# Favorite Hollywood Golden Age soundtrack



## TudorMihai

Here we can discuss about our favorite soundtracks from Hollywood's Golden Age (1930's-1960's). For me, my favorite is Korngold's music for The Adventures of Robin Hood.


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## Prodromides

Hello, TudorMihai.

While the term "Golden" may applicable to anything which attains the age of 50, Hollywood's Golden Age film scores have the additional connotation of being written within specific styles.

I tend to think of Hollywood's Golden Age in film music as starting around 1932 (the early scores by Max Steiner or Alfred Newman) and enduring for more than 30 years up until 1964 - a year in which the popularity of The Beatles and the James Bond soundtrack GOLDFINGER altered the film-scoring _milieu_ away from orchestral music in romantic idioms.

Personally, the portion of the Golden Age which I like starts in 1951 (with the entry of Alex North and Elmer Bernstein into the scoring stages) and especially by 1955 and later when Leonard Rosenman began to incorporate techniques from contemporary absolute/concert music into his film scores.

I have plenty of favorites from this era, so I won't be able to limit myself to only a single soundtrack.

With the next few posts, though, I'll deposit a few titles per composer...


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## Prodromides

My favorite Golden Age soundtrack is THE BAD SEED by Alex North, which is also my 2nd favorite soundtrack by North.










This image comes from the RCA LP album (THE BAD SEED unfortunately doesn't exist officially on CD format)


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## Prodromides

*Elmer Bernstein*

My favorite 5 soundtracks by Elmer Bernstein all fall within a short period (from 1957 up to 1962)


SUMMER AND SMOKE (1961) is #1 Elmer Bernstein with me.










DESIRE UNDER THE ELMS (1958) = 2nd favorite.










DRANGO (1957)










MEN IN WAR (1957)










BIRDMAN OF ALCATRAZ (1962)


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## TudorMihai

If I can name my favorite Golden Age film scores per composer, these would be my list:

- Max Steiner: Gone With the Wind, Now, Voyager, The Adventures of Mark Twain, The Treasure of the Sierra Madre, The Flame and the Arrow;
- Alfred Newman: The Song of Bernadette, The Black Swan, How Green Was My Valley, The Greatest Story Ever Told, How the West Was Won, Airport;
- Miklos Rozsa: The Jungle Book, Spellbound, Ben-Hur, El Cid, Quo Vadis, The Private Life of Sherlock Holmes
- Erich Wolfgang Korngold: The Adventures of Robin Hood, The Private Lives of Elizabeth and Essex, The Prince and the Pauper, The Sea Hawk;
- Dimitri Tiomkin: Red River, The Old Man and the Sea, Tarzan and the Mermaids, The Fall of the Roman Empire, The Alamo;
- Victor Young: Around the World in 80 Days, Shane, The Left Hand of God, The Quiet Man, Scaramouche;
- Franz Waxman: The Bride of Frankenstein, Peyton Place, Sunset Boulevard, A Place in the Sun;
- Bernard Herrmann: Citizen Kane, Psycho, North by Northwest, Taxi Driver, The Ghost and Mrs. Muir;

I would also add Mutiny on the Bounty by Bronislaw Kaper.


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## Prodromides

*Hugo Friedhofer*

Of the composers who had worked in Hollywood since the 1930s, my favorite is Hugo Friedhofer.


ABOVE AND BEYOND (1952)










THE BARBARIAN AND THE GEISHA (1958)










ONE EYED JACKS (1961)










BOY ON A DOLPHIN (1957)










THE RAINS OF RANCHIPUR (1955)


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## BlazeGlory

I never tire of watching these serials and listening to the soundtrack, especially the first 1'20" of this clip.


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## Vaneyes

I was wondering when soundtracks first made their appearance as commercial product. Wikipedia tells me the first one was for a Disney animation film, followed eight years later by a Jerome Kern musical. :tiphat:

http://en.wikipedia.org/wiki/Soundtrack


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## TudorMihai

Vaneyes said:


> I was wondering when soundtracks first made their appearance as commercial product. Wikipedia tells me the first one was for a Disney animation film, followed eight years later by a Jerome Kern musical. :tiphat:
> 
> http://en.wikipedia.org/wiki/Soundtrack


Yes, many sources indicate that Disney's "Snow White and the Seven Dwarfs" was the first movie to have a soundtrack album released but only with the songs from the film. Then, a few years later Disney released the music for "Pinocchio", claiming to be the first time the phrase "original soundtrack" was used on an album. Again, this release contained only songs. I haven't found which was the first film score released commercially but I've found that one of the first film scores released on record was Alfred Newman's music for "The Song of Bernadette" (1943).

