You." It was a two-fer of albums with songs from various shows, and I finally realized consciously what I'd known somewhere in the back of my memory: that she really was a great singer. (I use the past tense only because I haven't heard her sing in ages--I guess the latest example was the TV remake of ONCE UPON A MATTRESS.) As a callow lad, I hadn't paid attention to the musical parts of her TV show as much as the comedy, although somehow I registered that, yes, she sang duets with such guests as Julie Andrews, Barbra Streisand, Bernadette Peters, etc., and was not outclassed. A brassy, hiccuppy voice for novelties, it was also expressive and could be modulated for quiet, vulnerable songs.
This made me a bit sad. She had a great career by emphasizing comedy in her TV show, and that must have been her choice, but as long as she was in Hollywood anyway, it seems a waste that during the summers she didn't shoot one or two musicals. They might have been Broadway adaptations or even originals, just as vehicles were constructed for Andrews and Streisand. Instead she never made a movie musical before ANNIE, and never since. Where is her equivalent of THOROUGHLY MODERN MILLIE? She coulda done MAME. She coulda done a Sondheim movie. It's a loss.
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Today in Film Score History: October 5 |
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Alex Wurman born (1966) |
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Alfred Newman begins recording his score for Leave Her to Heaven (1945) |
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David G. Russell born (1968) |
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Dennis McCarthy records his score for the Star Trek: Voyager episode “Timeless” (1998) |
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Harold Faltermeyer born (1952) |
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Jerry Fielding's score for the Star Trek episode "The Trouble With Tribbles" is recorded (1967) |
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Malcolm Lockyer born (1923) |
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