What you said above, Vaneyes, about Jerome Kern, that was the first release of a soundtrack from a non-Disney film but again, it contained only songs. The film was "Till the Clouds Roll By" (1946).

http://www.scaruffi.com/history/film.html


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## Guest

Prodromides said:


> Hello, TudorMihai.
> 
> While the term "Golden" may applicable to anything which attains the age of 50, Hollywood's Golden Age film scores have the additional connotation of being written within specific styles.
> 
> I tend to think of Hollywood's Golden Age in film music as starting around 1932 (the early scores by Max Steiner or Alfred Newman) and enduring for more than 30 years up until 1964 - a year in which the popularity of The Beatles and the James Bond soundtrack GOLDFINGER altered the film-scoring _milieu_ away from orchestral music in romantic idioms.
> 
> Personally, the portion of the Golden Age which I like starts in 1951 (with the entry of Alex North and Elmer Bernstein into the scoring stages) and especially by 1955 and later when Leonard Rosenman began to incorporate techniques from contemporary absolute/concert music into his film scores.
> 
> I have plenty of favorites from this era, so I won't be able to limit myself to only a single soundtrack.
> 
> With the next few posts, though, I'll deposit a few titles per composer...


Those names you mention - Alex North, Leonard Rosenman, Elmer Bernstein: these were GREAT film composers. And, yes, Korngold, Newman, Rosza, Herrmann, Friedhofer - emigre Jews escaping Europe and thank God for the rest of us because of their fabulous legacy. Here's a total favourite, gooey cheese and all!! And the modality of this music, OMG:






Another glorious soundtrack, but the title music seems to have been deleted on U-Tube (try and hear it in the background here). This is my favourite film OF ALL TIME. And March steals the film, especially the scene where he arrives home and walks up to Myrna Loy. Poetry!!






And for film score "tragics" and buffs like myself, here's a great place to be:

http://www.filmscoremonthly.com/board/threads.cfm?forumID=1

A masterful opening to a film, Mamoulian's "Love Me Tonight" 1932. (I had the chance to meet Mamoulian in 1974 when I worked in television but I turned down the offer - he was sitting in the office next door - because I didn't know who he was!!!!! One of the WORST DECISIONS OF MY LIFE. The original producer (Broadway) of "Porgy & Bess" and "Oklahoma", notwithstanding his brilliant films!!






(Now where do you suppose Hitchcock got that idea about the intrusive camera going into the window at the beginning of "Psycho"!!?)

Here's another sequence from "Love Me Tonight" - Larry Hart's "Isn't it Romantic". This sequence shows the originality of Mamoulian as he was one of the first directors to liberate the camera in the era of sound and get it moving. Five years after the invention of sound film you can see the camera has a life of its own (no more blimps the size of a hot air balloon, nor phone booths for the camera):


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## Guest

Here's an excellent soundtrack written by Leonard Rosenman, "East of Eden":

http://www.tcm.com/mediaroom/video/244694/East-of-Eden-Movie-Clip-Opening-Credits.html


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## Itullian

King Kong, Steiner.


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## Guest

TudorMihai said:


> Yes, many sources indicate that Disney's "Snow White and the Seven Dwarfs" was the first movie to have a soundtrack album released but only with the songs from the film. Then, a few years later Disney released the music for "Pinocchio", claiming to be the first time the phrase "original soundtrack" was used on an album. Again, this release contained only songs. I haven't found which was the first film score released commercially but I've found that one of the first film scores released on record was Alfred Newman's music for "The Song of Bernadette" (1943).
> 
> What you said above, Vaneyes, about Jerome Kern, that was the first release of a soundtrack from a non-Disney film but again, it contained only songs. The film was "Till the Clouds Roll By" (1946).
> 
> http://www.scaruffi.com/history/film.html


Jerome Kern - TOTAL LEGEND; TOTAL!! And, you know, he dropped dead on a NY street and people stepped over him!! I love his work, all of it. He was, like Porter, classically trained and his music is full of enharmonic modulations and wonderful harmonies. (Oh, Dick Rodgers was a music school grad. too. Curtis Institute, I think. Read his book, "Musical Stages".)

Yesterday, as I cleaned my porcelain flooring, I was listening to the soundtrack of "Oklahoma", with extended tracks - which contains all the music from the film. I think it was orchestrated by Robert Russell Bennett and it is easily the best musical of Dick and Oscar, IMO. All their films put onto film had dark undercurrents: domestic violence in "Carousel", obsession and violence in 'Oklahoma", authoritarianism in "The King and I" and racism in "South Pacific". And the magnificent ballets in all films (except "South Pacific") were remarkable. Can you imagine audiences today sitting through 20 minutes of Agnes de Mille or similar?


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## Prodromides

CountenanceAnglaise said:


> he dropped dead on a NY street and people stepped over him!!


This will probably happen to me, too.


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## Guest

Prodromides said:


> This will probably happen to me, too.


But I think that's where the similarity will end!!


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## Prodromides

Yeah - that's right. (if being stepped over is any similarity).

Some people walk all over me, anyway, as I live & breathe.


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## Guest

Prodromides said:


> Yeah - that's right. (if being stepped over is any similarity).
> 
> Some people walk all over me, anyway, as I live & breathe.


Get up off the floor and see me in my office immediately!! But seriously, you live in a beautiful part of the world. How I'd love to see Pennsylvania. America in toto, actually. I have some wonderful American correspondents whom I've 'met' on music messageboards. Such a lot I've learned about the USA too. My sister is a double masters degree holder, her last one in US Studies and she knows heaps about your political system. Just sayin'.....


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## Prodromides

You'd love Lancaster, PA, I'm guessin'.

Alex North was born in Chester, PA, just south of Philly.

Pittsburgh is quite a hike to the other side of the state; the Pittsburgh symphony was conducted by Dimitri Tiomkin for his soundtrack to U.S. Steel's promo short RHAPSODY OF STEEL.


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## Guest

Prodromides said:


> You'd love Lancaster, PA, I'm guessin'.
> 
> Alex North was born in Chester, PA, just south of Philly.
> 
> Pittsburgh is quite a hike to the other side of the state; the Pittsburgh symphony was conducted by Dimitri Tiomkin for his soundtrack to U.S. Steel's promo short RHAPSODY OF STEEL.


My sister visits New York and eastern states every year and asked me to join her this September/October. I had to decline because I'm returning to live in Vienna for another year in early 2014, but we hope to drop by on the way home from Europe. We have friends in Springfield, Virginia. My sister says to me, "go to New York please; go straight there!!!"

And I'd love to see George Gershwin's grave. Alex North - what a composer!! What do you think of his score for "Cleopatra"?






The parts of the film were greater than the whole!! Joseph Mankiewicz's stunning words, Harrison's beautiful delivery and North's score. Other than that, Burton and Taylor ruined the film!! She a lump of cheese and he 'a double order of California fruit salad" ('The Goodbye Girl').

The Mankiewicz brothers - Hermann and Joseph - were incredibly gifted men.


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## Prodromides

*Give me to drink mandragora*



CountenanceAnglaise said:


> And I'd love to see George Gershwin's grave. Alex North - what a composer!! What do you think of his score for "Cleopatra"?


4-star excellence - but that is an assessment I bestow upon almost half his soundtracks.

Submitted below for your ... entertainment, shall we say? ... is my ranking of those Alex North titles with which I'm familiar
(that is, I own 37 soundtracks by North so far ... ):

*FOUR NORTH STARS*

1.	Africa
2.	Bad Seed, The
3.	Miserables, Les
4.	2001
5.	Who's Afraid Of Virginia Woolf?
6.	Children's Hour, The
7.	Outrage, The
8.	Cleopatra
9.	Dragonslayer
10.	Agony And The Ecstasy, The
11.	Spartacus
12.	Death Of A Salesman
13.	Wonderful Country
14.	Sanctuary
15.	Misfits, The
16.	Pony Soldier
17.	Long Hot Summer, The

*THREE NORTH STARS*

18.	Hard Contract
19.	Journey Into Fear
20.	Sound And The Fury, The
21.	Cheyenne Autumn
22.	King And Four Queens, The
23.	I'll Cry Tomorrow
24.	Rose Tattoo, The
25.	Streetcar Named Desire, A
26.	Thirteenth Letter, The
27.	Viva Zapata!
28.	Devil's Brigade, The
29.	Bite The Bullet
30.	All Fall Down

*TWO NORTH STARS*

31.	Dream Of Kings, A
32.	Rainmaker, The
33.	Shoes Of The Fisherman, The

*ONE NORTH STAR*

34.	South Seas Adventure
35.	Desiree
36.	Racers, The
37.	Somebody Killed Her Husband


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## Guest

Prodromides said:


> 4-star excellence - but that is an assessment I bestow upon almost half his soundtracks.
> 
> Submitted below for your ... entertainment, shall we say? ... is my ranking of those Alex North titles with which I'm familiar
> (that is, I own 37 soundtracks by North so far ... ):
> 
> *FOUR NORTH STARS*
> 
> 1.	Africa
> 2.	Bad Seed, The
> 3.	Miserables, Les
> 4.	2001
> 5.	Who's Afraid Of Virginia Woolf?
> 6.	Children's Hour, The
> 7.	Outrage, The
> 8.	Cleopatra
> 9.	Dragonslayer
> 10.	Agony And The Ecstasy, The
> 11.	Spartacus
> 12.	Death Of A Salesman
> 13.	Wonderful Country
> 14.	Sanctuary
> 15.	Misfits, The
> 16.	Pony Soldier
> 17.	Long Hot Summer, The
> 
> *THREE NORTH STARS*
> 
> 18.	Hard Contract
> 19.	Journey Into Fear
> 20.	Sound And The Fury, The
> 21.	Cheyenne Autumn
> 22.	King And Four Queens, The
> 23.	I'll Cry Tomorrow
> 24.	Rose Tattoo, The
> 25.	Streetcar Named Desire, A
> 26.	Thirteenth Letter, The
> 27.	Viva Zapata!
> 28.	Devil's Brigade, The
> 29.	Bite The Bullet
> 30.	All Fall Down
> 
> *TWO NORTH STARS*
> 
> 31.	Dream Of Kings, A
> 32.	Rainmaker, The
> 33.	Shoes Of The Fisherman, The
> 
> *ONE NORTH STAR*
> 
> 34.	South Seas Adventure
> 35.	Desiree
> 36.	Racers, The
> 37.	Somebody Killed Her Husband


I'm *EXTREMELY IMPRESSED*!!! I didn't know about half of these. I'm not a fan of "Spartacus", I have to say. (Do join that Film Score Monthly online forum I've suggested!). "The Rainmaker" - I presume that's the Kate Hepburn/Burt Lancaster film - which is virtually a filmed stage play. I loved the film. I also thought North wrote the score for "Come Back, Little Sheba" - but obviously not. For me, "Cleopatra" is the stand-out - if not only because North uses modality throughout.

Tell me more......


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## Prodromides

Thanks for the impressions, Doc Anglaise - when do they come back from the dental lab? 

As for the Alex North discography, throughout the decades there's been soundtrack guides in print (like the Osborne record guide). The books from the 1980s listed all of the soundtrack LPs, so that's how I got familiar with all the titles that ever existed prior to the CD format. However, since 1998, there's been many limited edtion CDs of never-before-released film music from actual studio recording sessions (which have been digitally restored and re-mastered) typically sounding better than most vinyls.

SPARTACUS is the one I'm least attracted to (regarding the big 3 epics), so as you can see I rank it lower than CLEOPATRA and THE AGONY AND THE ECSTASY. Still, SPARTACUS is a magnum opus which shouldn't be ignored plus there's lots of mesmerizing aspects of North's SPARTACUS, like the use of that ondiline instrument. Basically, it's the brassy heroic portions which I like the least, as if it's equating the Roman slave rebellion with American liberty.

Anyways, I'll deposit some more posts in this thread on individual North titles which should still be available for purchase (if you're interested).

[BTW: COME BACK, LITTLE SHEBA was scored by Franz Waxman]


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## Prodromides

Originally on MGM records in 1967, Alex North's music for a television special simply entitled *Africa* received a (sort of) expansion with its reissue onto CD in 2002 via the Prometheus label, which added 2 tracks which were not on the soundtrack LP.










North, and his orchestrator Henry Brant, went to Germany to record his music for AFRICA in April of '67 utilizing the Graunke Symphony Orchestra augmented with an extended percussion section of 11 players!

The highlight of this album, for me, is North's 4-movement "symphony for a new continent". I never saw this TV special, but I suspect this symphony was not the actual incidental music for the program but a work designed for concert performance based upon musical material written for the show.

It's very bracing and primordial music - not for all tastes - and this makes AFRICA a spiritual kin to the music North was to write immediately afterwards for Stanley Kubrick's *2001* (which I should think, CA, you already know had gotten rejected).

Short story = if you like North's *2001*, then you should like his *Africa*.


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## Guest

Thanks for all that. Great information and I'm keen to read anything you can share.

I love "Come Back, Little Sheba" (dir. Daniel Mann) but think Burt was too young for the part. It's a powerful little film - essentially a 'two-hander' which has been done so very effectively in the past (Tracey & Hepburn, though these were comedies).


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## Prodromides

*Snap!*

Here's a couple of great scans of the original Warner Bros. LP of WHO'S AFRAID OF VIRGINIA WOOLF?



















Not much more to say about this than what's already on the liner notes, except North's music is subtle and sublime and the epitome of dramatic scoring for cinematic adaptations of plays.

[and the content of this record album has been reissued on a German CD]


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## Prodromides

*swallow the enchilada*

This single-disc release from Film Score Monthly pairs together 2 scores by North recorded at MGM studios: ALL FALL DOWN (1962) and THE OUTRAGE (1964).

















Neither of these was ever released before this 2003 CD, and both possess excellent sound quality.

Both films were shot in black-and-white and directed by men who had worked in live television. ALL FALL DOWN is an early film by John Frankenheimer but the passage of time has dulled the then-candid subject matter and the film as a whole is tepid in comparison with the hard-hitting cinema Frankenheimer gave us with BIRDMAN OF ALCATRAZ & THE MANCHURIAN CANDIDATE & SEVEN DAYS IN MAY, all of which followed after ALL FALL DOWN in succession.

With the exception of some of Alex North's dramatic stings, North's music for ALL FALL DOWN reflects the naivete of youth and young love in contrast with "old maid" mannerisms which themselves contrast with angry young man characteristics. All of these various themes are cast in a mildly jazzy mold (of the 'easy listenting' variety).

ALL FALL DOWN is a pleasant-enough score for North fans to pass time by, but it is neither significant nor essential North material.

Martin Ritt's revisionist Western take on the famous RASHOMON tale yields a much more fascinating (yet very brief) score for THE OUTRAGE.
Within a short span of 14 minutes, North's music conveys sublime contemplation, high-spirited Mexicana, treachery, disgust, self-destructive impulses, with life-affirming resolution. Sounds impossible? Not with Alex!
Though not for all tastes, THE OUTRAGE is my favorite Alex North score for both 1) a western, & 2) Mexican idioms [a trait which surfaces in North's music on a regular basis (North studied for a period of time in Mexico with Silvestre Revueltas)]


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## Guest

This is wonderful, Proddy! Thank you. I haven't seen either of those films, "All Fall Down" or "The Outrage". Frankenheimer was a good film-maker and I love Martin Ritt's films, my favourite being "Hud". I remember an interview between Newman and Redford shortly before the former died and they both spoke very affectionately of Martin Ritt. He was of similar aesthetic temperament to another fave of mine, Nicholas Ray. The 1950's were great years for American narrative cinema - the boundaries were being pushed all the time. You could get a full range of films - from Douglas Sirk's "soaps", Steven's "Giant", froth and bubble of Doris Day and Rock Hudson, Ray's "Rebel Without a Cause" and "Johnny Guitar" and the stark westerns of Anthony Mann ("The Naked Spur"). Then there were cutting edge film-makers like the under-appreciated Sam Fuller ("Shock Corridor") and Robert Aldrich ("Kiss Me Deadly").

I'd love to get a hold of some more of North's music and will survey Amazon to see what's on offer. I prefer the actual soundtracks although, having said that, I have a beautiful CD of the music of Bernard Herrmann played by LAPO/Essa-Pekka Salonen.

Being a film "tragic" I could talk about it all day and all night. Great input, thanks Proddy.


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## Guest

Proddy, here's a great score. "Hatari" - love that opening theme with the African drums. And at around this time Mancini was writing, or had just written, a beautiful score for 'Breakfast at Tiffany's". The really excellent composer can produce a variety of styles and sounds.






I saw this film 5 times when I was 13 (I've been a 'Hawksian' ever since) and this experience made me realize I wanted to be involved in film - somehow. Well, I ended up working in television production (documentaries) and studied film at university. Now I'm researching for a thesis on Conrad Salinger, the great orchestrator/arranger at the Freed Unit at MGM. It's funny how you know certain things so very early in life and they can become self-fulfilling prophesies!!

As an anecdotal aside about "Hatari" - Dimitri Tiomkin was assigned to score the picture. Hawks said he wanted something using African instruments but Tiomkin said, "it's not possible; it will sound awful". Hawks sacked him from the picture immediately and contacted Mancini. Hawks was a ruthless "son of a sea-cook" ('Arsenic and Old Lace'!!) and a friend of Tiomkin, but he just cut him off without a glance. I read all about this in Todd McCarthy's excellent biography of Hawks: "Howard Hawks: the silver Fox of Hollywood". It's not a gossipy tome and I learned lots about Hawks' particular style. Molly Haskell also wrote an excellent essay on Hawks.


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## Guest

Another glorious score from Mancini, "Breakfast at Tiffany's". From the moment that large, yellow cab comes gliding smoothly towards the camera, over the uneven road surface, I'm in heaven. Looking at the opening titles sequence again today I felt a real sense of nostalgia and longing, which is what the music conveys. All the major people involved in the production are now gone:

Jurow & Shepherd (Producers), George Axelrod (adaptation), Peppard, Hepburn, Neal, Ebsen, (Actors), Franz Planer (cinematography), Blake Edwards (Direction),Givenchy and Edith Head (wardrobe), Truman Capot (writer). All gone...except Mickey Rooney!!


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## campy

My choice: Jerome Moross for the 1958 western _The Big Country._


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## Guest

campy said:


> My choice: Jerome Moross for the 1958 western _The Big Country._


That IS a great score! And that opening title sequence, in B&W, in which Wyler 'references' John Ford's "Stagecoach". What a tribute.


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## Guest

This is for you, Proddy of the Cinephiles: one of my all-time fave films, "Picnic". Holden and Novak.






This scene must be one of the most moving in cinema. A friend of mine once said about it, "one foot on the bed and another on the floor" in terms of eroticism a la 1950's America. He was so right. This pair is so beautiful together, don't you think? (I was in love with somebody like that many years ago and this scene is a powerful but poignant reminder of that.) And Vincente Minnelli and Baz Lurhmann stole those production design elements (the lanterns) for their films!!! ("Some Came Running" and "Strictly Ballroom" respectively.)


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## CypressWillow

When I first saw "Random Harvest" I loved the story and the acting so much I paid almost no attention to the score (unusual for me.) Upon repeated viewings I realized how the music, never intrusive, perfectly complemented the story. In the opening credits (below) Stothart introduced many of the thematic elements. The more I listen to this score the more I appreciated Herbert Stothart.






I don't do 'spoilers' so I'll just recommend that you watch the last scene of the film as the music perfectly ties up all the loose ends.


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## PetrB

Prodromides said:


> This will probably happen to me, too.


You will have to go to NY from Philly to realize that particular ambition


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## zeshantahir

My favorite Golden Age soundtrack is THE BAD SEED by Alex North, which is also my 2nd favorite soundtrack by North.


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## Prodromides

zeshantahir said:


> My favorite Golden Age soundtrack is THE BAD SEED by Alex North, which is also my 2nd favorite soundtrack by North.


Do I hear an echo?


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## zeshantahir

http://freetvchannelsall.blogspot.com/2013/05/star-world-live-stream.html


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## CypressWillow

One of my long-term favorites is the Alastair Sim version of "Scrooge." I think Richard Addinsell's score is incredibly effective. From the ominous opening, which sets the stage perfectly, through the use of "Barbara Allen," the haunting wistful tune that accompanies Tiny Tim's looking through the window at the mechanical toys, the polka Scrooge dances with his niece, - oh, I could go on and on (actually I already have, eh?)

Here it's introduced by Patrick Macnee (of "The Avengers" fame) who actually played the young Jacob Marley. And see if you agree that the sweet smile on the face of the nephew's maid towards the end doesn't just stay with you long after. She was lovely, and the encouraging smile she gave Scrooge, and his response, was unforgettable.


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